Julius Greve – författare

For centuries, critics, poets, and philosophers have either openly proclaimed or tacitly assumed the long poem as the highest expression of literary ambition and excellence. Rethinking the North American Long Poem focuses on the North American variant of this notorious form - notorious because of its often forbidding and difficult character. The contributors scrutinize seminal works and more recent efforts that have redefined or, better still, reopened the case of the long poem. Taking the categories of form, matter, and experiment as frames of conceptual reference, the book examines the ways in which material and immaterial aspects of literary practice and the philosophically and politically inscribed duality of experience and experiment are negotiated in and by North American long poems from the nineteenth century to the present.

For centuries, critics, poets, and philosophers have either openly proclaimed or tacitly assumed the long poem as the highest expression of literary ambition and excellence. Rethinking the North American Long Poem focuses on the North American variant of this notorious form—notorious because of its often forbidding and difficult character. The contributors scrutinize seminal works and more recent efforts that have redefined or, better still, reopened the case of the long poem. Taking the categories of form, matter, and experiment as frames of conceptual reference, the book examines the ways in which material and immaterial aspects of literary practice and the philosophically and politically inscribed duality of experience and experiment are negotiated in and by North American long poems from the nineteenth century to the present.

Hitherto classified as a form of genre fiction, or as a particular aesthetic quality of literature by H. P. Lovecraft, the weird has now come to refer to a broad spectrum of artistic practices and expressions including fiction, film, television, photography, music, and visual and performance art. Largely under-theorized so far, The American Weird brings together perspectives from literary, cultural, media and film studies, and from philosophy, to provide a thorough exploration of the weird mode. Separated into two sections – the first exploring the concept of the weird and the second how it is applied through various media – this book generates new approaches to fundamental questions: Can the weird be conceptualized as a generic category, as an aesthetic mode or as an epistemological position? May the weird be thought through in similar ways to what Sianne Ngai calls the zany, the cute, and the interesting? What are the transformations it has undergone aesthetically and politically since its inception in the early twentieth century? Which strands of contemporary critical theory and philosophy have engaged in a dialogue with the discourses of and on the weird? And what is specifically “American” about this aesthetic mode?As the first comprehensive, interdisciplinary study of the weird, this book not only explores the writings of Lovecraft, Caitlín Kiernan, China Miéville, and Jeff VanderMeer, but also the graphic novels of Alan Moore, the music of Captain Beefheart, the television show Twin Peaks and the films of Lily Amirpour, Matthew Barney, David Lynch, and Jordan Peele.

Hitherto classified as a form of genre fiction, or as a particular aesthetic quality of literature by H. P. Lovecraft, the weird has now come to refer to a broad spectrum of artistic practices and expressions including fiction, film, television, photography, music, and visual and performance art. Largely under-theorized so far, The American Weird brings together perspectives from literary, cultural, media and film studies, and from philosophy, to provide a thorough exploration of the weird mode. Separated into two sections – the first exploring the concept of the weird and the second how it is applied through various media – this book generates new approaches to fundamental questions: Can the weird be conceptualized as a generic category, as an aesthetic mode or as an epistemological position? May the weird be thought through in similar ways to what Sianne Ngai calls the zany, the cute, and the interesting? What are the transformations it has undergone aesthetically and politically since its inception in the early twentieth century? Which strands of contemporary critical theory and philosophy have engaged in a dialogue with the discourses of and on the weird? And what is specifically “American” about this aesthetic mode?As the first comprehensive, interdisciplinary study of the weird, this book not only explores the writings of Lovecraft, Caitlín Kiernan, China Miéville, and Jeff VanderMeer, but also the graphic novels of Alan Moore, the music of Captain Beefheart, the television show Twin Peaks and the films of Lily Amirpour, Matthew Barney, David Lynch, and Jordan Peele.

Hitherto classified as a form of genre fiction, or as a particular aesthetic quality of literature by H. P. Lovecraft, the weird has now come to refer to a broad spectrum of artistic practices and expressions including fiction, film, television, photography, music, and visual and performance art. Largely under-theorized so far, The American Weird brings together perspectives from literary, cultural, media and film studies, and from philosophy, to provide a thorough exploration of the weird mode. Separated into two sections – the first exploring the concept of the weird and the second how it is applied through various media – this book generates new approaches to fundamental questions: Can the weird be conceptualized as a generic category, as an aesthetic mode or as an epistemological position? May the weird be thought through in similar ways to what Sianne Ngai calls the zany, the cute, and the interesting? What are the transformations it has undergone aesthetically and politically since its inception in the early twentieth century? Which strands of contemporary critical theory and philosophy have engaged in a dialogue with the discourses of and on the weird? And what is specifically “American” about this aesthetic mode?As the first comprehensive, interdisciplinary study of the weird, this book not only explores the writings of Lovecraft, Caitlín Kiernan, China Miéville, and Jeff VanderMeer, but also the graphic novels of Alan Moore, the music of Captain Beefheart, the television show Twin Peaks and the films of Lily Amirpour, Matthew Barney, David Lynch, and Jordan Peele.

Hitherto classified as a form of genre fiction, or as a particular aesthetic quality of literature by H. P. Lovecraft, the weird has now come to refer to a broad spectrum of artistic practices and expressions including fiction, film, television, photography, music, and visual and performance art. Largely under-theorized so far, The American Weird brings together perspectives from literary, cultural, media and film studies, and from philosophy, to provide a thorough exploration of the weird mode. Separated into two sections – the first exploring the concept of the weird and the second how it is applied through various media – this book generates new approaches to fundamental questions: Can the weird be conceptualized as a generic category, as an aesthetic mode or as an epistemological position? May the weird be thought through in similar ways to what Sianne Ngai calls the zany, the cute, and the interesting? What are the transformations it has undergone aesthetically and politically since its inception in the early twentieth century? Which strands of contemporary critical theory and philosophy have engaged in a dialogue with the discourses of and on the weird? And what is specifically “American” about this aesthetic mode?As the first comprehensive, interdisciplinary study of the weird, this book not only explores the writings of Lovecraft, Caitlín Kiernan, China Miéville, and Jeff VanderMeer, but also the graphic novels of Alan Moore, the music of Captain Beefheart, the television show Twin Peaks and the films of Lily Amirpour, Matthew Barney, David Lynch, and Jordan Peele.

One of the most important French philosophers working today, François Laruelle has developed an innovative and powerful repertoire of concepts across an oeuvre spanning four decades and more than twenty books. His work—termed non-philosophy or, more recently, non-standard philosophy—has garnered international attention in recent years and stands likely to have a significant impact on the critical practices of the humanities in the near future.Bringing together some of the most prominent scholars of Laruelle, Superpositions: Laruelle and the Humanities explores the intersections of Laruelle’s work with multiple discourses within the humanities, including philosophy, critical theory, political theory, media studies, and religious studies. The book addresses two main questions: In what relation does non-philosophical thought stand with respect to the materials and methods of other disciplines? How can Laruelle’s non-standard philosophy be applied, appropriated and used by other discourses? Superpositions provides a useful introduction to Laruelle’s work for students and scholars, and marks an important intervention into one of the most vigorous and contested areas of contemporary scholarship in the critical humanities.

One of the most important French philosophers working today, François Laruelle has developed an innovative and powerful repertoire of concepts across an oeuvre spanning four decades and more than twenty books. His work—termed non-philosophy or, more recently, non-standard philosophy—has garnered international attention in recent years and stands likely to have a significant impact on the critical practices of the humanities in the near future.Bringing together some of the most prominent scholars of Laruelle, Superpositions: Laruelle and the Humanities explores the intersections of Laruelle’s work with multiple discourses within the humanities, including philosophy, critical theory, political theory, media studies, and religious studies. The book addresses two main questions: In what relation does non-philosophical thought stand with respect to the materials and methods of other disciplines? How can Laruelle’s non-standard philosophy be applied, appropriated and used by other discourses? Superpositions provides a useful introduction to Laruelle’s work for students and scholars, and marks an important intervention into one of the most vigorous and contested areas of contemporary scholarship in the critical humanities.

One of the most important French philosophers working today, François Laruelle has developed an innovative and powerful repertoire of concepts across an oeuvre spanning four decades and more than twenty books. His work—termed non-philosophy or, more recently, non-standard philosophy—has garnered international attention in recent years and stands likely to have a significant impact on the critical practices of the humanities in the near future.Bringing together some of the most prominent scholars of Laruelle, Superpositions: Laruelle and the Humanities explores the intersections of Laruelle’s work with multiple discourses within the humanities, including philosophy, critical theory, political theory, media studies, and religious studies. The book addresses two main questions: In what relation does non-philosophical thought stand with respect to the materials and methods of other disciplines? How can Laruelle’s non-standard philosophy be applied, appropriated and used by other discourses? Superpositions provides a useful introduction to Laruelle’s work for students and scholars, and marks an important intervention into one of the most vigorous and contested areas of contemporary scholarship in the critical humanities.

This collection of essays discusses genre fiction and film within the discursive framework of the environmental humanities and analyses the convergent themes of spatiality, climate change, and related anxieties concerning the future of human affairs, as crucial for any understanding of current forms of “weird” and “fantastic” literature and culture. Given their focus on the culturally marginal, unknown, and “other,” these genres figure as diagnostic modes of storytelling, outlining the latent anxieties and social dynamics that define a culture’s “structure of feeling” at a given historical moment. The contributions in this volume map the long and continuous tradition of weird and fantastic fiction as a seismograph for eco-geographical turmoil from the nineteenth to the twenty-first century, offering innovative and insightful ecocritical readings of H. P. Lovecraft, Harriet Prescott Spofford, China Miéville, N. K. Jemisin, Thomas Ligotti, and Jeff VanderMeer, among others.