Robert Rowland Smith - Böcker

What is the role of fate in our lives? Why should we avoid repeating patterns? And how can we identify our purpose? In What It Means To Be Human, former Oxford don Robert Rowland Smith draws on his personal experience to answer some of life’s most fundamental questions. Robert’s story involves a love triangle, office politics, police raids and a near-death experience. We see him confronting his demons, but also looking out for angels.As we are led into Robert’s private world– exploring themes like love, death, work and creativity – we gain an understanding of what it means to be human that is relevant to all.Previously published as AutoBioPhilosophy.

Robert Rowland Smith takes Freud's work on the death-drive and compares it with other philosophies of death - Pascal, Heidegger and Derrida in particular. He also applies it in a new way to literature and art - to Shakespeare, Rothko and Katharina Fritsch, among others. He asks whether artworks are dead or alive, if artistic creativity isn't actually a form of destruction, and whether our ability to be seduced by fine words means we don't put our selves at risk of death. In doing so, he proposes a new theory of aesthetics in which artworks and literary texts have a death-drive of their own, not least by their defining ability to turn away from all that is real, and where the effects of the death-drive mean that we are constantly living in imaginary, rhetorical or 'artistic' worlds. The book also provides a valuable introduction to the rich tradition of work on the death-drive since Freud.Key Features* Includes a general introduction to the death-drive* Presents an original theory of aesthetics* Analyses both theoretical and clinical psychoanalysis* Offers in-depth treatment of Freud* Provides an overview of philosophies of death

Including applied readings, this book explores the divide between practical criticism and theory in 20th century criticism to propose a new way of reading poetry. The history of poetry criticism in the 20th Century is often told as the story of two opposing sides. On the one hand, practical criticism emphasized close reading and a concern with authorial intention and technique; by contrast, the 'theory revolution' reacted against this in favour of a concern with the anonymous ideological forces at play in the text. Critically exploring this history of 20th Century literary criticism, "On Modern Poetry" draws on the insights of both traditions to offer a new way of reading poetry. Taking students through the work of such critics as T.S. Eliot, William Empson, Harold Bloom, Jacques Derrida and Martin Heidegger, the book considers such topics as rhyme, poetic 'voice' and language. The second part of the book then goes on to apply these critical insights through close readings of poems by such writers as Matthew Arnold, Thomas Hardy, Gerard Manley Hopkins and Alfred Lord Tennyson.A new exploration of poetry criticism in the last hundred years, "On Modern Poetry" is an essential guide for readers and students at all levels.