Shane Weller – författare

This book charts the history of the concept of nihilism in some of the most important philosophers and literary theorists of the modern and postmodern periods, including Heidegger, Adorno, Blanchot, Derrida, and Vattimo. Weller offers the first in-depth analysis of nihilism's key role in the thinking of the aesthetic since Nietzsche.

This book charts the history of the concept of nihilism in some of the most important philosophers and literary theorists of the modern and postmodern periods, including Heidegger, Adorno, Blanchot, Derrida, and Vattimo. Weller offers the first in-depth analysis of nihilism''s key role in the thinking of the aesthetic since Nietzsche.

Treasury of over 150 familiar poems by English and American poets, including a selection of Shakespeare's sonnets, John Donne's "The Ecstasy," William Blake's "The Garden of Love," as well as works by W. B. Yeats, Emily Dickinson, Walt Whitman, Elizabeth Barrett Browning, John Keats, John Milton, Robert Frost, and many more.

Over 100 works by Max Beckmann, Heinrich Campendonk, Erich Heckel, Franz M. Jansen, Ernst Ludwig Kirchner, César Klein, Käthe Kollwitz, Georg Mathéy, Edvard Munch, Wilhelm Rudolph, Arthur Segal, Jakob Steinhardt, Georg Tappert, Ines Wetzel, and others. Distorted, stylized forms embody revolutionary mood of the early 20th century. Introduction. Captions. Notes on artists.

Drawing on evidence from his published works, manuscripts, and correspondence, Samuel Beckett and Cultural Nationalism explores Beckett's engagement with the theme of cultural nationalism throughout his writing life, revealing the various ways in which he sought to challenge culturally nationalist conceptions of art and literature, while never embracing a cosmopolitan approach. The Element shows how, in his pre-Second World War writings, Beckett sought openly to mock Irish nationalist ideas of culture and language, but that, in so doing, he failed to avoid what he himself described as a 'clot of prejudices'. In his post-war works in French and English, however, following time spent in Nazi Germany in 1936-7 as well as in the French Resistance during the Second World War, Beckett began to take a new approach to ideas of national-cultural affiliation, at the heart of which was a conception of the human as a citizen of nowhere.

Drawing on evidence from his published works, manuscripts, and correspondence, Samuel Beckett and Cultural Nationalism explores Beckett''s engagement with the theme of cultural nationalism throughout his writing life, revealing the various ways in which he sought to challenge culturally nationalist conceptions of art and literature, while never embracing a cosmopolitan approach. The Element shows how, in his pre-Second World War writings, Beckett sought openly to mock Irish nationalist ideas of culture and language, but that, in so doing, he failed to avoid what he himself described as a ''clot of prejudices''. In his post-war works in French and English, however, following time spent in Nazi Germany in 1936-7 as well as in the French Resistance during the Second World War, Beckett began to take a new approach to ideas of national-cultural affiliation, at the heart of which was a conception of the human as a citizen of nowhere.

Drawing on evidence from his published works, manuscripts, and correspondence, Samuel Beckett and Cultural Nationalism explores Beckett''s engagement with the theme of cultural nationalism throughout his writing life, revealing the various ways in which he sought to challenge culturally nationalist conceptions of art and literature, while never embracing a cosmopolitan approach. The Element shows how, in his pre-Second World War writings, Beckett sought openly to mock Irish nationalist ideas of culture and language, but that, in so doing, he failed to avoid what he himself described as a ''clot of prejudices''. In his post-war works in French and English, however, following time spent in Nazi Germany in 1936-7 as well as in the French Resistance during the Second World War, Beckett began to take a new approach to ideas of national-cultural affiliation, at the heart of which was a conception of the human as a citizen of nowhere.

Since the mid-1950s, when the works of Samuel Beckett began to attract sustained critical attention, commentators have tended either to dismiss his oeuvre as nihilist or defend it as anti-nihilist. On the one side are figures such as Georg Lukacs; on the other, some of the most influential philosophers and literary theorists of the post-war era, from Theodor Adorno to Alain Badiou. Taking as his point of departure Nietzsche's description of nihilism as the 'uncanniest of all guests', Weller calls this critical tradition into question, arguing that the relationship between Beckett's texts and nihilism is one that will always be missed by those who are simply for or against Beckett.

Since the mid-1950s, when the works of Samuel Beckett began to attract sustained critical attention, commentators have tended either to dismiss his oeuvre as nihilist or defend it as anti-nihilist. On the one side are figures such as Georg Lukacs; on the other, some of the most influential philosophers and literary theorists of the post-war era, from Theodor Adorno to Alain Badiou. Taking as his point of departure Nietzsche's description of nihilism as the 'uncanniest of all guests', Weller calls this critical tradition into question, arguing that the relationship between Beckett's texts and nihilism is one that will always be missed by those who are simply for or against Beckett.

This book charts the history of a distinct strain of European literary modernism that emerged out of a radical re-engagement with late nineteenth-century language scepticism. Focusing first on the literary and philosophical strands of this language-sceptical tradition, the book proceeds to trace the various forms of linguistic negativism deployed by European writers in the interwar and post-war years, including Franz Kafka, Georges Bataille, Samuel Beckett, Maurice Blanchot, Paul Celan, and W. G. Sebald. Through close analyses of these and other writers' attempts to capture an 'unspeakable' experience, Language and Negativity in European Modernism explores the remarkable literary attempt to deploy the negative potentialities of language in order to articulate an experience of what, shortly after the Second World War, Beckett described as a vision of 'humanity in ruins'.

There is an increasingly widespread sense that Europe is in crisis. Notions of a shared European identity and a common European culture appear to be losing their purchase. This crisis is often seen as a conflict between a cosmopolitan and a nationalist idea of Europe. The reality is, however, considerably more complex, as the long history of the idea of Europe reveals. In The Idea of Europe: A Critical History, Shane Weller explores that history from its origins in classical antiquity to the present day. Drawing on a wide range of sources, he demonstrates that, all too often, seemingly progressive ideas of Europe have been shaped by Eurocentric, culturally supremacist, and even racist assumptions. Seeking to break with this troubling pattern, Weller calls for an idea of Europe shaped by a spirit of self-critique and by an openness to those cultures that have for so long been dismissed as non-European.

This book charts the history of a distinct strain of European literary modernism that emerged out of a radical re-engagement with late nineteenth-century language scepticism. Focusing first on the literary and philosophical strands of this language-sceptical tradition, the book proceeds to trace the various forms of linguistic negativism deployed by European writers in the interwar and post-war years, including Franz Kafka, Georges Bataille, Samuel Beckett, Maurice Blanchot, Paul Celan, and W. G. Sebald. Through close analyses of these and other writers'' attempts to capture an ''unspeakable'' experience, Language and Negativity in European Modernism explores the remarkable literary attempt to deploy the negative potentialities of language in order to articulate an experience of what, shortly after the Second World War, Beckett described as a vision of ''humanity in ruins''.

This book charts the history of a distinct strain of European literary modernism that emerged out of a radical re-engagement with late nineteenth-century language scepticism. Focusing first on the literary and philosophical strands of this language-sceptical tradition, the book proceeds to trace the various forms of linguistic negativism deployed by European writers in the interwar and post-war years, including Franz Kafka, Georges Bataille, Samuel Beckett, Maurice Blanchot, Paul Celan, and W. G. Sebald. Through close analyses of these and other writers'' attempts to capture an ''unspeakable'' experience, Language and Negativity in European Modernism explores the remarkable literary attempt to deploy the negative potentialities of language in order to articulate an experience of what, shortly after the Second World War, Beckett described as a vision of ''humanity in ruins''.

There is an increasingly widespread sense that Europe is in crisis. Notions of a shared European identity and a common European culture appear to be losing their purchase. This crisis is often seen as a conflict between a cosmopolitan and a nationalist idea of Europe. The reality is, however, considerably more complex, as the long history of the idea of Europe reveals. In The Idea of Europe: A Critical History, Shane Weller explores that history from its origins in classical antiquity to the present day. Drawing on a wide range of sources, he demonstrates that, all too often, seemingly progressive ideas of Europe have been shaped by Eurocentric, culturally supremacist, and even racist assumptions. Seeking to break with this troubling pattern, Weller calls for an idea of Europe shaped by a spirit of self-critique and by an openness to those cultures that have for so long been dismissed as non-European.

There is an increasingly widespread sense that Europe is in crisis. Notions of a shared European identity and a common European culture appear to be losing their purchase. This crisis is often seen as a conflict between a cosmopolitan and a nationalist idea of Europe. The reality is, however, considerably more complex, as the long history of the idea of Europe reveals. In The Idea of Europe: A Critical History, Shane Weller explores that history from its origins in classical antiquity to the present day. Drawing on a wide range of sources, he demonstrates that, all too often, seemingly progressive ideas of Europe have been shaped by Eurocentric, culturally supremacist, and even racist assumptions. Seeking to break with this troubling pattern, Weller calls for an idea of Europe shaped by a spirit of self-critique and by an openness to those cultures that have for so long been dismissed as non-European.

This book charts the history of the concept of nihilism in some of the most important philosophers and literary theorists of the modern and postmodern periods, including Heidegger, Adorno, Blanchot, Derrida, and Vattimo. Weller offers the first in-depth analysis of nihilism's key role in the thinking of the aesthetic since Nietzsche.