Crosscurrents – serie

Bill Ross demonstrates the relation between Gilles Deleuze's philosophy of difference and the conceptual foundations of contemporary physics through careful engagements with the theory of relativity, quantum physics and chaos and complexity theory. Ross shows that recent work in cosmology by figures such as Lee Smolin and David Bohm calls into question the assumption that the laws of physics are universal and unchanging, a view that Deleuze anticipates. The second law of thermodynamics tells us that order in the universe as a whole is destined to break down. Against this, Ross demonstrates that, given Deleuze's conception of the event as an expression of non-locality, and his emphasis on dissymmetry over symmetry, at the cosmological scale the universe is not destined towards disorder: evolution outruns entropy.

Writing and America surveys the writing genres that have contributed to the American notions of America . Essays from scholars from both side of the Atlantic chart the range of responses to American nationhood from colonial times to the present and include dissenting responses from communities such as native American, black and feminist writers. Case studies from writers such as James Fenimore Cooper and William Carlos Williams provide a framework for discussions on topics such as colonial notions of America as the promised land, the discourses of nationhood in the republic, the sense of nationhood in American historiography, and the formation of the American Canon. Draws upon extracts from the American Bills of Rights and the Constitution as examples of different types of writing.

This volume reflects one of the new areas of English Studies as it broadens to take in non-western literatures, and places more emphasis on the contexts and broader notions of `writing'. In discussing writing from and about Africa, this collection touches on studies in black writing, colonialism and imperialism and cultural development in the third world. It begins by providing a historical introduction to the main regional traditions, and then builds on this to discuss major issues, such as oral tradition, the significance of `literature' as a western import, representations of Africa in western writing, African writing against colonialism and its themes and politics in a post-colonial world, popular writing and the representation of women.

Writing and the English Renaissance is a collection of essays exploring the full creative richness of Renaissance culture during the sixteenth and seventeenth centuries. As well as considering major literary figures such as Spenser, Marlowe, Donne and Milton, lesser known - especially women - writers are also examined. Radical writing and popular culture are considered as well. The scope of the study not only extends the parameters for debate in Renaissance studies, but also adopts a radical interdisciplinary approach, bridging the gap between literary, historical, cultural and women's studies, leading to a much fuller picture of life in the sixteenth and seventeenth centuries.The authors discussed are placed in their full historical and literary context, with an extensive selection of original documentation included in the text - for example, from The Book of Common Prayer or the Homilies to contextualize the writing under discussion. This distinctive approach, combined with a detailed chronology of the period and bibliography, embracing both canonical and non-canonical writers, makes this volume a unique reference resource and course reader for Renaissance studies.

Writing and Race brings together specially commissioned essays by new and established authors from a range of disciplines. Texts are drawn from subjects and genres that include philosophy, politics, anthropology, sexuality, travel, fiction and autobiography. Through a time-span from Ancient Greece to the present day, and a geographical coverage from Australia and Europe to the Caribbean and the United States, the collection investigates the importance of place, moment, cultural formation and subject identity in racial representation. A substantial introduction establishes the connections between the essays and lucidly summarizes recent thinking on race, explaining in particular the relevance of debates about ethnography.Accessible and stimulating, Writing and Race is a multidisciplinary collection that will be of interest to students, researchers, and lecturers who study or are interested in race. The essays represent a variety of critical approaches, thus allowing the reader to compare and contrast the benefits of each approach. Extracts of some of the texts that are discussed are included along with an extensive bibliography to encourage further study.

Writing and Victorianism asks the fundamental question 'what is Victorianism?' and offers a number of answers taken from methods and approaches which have been developed over the last ten years. This collection of essays, written by both new and established scholars from Britain and the U.S.A, develops many of the themes of nineteenth-century studies which have lately come to the fore, touching upon issues such as drugs, class, power and gender. Some essays reflect the interaction of word and image in the nineteenth-century, and the notion of the city as spectacle; others look at Victorian science finding a connection between writing and the growth of psychology and psychiatry on the one hand and with the power of scientific materialism on the other.As well as key figures such as Dickens, Tennyson and Wilde, a host of new names are introduced including working-class writers attempting to define themselves and writers in the Periodical press who, once anonymous, exercised a great influence over Victorian politics, taste, and social ideals. From these observations there emerges a need for self-definition in Victorian writing. History, ancestry, and the past all play their part in figuring the present in the nineteenth-century, and many of these studies foreground the problem of literary, social, and psychological identity.

Writing and Fantasy brings together essays which restore a sense of the fantastic as a political response to cultural opportunities and pressures. It moves on from two conventional fields of discussion: the psychoanalytic, where phantasies are produced by the emergence of the consciousness, and the social, where fantasies are the production of nineteenth-century individualism. Chapters run from the classical period to the twentieth century, each focusing on a local reading of how fantasy acts as a strategy to contain or exploit specific historical and cultural moments. A wide variety of sites are investigated including the feminization of the wild west, originary and maternal spaces, highwaywomen, financial credit, and the ideal home. Multiple genres containing fantasy are explored, ranging from ghost stories to feminist utopias.Aids to the reader include an introduction summarising recent discussions of fantasy, illustrations dealing with visual fantasies, and an annotated bibliography. The new research presented here will be of great interest to academics and students in literature, history and cultural studies departments who are working in the field of the historical development of concepts of fantasy, cultural opposition, and the imbrication of politics and modes of representation.

This collection of essays examines the ways in which writing and cinema can be studied in relation to each other. A wide range of material is presented, from essays which look at particular films, including The Piano and The English Patient, to discussions of the latest developments in film studies including psychoanalytic film theory and the cultural study of film audiences. Specific topics that the essays address also include: the kinds of writing produced for the cinema industry, advertising, film adaptations of written texts and theatre plays from nineteenth century 'classic' novels to recent cyberpunk science fiction such as Blade Runner and Starship Troopers. The essays deal with existing areas of debate, like questions of authorship and audience, and also break new ground, for example in proposing approaches to the study of writing on the cinema screen. The book includes a select bibliography, and a documents section gives details of a range of films for further study.

Marcel Mauss' 'Essai sur le don' (1923–4) has become one of the central non-philosophical references of contemporary French philosophy. Deleuze (and Guattari) and Derrida, to cite only two, engage with the concept of the gift explicitly and repeatedly. Gerald Moore shows how the problematic of the gift drives and illuminates the last century of French philosophy. By tracing the creation of the gift as a concept, from its origins in philosophy and the social sciences, right up to the present, Moore shows its central importance for a poststructuralist understanding of the relation between philosophy and politics.

Stephen Zepke tracks the sublime art movement from its beginnings in Kant to its flowering in the late 20th and early 21st centuries. He shows that the idea of sublime art waxes and wanes in the work of Jean-François Lyotard, Gilles Deleuze and Felix Guattari, Jacques Derrida, Jacques Rancière and the recent Speculative Realism movement. With it, a visionary politics of art seeks to give it the most creative power possible: the power to overcome our conditions and embrace the unknown.

Drawing primarily on the work of Alain Badiou and Jean-Luc Nancy, plus Quentin Meillassoux and Slavoj Žižek, Watkin explores the theme of atheism through the ideas of the death of God and nihilism, and probes the limits of any 'atheistic politics'. He argues that rigorous atheism is elusive, and that Continental thought, even in its most stridently atheistic guises, has yet fully come to terms with the death of God.

What if we’ve been wrong when reading Agamben? Mathew Abbott argues that Agamben’s thought is misunderstood when read in terms of critical theory or traditional political philosophy. Instead, he shows that it engages with political ontology: studying the political stakes of the question of being. Abbot demonstrates the crucial influence of Martin Heidegger on Agamben’s work, locating it in the post-Heideggerian tradition of the critique of metaphysics. As he clarifies it, Abbott links Agamben’s philosophy with Wittgenstein’s picture theory and Heidegger’s concept of the world-picture, showing the importance of this for understanding – and potentially overcoming – the forms of alienation characteristic of the society of the spectacle.

Starting from Nietzsche, Freud and Foucault's criticisms of a simple, given self, Katrina Mitcheson addresses the problem of how a complex self is constructed, and how a hermeneutics of the self can avoid reproducing a subjugated self. Critically examining Ricoeur’s narrative account of self-construction, Mitcheson makes the case that the narrative model overlooks the variety of processes that can contribute to forming a self and neglects the materiality of these processes. She develops an alternative account of a plural and corporeal hermeneutics of the self: exploring how visual art can operate as a critical technology of the self. Art not only exposes practices that contribute to our subjugation, but can also discover, explore and affect bodily processes, enabling experimentation in self-construction.

Writing and the English Renaissance is a collection of essays exploring the full creative richness of Renaissance culture during the sixteenth and seventeenth centuries. As well as considering major literary figures such as Spenser, Marlowe, Donne and Milton, lesser known - especially women - writers are also examined. Radical writing and popular culture are considered as well. The scope of the study not only extends the parameters for debate in Renaissance studies, but also adopts a radical interdisciplinary approach, bridging the gap between literary, historical, cultural and women's studies, leading to a much fuller picture of life in the sixteenth and seventeenth centuries.The authors discussed are placed in their full historical and literary context, with an extensive selection of original documentation included in the text - for example, from The Book of Common Prayer or the Homilies to contextualize the writing under discussion. This distinctive approach, combined with a detailed chronology of the period and bibliography, embracing both canonical and non-canonical writers, makes this volume a unique reference resource and course reader for Renaissance studies.

Writing and America surveys the writing genres that have contributed to the American notions of America . Essays from scholars from both side of the Atlantic chart the range of responses to American nationhood from colonial times to the present and include dissenting responses from communities such as native American, black and feminist writers. Case studies from writers such as James Fenimore Cooper and William Carlos Williams provide a framework for discussions on topics such as colonial notions of America as the promised land, the discourses of nationhood in the republic, the sense of nationhood in American historiography, and the formation of the American Canon. Draws upon extracts from the American Bills of Rights and the Constitution as examples of different types of writing.

This collection of essays examines the ways in which writing and cinema can be studied in relation to each other. A wide range of material is presented, from essays which look at particular films, including The Piano and The English Patient, to discussions of the latest developments in film studies including psychoanalytic film theory and the cultural study of film audiences. Specific topics that the essays address also include: the kinds of writing produced for the cinema industry, advertising, film adaptations of written texts and theatre plays from nineteenth century 'classic' novels to recent cyberpunk science fiction such as Blade Runner and Starship Troopers. The essays deal with existing areas of debate, like questions of authorship and audience, and also break new ground, for example in proposing approaches to the study of writing on the cinema screen. The book includes a select bibliography, and a documents section gives details of a range of films for further study.

Writing and Fantasy brings together essays which restore a sense of the fantastic as a political response to cultural opportunities and pressures. It moves on from two conventional fields of discussion: the psychoanalytic, where phantasies are produced by the emergence of the consciousness, and the social, where fantasies are the production of nineteenth-century individualism. Chapters run from the classical period to the twentieth century, each focusing on a local reading of how fantasy acts as a strategy to contain or exploit specific historical and cultural moments. A wide variety of sites are investigated including the feminization of the wild west, originary and maternal spaces, highwaywomen, financial credit, and the ideal home. Multiple genres containing fantasy are explored, ranging from ghost stories to feminist utopias.Aids to the reader include an introduction summarising recent discussions of fantasy, illustrations dealing with visual fantasies, and an annotated bibliography. The new research presented here will be of great interest to academics and students in literature, history and cultural studies departments who are working in the field of the historical development of concepts of fantasy, cultural opposition, and the imbrication of politics and modes of representation.

Writing and Victorianism asks the fundamental question 'what is Victorianism?' and offers a number of answers taken from methods and approaches which have been developed over the last ten years. This collection of essays, written by both new and established scholars from Britain and the U.S.A, develops many of the themes of nineteenth-century studies which have lately come to the fore, touching upon issues such as drugs, class, power and gender. Some essays reflect the interaction of word and image in the nineteenth-century, and the notion of the city as spectacle; others look at Victorian science finding a connection between writing and the growth of psychology and psychiatry on the one hand and with the power of scientific materialism on the other.As well as key figures such as Dickens, Tennyson and Wilde, a host of new names are introduced including working-class writers attempting to define themselves and writers in the Periodical press who, once anonymous, exercised a great influence over Victorian politics, taste, and social ideals. From these observations there emerges a need for self-definition in Victorian writing. History, ancestry, and the past all play their part in figuring the present in the nineteenth-century, and many of these studies foreground the problem of literary, social, and psychological identity.

Writing and Race brings together specially commissioned essays by new and established authors from a range of disciplines. Texts are drawn from subjects and genres that include philosophy, politics, anthropology, sexuality, travel, fiction and autobiography. Through a time-span from Ancient Greece to the present day, and a geographical coverage from Australia and Europe to the Caribbean and the United States, the collection investigates the importance of place, moment, cultural formation and subject identity in racial representation. A substantial introduction establishes the connections between the essays and lucidly summarizes recent thinking on race, explaining in particular the relevance of debates about ethnography.Accessible and stimulating, Writing and Race is a multidisciplinary collection that will be of interest to students, researchers, and lecturers who study or are interested in race. The essays represent a variety of critical approaches, thus allowing the reader to compare and contrast the benefits of each approach. Extracts of some of the texts that are discussed are included along with an extensive bibliography to encourage further study.

This volume reflects one of the new areas of English Studies as it broadens to take in non-western literatures, and places more emphasis on the contexts and broader notions of `writing'. In discussing writing from and about Africa, this collection touches on studies in black writing, colonialism and imperialism and cultural development in the third world. It begins by providing a historical introduction to the main regional traditions, and then builds on this to discuss major issues, such as oral tradition, the significance of `literature' as a western import, representations of Africa in western writing, African writing against colonialism and its themes and politics in a post-colonial world, popular writing and the representation of women.

Demonstrates how visual art can work as a powerful technology of the selfAsks how we can know a decentred and partly unconscious self, and shows how particular artworks can help us to address this challengeIllustrates how both artists and audience members can use artworks as a means of cultivating or controlling specific aspects of the selfDraws on the work of artists including Francisco de Goya y Lucientes, Francis Bacon and Louise BourgeoisDemonstrates the specific contribution that visual art makes to projects of the self by discussing a variety of mediums and contemporary developments in artistic practiceStarting from criticisms of a simple, given self found in Nietzsche, Freud and Foucault, Katrina Mitcheson addresses the problem of how a complex self is constructed, and how a hermeneutics of the self can avoid reproducing a subjugated self.Critically examining Ricoeur's narrative account of self-construction, Mitcheson makes the case that the narrative model overlooks the variety of processes that can contribute to forming a self and neglects the materiality of these processes. She develops an alternative account of a plural and corporeal hermeneutics of the self: exploring how visual art can operate as a critical technology of the self. Art not only exposes practices that contribute to our subjugation, but can also discover, explore and affect bodily processes, enabling experimentation in self-construction.

The re-examination of Saint Paul's letters in contemporary European philosophy is one of the most important developments at the crossroads of philosophy and theology today. In discussion with a range of authors contributing to this movement, including Heidegger, Badiou, Agamben, and Taubes, Gert-Jan van der Heiden offers a new and systematic account of the philosophical potential of these letters. He does so by uncovering a dialectic of exception, which revolves around the Pauline notions of the outcast and the spirit. Against a general tendency to understand the significance of Paul in politico-theological terms alone, van der Heiden focuses on the ontological potential of Saint Paul's letters by elucidating what they imply for our thinking about (non-)beings, world, event, time, exception and spirit. Ultimately, he shows how this dialectic implies a new understanding of being and thinking and gives rise to a new art of living, both ethically and politically.

Bill Ross demonstrates the relation between Gilles Deleuze's philosophy of difference and the conceptual foundations of contemporary physics through careful engagements with the theory of relativity, quantum physics and chaos and complexity theory. Ross shows that recent work in cosmology by figures such as Lee Smolin and David Bohm calls into question the assumption that the laws of physics are universal and unchanging, a view that Deleuze anticipates. The second law of thermodynamics tells us that order in the universe as a whole is destined to break down. Against this, Ross demonstrates that given Deleuze's conception of the event as an expression of non-locality, and his emphasis on dissymmetry over symmetry, at the cosmological scale the universe is not destined towards disorder: evolution outruns entropy.

French Technological Thought and the Nonhuman Turn traces a genealogy of thinking and writing about technology, which takes us from the French avant-gardes to the contemporary 'nonhuman turn' in Anglo-American theory via the Surrealists, Gilbert Simondon, and Gilles Deleuze. Tracking the unruly transition from Catholic vocabularies of grace, potentiality, and actuality to the modern and contemporary secular lexicon of agency, virtuality, and affect, this book explores technology as a source of subject matter and conceptual metaphors, but also probes how ideas and words are modes of technicity through which we shape and reshape the world. Fusing literature, philosophy, and theology, it offers readers new contexts and questions for the egalitarian ontological commitments of contemporary post- and nonhuman thinking.

French Technological Thought and the Nonhuman Turn traces a genealogy of thinking and writing about technology, which takes us from the French avant-gardes to the contemporary ‘nonhuman turn’ in Anglo-American theory via the Surrealists, Gilbert Simondon and Gilles Deleuze. Tracking the unruly transition from Catholic vocabularies of grace, potentiality and actuality to the modern and contemporary secular lexicon of agency, virtuality and affect, this book explores technology as a source of subject matter and conceptual metaphors, but also probes how ideas and words are modes of technicity through which we shape and reshape the world. Fusing literature, philosophy and theology, it offers readers new contexts – and questions – for the egalitarian ontological commitments of contemporary post- and nonhuman thinking.

Our bodies and brains are radically transformable, mutable and plastic. From the neuroplasticity of the brain to the epigenetic malleability of our bodies and of all organic life, the work of the contemporary French philosopher Catherine Malabou invites us to consider our plasticity as both a creative resource and an ethical challenge. This book brings Malabou's philosophy into dialogue with contemporary literature and film. It reads conceptions of plasticity and neuroplasticity in Malabou through the mutant bodies of Leos Carax's films; the shape-shifting bodies of Marie Darrieussecq's novels and theatre; the terrifying, traumatic metamorphoses depicted in the fiction of Marie NDiaye; and the anarchic sexualities and identities celebrated in the cinema and writing of Alain Guiraudie. It argues that, in different ways, Malabou's philosophy and literary and filmic texts develop modes of bearing witness to plasticity which can supplement, challenge and extend scientific understandings of biological plasticity, constituting ethical and creative sites of exploration.

In dialogue with Derridean deconstruction, this book highlights Nancy's distinctive figurative philosophical style which emerges as a transformative force, one that radicalises differance and draws out its creative potential. Through this generative logic, Nancy reconfigures how we conceptualise Christianity not as an entity apart from philosophical reflection, but as intricately intertwined with it. Ashok Collins offers a bold new perspective on the 'turn to religion' within deconstruction, charting fresh pathways for debate and reflection far beyond its established boundaries.

In dialogue with Derridean deconstruction, this book highlights Nancy''s distinctive figurative philosophical style which emerges as a transformative force, one that radicalises différance and draws out its creative potential. Through this generative logic, Nancy reconfigures how we conceptualise Christianity—not as an entity apart from philosophical reflection, but as intricately intertwined with it. Ashok Collins offers a bold new perspective on the ''turn to religion'' within deconstruction, charting fresh pathways for debate and reflection far beyond its established boundaries.