Rethinking Theory – serie

This fascinating study explores the intersection of postcolonial theory and medievalism. While the latter has traditionally been defined primarily in terms of European nationalism, the essays in this volume discuss medievalism in regions as wide-ranging as the United States, India, Latin America, and Africa. This innovative approach demonstrates the ways alternative conceptions of medieval and modern history can provide new insights into the idea of the Middle Ages and the origins and legacy of colonialism. Through diverse and thought-provoking essays, the contributors demonstrate that writing the Middle Ages has been key in colonial and postcolonial struggles over racial, ethnic, and territorial identity. They also argue that colonial medievalisms are crucial to understanding the history of entrenched temporal and political partitions, such as medieval/modern and East/West. The essays are divided into four sections that address a set of related questions raised by the literary and political intersections of medievalism and colonialism.Each section is followed by a response-two are by postcolonial theorists and two by medievalists-that carefully considers the essay's arguments and comments on its implications for the respondent's field of study. This volume is the first to bring medievalists and postcolonial scholars into conversation about the shared histories of their fields and the potential for mutual endeavor. Medievalisms in the Postcolonial World will both redirect scholarship in medievalism and inform approaches to temporality in postcolonial studies.

Paul A. Kottman offers a new and compelling understanding of tragedy as seen in four of Shakespeare's mature plays- As You Like It, Hamlet, King Lear, and The Tempest. The author pushes beyond traditional ways of thinking about tragedy, framing his readings with simple questions that have been missing from scholarship of the past generation: Are we still moved by Shakespeare, and why? Kottman throws into question the inheritability of human relationships by showing how the bonds upon which we depend for meaning and worth can be dissolved. According to Kottman, the lives of Shakespeare's protagonists are conditioned by social bonds-kinship ties, civic relations, economic dependencies, political allegiances-that unravel irreparably. This breakdown means they can neither inherit nor bequeath a livable or desirable form of sociality.Orlando and Rosalind inherit nothing "but growth itself" before becoming refugees in the Forest of Arden; Hamlet is disinherited not only by Claudius's election but by the sheer vacuity of the activities that remain open to him; Lear's disinheritance of Cordelia bequeaths a series of events that finally leave the social sphere itself forsaken of heirs and forbearers alike. Firmly rooted in the philosophical tradition of reading Shakespeare, this bold work is the first sustained interpretation of Shakespearean tragedy since Stanley Cavell's work on skepticism and A. C. Bradley's century-old Shakespearean Tragedy.

In The Aesthetics of the Total Artwork, artists, curators, and scholars from many countries and fields offer new ways of understanding the history and contemporary importance of the idea of the total artwork, or Gesamtkunstwerk. The term " Gesamtkunstwerk" was introduced in the romantic period. It describes the desire for and practice of combining various art forms into a whole, such as performances that combine text, visual arts, music, dance, and architecture. Richard Wagner was one of the early theorists of the concept, inspiring many modernist artists; yet, due to his ideological significance for the Third Reich, the concept has frequently been associated with totalitarianism since the Second World War. Nonetheless, artistic practice has continued to incorporate all-inclusive tendencies, even while avoiding the term "total artwork." The contributors to this volume challenge us to think again about the total artwork, daring to suggest that it is alive and well, that it informs current art in ways that are deep, meaningful, contentious, and provocative. The essays come from authors steeped in literary culture, the world of art, philosophy, and music theory.Such diverse perspectives can only stimulate debate in the academy and beyond about the history of the Gesamtkunstwerk and open up paths that may be followed in its future.

The fascinating history of Isabeau of Bavaria is a tale of two queens. During her lifetime, Isabeau, the long-suffering wife of mad King Charles VI of France, was respected and revered. After her death, she was reviled as an incompetent regent, depraved adulteress, and betrayer of the throne. Asserting that there is no historical support for this posthumous reputation, Tracy Adams returns Isabeau to her rightful place in history. Adulteress and traitor-two charges long leveled against the queen-are the first subjects of Adam's reinterpretation of medieval French history. Scholars have concluded that the myths of Isabeau's scandalous past are just that: rumors that evolved after her death in the context of a political power struggle. Unfortunately, this has not prevented the lies from finding their way into respected studies on the period. Adams's own work serves as a corrective, rehabilitating the reputation of the good queen and exploring the larger topic of memory and the creation of myth. Adams next challenges the general perception that the queen lacked political acumen.With her husband incapacitated by insanity, Isabeau was forced to rule a country ripped apart by feuding, power-hungry factions. Adams argues that Isabeau handled her role astutely in such a contentious environment, preserving the monarchy from the incursions of the king's powerful male relatives. Taking issue with history's harsh treatment of a woman who ruled under difficult circumstances, Adams convincingly recasts Isabeau as a respected and competent queen.

This book is about the ambition, in a set of paradigmatic writers of the twentieth century, to simultaneously enlist and break the spell of the real-their fascination with the spectacle of violence and suffering-and the difficulties involved in capturing this kind of excess by aesthetic means. The works at the center of this study-by Franz Kafka, Georges Bataille, Claude Simon, Peter Weiss, and Heiner Muller-zero in on scenes of agony, destruction, and death with an astonishing degree of precision and detail. The strange and troubling nature of the appeal engendered by these sights is the subject of The Pathos of the Real. Robert Buch shows that the spectacles of suffering conjured up in these texts are deeply ambivalent, available neither to cathartic relief nor to the sentiment of compassion. What prevails instead is a peculiar coincidence of opposites: exaltation and resignation; disfiguration and transfiguration; agitation and paralysis. Featuring the experiences of violent excess in strongly visual and often in expressly pictorial terms, the works expose the nexus between violence and the image in twentieth-century aesthetics.Buch explores this tension between visual and verbal representation by drawing on the rhetorical notion of pathos as both insurmountable suffering and codified affect and the psychoanalytic notion of the real, that is, the disruption of the symbolic order. In dialogue with a diverse group of thinkers, from Erich Auerbach and Aby Warburg to Alain Badiou and Jacques Lacan, The Pathos of the Real advances an innovative new framework for rethinking the aesthetics of violence in the twentieth century.

Critics predominantly view Herman Melville's Billy Budd, Sailor as a "testament of acceptance," the work of a man who had become politically conservative in his last years. William V. Spanos disagrees, arguing that the novella was not only a politically radical critique of American exceptionalism but also an eerie preview of the state of exception employed, most recently, by the George W. Bush administration in the post-9/11 War on Terror. While Billy Budd, Sailor is ostensibly about the Napoleonic Wars, Spanos contends that it is at heart a cautionary tale addressed to the American public as the country prepared to extend its westward expansion into the Pacific Ocean by way of establishing a global imperial navy. Through a close, symptomatic reading of Melville's text, Spanos rescues from critical oblivion the pervasive, dense, and decisive details that disclose the consequences of normalizing the state of exception-namely, the transformation of the criminal into the policeman (Claggart) and of the political human being into the disposable reserve that can be killed with impunity (Billy Budd).What this shows, Spanos demonstrates, is that Melville's uncanny attunement to the dark side of the American exceptionalism myth enabled him to foresee its threat to the very core of democracy in the twentieth and twenty-first centuries. This view, Spanos believes, anticipates the state of exception theory that has emerged in the recent work of Giorgio Agamben, Alain Badiou, Judith Butler, and Jacques Ranciere, among other critical theorists. The Exceptionalist State and the State of Exception illustrates that Melville, in his own time, was aware of the negative consequences of the deeply inscribed exceptionalist American identity and recognized the essential domestic and foreign policy issues that inform the country's national security program today.

How are our memories, our narratives, and our intelligence interrelated? What can artificial intelligence and narratology say to each other? In this pathbreaking study by an expert on learning and computers, Roger C. Schank argues that artificial intelligence must be based on real human intelligence, which consists largely of applying old situations, and our narratives of them, to new situations in less than obvious ways.

How did psychoanalysis become so accepted by the public? This provocative book reconstructs the system of ideas upon which the theory and practice of psychoanalysis rests, describing a modern culture that has created a psychic or a spiritual void that psychoanalysis seems custom-made to fill. Gellner approaches the question as a sociologist and attains a broad perspective on the ideas of the psychoanalytic movement as a system of cultural beliefs.

Mikhail Bakhtin's critical and theoretical experiments have inspired original work in the humanities and social sciences but little in the realm of classical studies, the discipline in which Bakhtin himself was trained. This volume focuses on the relationship between Bakhtin and the study of classical antiquity and demonstrates the fundamental importance of classical literature in his work. Clarifying and elaborating this connection, these essays aim to expand our understanding of both Bakhtin's thought and the literary and cultural history of antiquity. The contributors put Bakhtin into dialogue with the classics - and classicists into dialogue with Bakhtin. Each essay offers a critical account of an important aspect of Bakhtin's thought and then examines the value of this approach in the context of a significant area of literary or cultural history. Beginning with an overview of Bakhtin's notion of carnival laughter, perhaps his central critical concept, the volume explores Bakhtin's thought and writing in relation to Homer's epic verse and Catullus's lyric poetry; ancient Roman novels; and Greek philosophy from Aristotle's theory of narrative to the work of Antiphon the Sophist. Considering important questions and arguing on a level of abstraction in keeping with Bakhtin's own vision, the authors at the same time are scrupulous in illuminating specific texts and showing how attention to the ancient novel, comedy, lyric, epic, philosophy, literary criticism and other genres can extend or deepen Bakhtin's insights.

In recent years, articles in major periodicals from the New York Times Magazine to the Times Literary Supplement have heralded the arrival of a new school of literary studies that promises-or threatens-to profoundly shift the current paradigm. This revolutionary approach, known as Darwinian literary studies, is based on a few simple premises: evolution has produced a universal landscape of the human mind that can be scientifically mapped; these universal tendencies are reflected in the composition, reception, and interpretation of literary works; and an understanding of the evolutionary foundations of human behavior, psychology, and culture will enable literary scholars to gain powerful new perspectives on the elements, form, and nature of storytelling. The goal of this book is to overcome some of the widespread misunderstandings about the meaning of a Darwinian approach to the human mind generally, and literature specifically. The volume brings together scholars from the forefront of the new field of evolutionary literary analysis-both literary analysts who have made evolution their explanatory framework and evolutionist scientists who have taken a serious interest in literature-to show how the human propensity for literature and art can be properly framed as a true evolutionary problem. Their work is an important step toward the long-prophesied synthesis of the humanities and what Steven Pinker calls ""the new sciences of human nature.

When Achilles dons his armor, gods and readers alike know the outcome, as does the hero himself. But when the commoner becomes the hero, when, as Dr. Johnson remarked in 1750, the heroes of modern fiction are ""leveled with the rest of the world"" - now that's a different story. In this ambitious work, Stewart Justman ranges across Western literature from the Iliad and the Odyssey through Cervantes and Shakespeare to Dickens, Tolstoy, and Dostoevsky to show how such a leveling not only changed the appearance of literature, but made possible new ways of constructing a tale. Only when influenced by the principle of equality does a narrative deliberately deny readers knowledge beyond those they are reading about - privileged knowledge. This book argues that such a turn, in the hands of masters of the novel, changed narrative itself into an exploration of the limits of knowledge; that the portrayal of persons unknown to history transformed the novel into an investigation of the unknown. If the novel is the literary form of limited knowledge, the fullest expression of that form is found in the great fictional experiments of the nineteenth century, the age when the social question - the question of human equality - broke upon the world. Justman looks into some of those experiments for their own sake, but also for the light they cast on the nature and history of the novel. Focusing on ""Great Expectations"", ""War and Peace"", ""The Death of Ivan Ilych"", and ""The Brothers Karamazov"", Justman explores what happens when we, as readers, are denied knowledge not only for the sake of suspense, but because ignorance belongs to what we have in common, the human condition.

Is it legitimate to conceive of and write a history of medieval French literature when the term "literature" as we know it today did not appear until the very end of the Middle Ages? In this novel introduction to French literature of the period, Jacqueline Cerquiglini-Toulet says yes, arguing that a profound literary consciousness did exist at the time. Cerquiglini-Toulet challenges the standard ways of reading and evaluating literature, considering medieval literature not as separate from that in other eras but as part of the broader tradition of world literature. Her vast and learned readings of both canonical and lesser-known works pose crucial questions about, among other things, the notion of otherness, the meaning of change and stability, and the relationship of medieval literature with theology. Part history of literature, part theoretical criticism, this book reshapes the language and content of medieval works.By weaving together topics such as the origin of epic and lyric poetry, Latin-French bilingualism, women's writing, grammar, authorship, and more, Cerquiglini-Toulet does nothing less than redefine both philosophical and literary approaches to medieval French literature. Her book is a history of the literary act, a history of words, a history of ideas and works-monuments rather than documents-that calls into question modern concepts of literature.

Few events in European history generated more historical, artistic, and literary responses than the conquest of Jerusalem by the armies of the First Crusade in 1099. This epic military and religious expedition, and the many that followed it, became part of the collective memory of communities in Europe, Byzantium, North Africa, and the Near East. "Remembering the Crusades" examines the ways in which those memories were negotiated, transmitted, and transformed from the Middle Ages through the modern period. Bringing together leading scholars in art history, literature, and medieval European and Near Eastern history, this volume addresses a number of important questions. How did medieval communities respond to the intellectual, cultural, and existential challenges posed by the unique fusion of piety and violence of the First Crusade? How did the crusades alter the form and meaning of monuments and landscapes throughout Europe and the Near East? What role did the crusades play in shaping the collective identity of cities, institutions, and religious sects?In exploring these and other questions, the contributors analyze how the events of the First Crusade resonated in a wide range of cultural artifacts, including literary texts, art and architecture, and liturgical ceremonies. They discuss how Christians, Jews, and Muslims recalled and interpreted the events of the crusades and what far-reaching implications that remembering had on their communities throughout the centuries. "Remembering the Crusades" is the first collection of essays to investigate the commemoration of the crusades in eastern and western cultures. Its unprecedented multidisciplinary and cross-cultural approach points the way to a complete reevaluation of the place of the crusades in medieval and modern societies.

In this volume Guillemette Bolens examines the ways in which artists, authors, and readers draw on skills, sensorimotor capacities, and embodied knowledge when creating and experiencing artistic and literary works. In so doing, Bolens offers a new literary perspective on gesture studies and the role of embodied cognition in narrative. At the cutting edge of interdisciplinary inquiries into gesture, style, narratology, cognition, and literature, this work brings together academic expertise in literary studies with a consideration of neuroscientific and cognitive findings. Bolens studies the relevance of kinesic intelligence - our ability to understand the meaning of body movements, postures, gestures, and facial expressions - to the interpretation of literature. Through her discussions of works by John Milton, Jane Austen, Marcel Proust, James Joyce, and major medieval authors, Bolens shows how our experience of creative works draws on forms of cognition that are grounded in our corporeality. This book represents a crucial contribution from a literary scholar to the exciting new field of embodied cognition.With a foreword by well-known neuroscientist Alain Berthoz, "The Style of Gestures" convincingly makes the case that embodied cognition is essential to the reception, understanding, and enjoyment of art and literature.

Gilles Deleuze is considered one of the most important French philosophers of the twentieth century. Eleanor Kaufman situates Deleuze in relation to others of his generation, such as Jean-Paul Sartre, Pierre Klossowski, Maurice Blanchot, and Claude Levi-Strauss, and she engages the provocative readings of Deleuze by Alain Badiou and Slavoj Zizek. Deleuze, The Dark Precursor is organized around three themes that critically overlap: dialectic, structure, and being. Kaufman argues that Deleuze's work is deeply concerned with these concepts, even when he advocates for the seemingly opposite notions of univocity, nonsense, and becoming. By drawing on scholastic thought and reading somewhat against the grain, Kaufman suggests that these often-maligned themes allow for a nuanced, even positive reflection on apparently negative states of being, such as extreme inertia. This attention to the negative or minor category has implications that extend beyond philosophy and into feminist theory, film, American studies, anthropology, and architecture.

The migration of American artists and intellectuals to Europe in the early twentieth century has been amply documented and studied, but few scholars have examined the aftermath of their return home. "Writing Back" focuses on the memoirs of modernist writers and intellectuals who struggled with their return to America after years of living abroad. Susan Winnett establishes repatriation as related to but significantly different from travel and exile. She engages in close readings of several writers-in-exile, including Henry James, Harold Stearns, Malcolm Cowley, and Gertrude Stein. "Writing Back" examines how repatriation unsettles the self-construction of the "returning absentee" by challenging the fictions of national and cultural identity with which the writer has experimented during the time abroad. As both Americans and expatriates, these writers gained a unique perspective on American culture, particularly in terms of gender roles, national identity, artistic self-conception, mobility, and global culture.