Defining Modernism investigates the intellectual connections among three leading nineteenth-century European modernists – Baudelaire, Nietzsche, and Richard Wagner. Through a close reading of Baudelaire’s and Nietzsche’s essays on art and culture, Wagner’s role in the two writers’ attempts to define the radically new concept of «modernism» is elucidated. Gogröf-Voorhees explores the affinity between the two writers, which emerges from a juxtaposition of their formulations of the idea of a fractured, contradictory modernity that at once embraces, scatters, and reevaluates an entire constellation of ideas, including romanticism, pessimism, decadence, and nihilism.

Jorge Luis Borges is acknowledged as one of the great Spanish writers of the twentieth century. On the broader literary scene, he is recognized as a modern master. His fascination with philosophy – especially metaphysics – sets him apart from his contemporaries. Borges appreciated and formulated rigorous philosophical arguments, but also possessed the unique ability to present the most abstract ideas imaginatively in metaphors and symbols. Borges wandered among the great masters seeking a firm purchase that he could not find, and therefore expressed a nostalgia for metaphysics as he lost himself in his labyrinths. Borges and Philosophy traces Borges’ philosophical concerns in his tales, essays, and poems and argues that despite his apparent skepticism in philosophical matters, a careful reading of Borges’ texts reveals a coherent philosophical path that underlies his work.

Repetition, Difference, and Knowledge dialogues with novels, theatre, philosophy, and literary theory in order to explore how three thinkers – Samuel Beckett, Jacques Derrida, and Gilles Deleuze – employ repetition as a means with which to radically unsettle some of the most fundamental notions of the human experience (among them, time, presence, originality, and being). Due to its interdisciplinary scope and its focus on repetition as an epistemological concept, this book will attract a broad audience of academic specialists across the humanities from the fields of literary criticism, philosophy, French studies, and poststructural studies. Its simplicity of style, deliberate avoidance of complex jargon, and clarity of argument – particularly when dealing with complicated theoretical ideas and texts – also makes it an invaluable tool for use in both graduate- and undergraduate-level literature and philosophy courses. Repetition, Difference, and Knowledge provides experienced and beginning scholars alike with greater insight into the works of Beckett, Derrida, and Deleuze and into the role that repetition has played and continues to play in determining how we read our world and come to meaning.

Why do readers report being powerfully affected by great poetry? What happens to us when we read a poem? Literary criticism has struggled to answer these questions because it treats poems as material artifacts of one kind or another. But readers do not experience literary texts as lifeless and silent material artifacts. They hear voices in them and feel moved and altered by them. Plerosis/Kenosis offers a new way of reading poems by treating poems as dynamic – essentially as fields of energy – and by focusing on how poetry pushes language towards two contradictory goals: the desire to say more, to convey universal truths, and overwhelm the reader with intensity; and the desire to speak with perfect clarity and precision, to achieve the purity of mathematics or logic. The pursuit of both goals inevitably ends in failure, but poetry is most powerful and most affecting as it approaches these two extremes. Plerosis/Kenosis lays out a theory of poetic language and applies that theory to a wide range of beloved works by, among others, Shakespeare, Wordsworth, Coleridge, Keats, Poe, Whitman, Dickinson, Eliot, and Stevens. The theory establishes a framework that allows readers of poetry everywhere to articulate what a poem does to them when they read it, and the specific readings are original and illuminating. Moreover, the style throughout is lucid and accessible. Scholars, graduate students, and sophisticated undergraduates alike will find their understanding of poetry not only increased but indeed transformed.

American short-story writer Andre Dubus (1936–1999) was a “writer’s writer.” His acclaimed collections of short stories and essays involve one or all of three thematic discourses – that of the Catholic Church as center of meaning and value, the symbolic and healing power of rites and ritual on the human heart, and the ethical and spiritual dilemmas that drive human experience. “Like Chekhov’s” reports the Village Voice, “Dubus’s best stories contain the arc of a whole life in the language of specific moments.” Tobias Wolff summarized, “Andre Dubus is a master.” In 1986, however, Dubus lost the use of his legs when he attempted to help a stranded motorist on the highway. The spiritual, physical and emotional suffering which ensued kept him from writing for a time but eventually led to his authoring 17 stories before his death in 1999. Moving Toward Redemption is a critical six-chapter study of these stories as they are united as capstones to his previous work, as they participate in the Catholic cycle of sin, suffering and sacramentality, and as they individually address the various transformations of his life in the aftermath of the accident. Moving Toward Redemption is the only book on Dubus’s writing since Thomas Kennedy’s A Study of the Short Fiction (1988). It is designed for use in courses on short fiction, religion and literature, life writing, genre study, and disability studies. It suggests ways to negotiate the conflicts and tensions between Christian and secular approaches to disability studies.

Defining Modernism investigates the intellectual connections among three leading nineteenth-century European modernists – Baudelaire, Nietzsche, and Richard Wagner. Through a close reading of Baudelaire’s and Nietzsche’s essays on art and culture, Wagner’s role in the two writers’ attempts to define the radically new concept of «modernism» is elucidated. Gogröf-Voorhees explores the affinity between the two writers, which emerges from a juxtaposition of their formulations of the idea of a fractured, contradictory modernity that at once embraces, scatters, and reevaluates an entire constellation of ideas, including romanticism, pessimism, decadence, and nihilism.

Jorge Luis Borges is acknowledged as one of the great Spanish writers of the twentieth century. On the broader literary scene, he is recognized as a modern master. His fascination with philosophy – especially metaphysics – sets him apart from his contemporaries. Borges appreciated and formulated rigorous philosophical arguments, but also possessed the unique ability to present the most abstract ideas imaginatively in metaphors and symbols. Borges wandered among the great masters seeking a firm purchase that he could not find, and therefore expressed a nostalgia for metaphysics as he lost himself in his labyrinths. Borges and Philosophy traces Borges’ philosophical concerns in his tales, essays, and poems and argues that despite his apparent skepticism in philosophical matters, a careful reading of Borges’ texts reveals a coherent philosophical path that underlies his work.

Repetition, Difference, and Knowledge dialogues with novels, theatre, philosophy, and literary theory in order to explore how three thinkers – Samuel Beckett, Jacques Derrida, and Gilles Deleuze – employ repetition as a means with which to radically unsettle some of the most fundamental notions of the human experience (among them, time, presence, originality, and being). Due to its interdisciplinary scope and its focus on repetition as an epistemological concept, this book will attract a broad audience of academic specialists across the humanities from the fields of literary criticism, philosophy, French studies, and poststructural studies. Its simplicity of style, deliberate avoidance of complex jargon, and clarity of argument – particularly when dealing with complicated theoretical ideas and texts – also makes it an invaluable tool for use in both graduate- and undergraduate-level literature and philosophy courses. Repetition, Difference, and Knowledge provides experienced and beginning scholars alike with greater insight into the works of Beckett, Derrida, and Deleuze and into the role that repetition has played and continues to play in determining how we read our world and come to meaning.

Why do readers report being powerfully affected by great poetry? What happens to us when we read a poem? Literary criticism has struggled to answer these questions because it treats poems as material artifacts of one kind or another. But readers do not experience literary texts as lifeless and silent material artifacts. They hear voices in them and feel moved and altered by them. Plerosis/Kenosis offers a new way of reading poems by treating poems as dynamic – essentially as fields of energy – and by focusing on how poetry pushes language towards two contradictory goals: the desire to say more, to convey universal truths, and overwhelm the reader with intensity; and the desire to speak with perfect clarity and precision, to achieve the purity of mathematics or logic. The pursuit of both goals inevitably ends in failure, but poetry is most powerful and most affecting as it approaches these two extremes. Plerosis/Kenosis lays out a theory of poetic language and applies that theory to a wide range of beloved works by, among others, Shakespeare, Wordsworth, Coleridge, Keats, Poe, Whitman, Dickinson, Eliot, and Stevens. The theory establishes a framework that allows readers of poetry everywhere to articulate what a poem does to them when they read it, and the specific readings are original and illuminating. Moreover, the style throughout is lucid and accessible. Scholars, graduate students, and sophisticated undergraduates alike will find their understanding of poetry not only increased but indeed transformed.

American short-story writer Andre Dubus (1936–1999) was a “writer’s writer.” His acclaimed collections of short stories and essays involve one or all of three thematic discourses – that of the Catholic Church as center of meaning and value, the symbolic and healing power of rites and ritual on the human heart, and the ethical and spiritual dilemmas that drive human experience. “Like Chekhov’s” reports the Village Voice, “Dubus’s best stories contain the arc of a whole life in the language of specific moments.” Tobias Wolff summarized, “Andre Dubus is a master.” In 1986, however, Dubus lost the use of his legs when he attempted to help a stranded motorist on the highway. The spiritual, physical and emotional suffering which ensued kept him from writing for a time but eventually led to his authoring 17 stories before his death in 1999. Moving Toward Redemption is a critical six-chapter study of these stories as they are united as capstones to his previous work, as they participate in the Catholic cycle of sin, suffering and sacramentality, and as they individually address the various transformations of his life in the aftermath of the accident. Moving Toward Redemption is the only book on Dubus’s writing since Thomas Kennedy’s A Study of the Short Fiction (1988). It is designed for use in courses on short fiction, religion and literature, life writing, genre study, and disability studies. It suggests ways to negotiate the conflicts and tensions between Christian and secular approaches to disability studies.