SUNY series, The Margins of Literature – serie

Complementing recent feminist studies of female self-representation, this book examines the dynamics of masculine self-representation in nineteenth-century British literature. Arguing that the category "autobiography" was a product of nineteenth-century individualism, the author analyzes the dependence of the nineteenth-century masculine subject on autonomy or self-naming as the prerequisite for the composition of a life history. The masculine autobiographer achieves this autonomy by using a feminized other as a metaphorical mirror for the self.The feminized other in these texts represents the social cost of masculine autobiography. Authors from Wordsworth to Arnold, including Samuel Taylor Coleridge, Thomas De Quincey, John Ruskin, Alfred Tennyson, Robert Louis Stevenson, John Stuart Mill, and Edmund Gosse, use female lovers and family members as symbols for the community with which they feel they have lost contact. In the theoretical introduction, the author argues that these texts actually privilege the autonomous self over the images of community they ostensibly value, creating in the process a self-enclosed and self-referential "community of one."

The nineteenth century witnessed an unprecedented social restructuring that disrupted traditional notions of people and place, country and city, private and public spheres. The break with the old order and the entry into the industrial age was most dramatically played out in France, with the growth of a new urban middle class under the July monarchy and the rebuilding of Paris by Haussmann under the Second Empire. The personal, immediate, and radical effects of these changes produced an altered conception of the meaning of home and a homeland.Focusing primarily on mid-nineteenth-century France, these essays, by noted literary critics, offer fascinating new accounts of the relationship between the social history of home and homelessness and the imaginative expressions of the age. This probing interdisciplinary approach, combining theoretical sophistication with historical detail, addresses the fundamental importance of class and gender to the modern history of homelessness. Its provocative readings of well-known texts provide a model of cultural studies at its best and most serious.

Rethinks of science through Nietzsche's philosophy, revealing knowledge as an aesthetic, life-driven act shaped by interpretation rather than absolute truth.What is the role of science when its claims to truth are no longer self-evident? In Nietzsche's Philosophy of Science, Babette Babich offers a bold and provocative rethinking of modern scientific rationality through the philosophical lens of Friedrich Nietzsche.Rather than treating science as a self-justifying system of objective truths, Babich argues that it must be understood as an interpretive, aesthetic, and ultimately life-bound practice—one shaped by style, physiology, and cultural values. Drawing on Nietzsche's critique of truth, morality, and metaphysics, she reframes scientific knowledge as a perspectival achievement rooted in the conditions of life itself.Across seven richly argued chapters, Babich develops a sustained engagement with questions at the heart of contemporary philosophy of science: What counts as validity? Can objectivity be separated from interpretation? And what happens when science is viewed not as the final arbiter of truth, but as one expression of human creativity?Nietzsche's Philosophy of Science challenges readers to rethink the foundations of knowledge, placing science in dialogue with art, aesthetics, and the lived conditions of experience. The result is a powerful reconsideration of philosophy’s task in an age of epistemic uncertainty.

This book examines Orpheus as a figure who bridges the experience of the Greek tribal shaman and the modern poet Stéphane Mallarmé, the father of modernism. First mentioned in 600 B.C., Orpheus was present at the moment when the Apolline forms of western culture were being encoded. He appears again at the opposite moment embodied in the language-crisis at the end of the nineteenth century, which inaugurated the break-up of those forms and ushered in the Dionysian. Mallarmé's "Orphic Moment," when Orpheus's scattered limbs first begin to stir back to life, enacts a dance at the boundary of Apollo and Dionysos, marking the collapse of Apolline form back into its Dionysian ground in Nietzsche's The Birth of Tragedy.

This book aims at refocusing critical reflection on thematics in the arts, a topic that has been neglected recently. The volume is divided into four sections: theoretical essays, applications to literature, reflections on thematics in music and the visual arts, and a conclusion.The contributors, of international reputation, include Jean-Yves Bosseur, Claude Bremond, Menachem Brinker, Peter Cryle, Lubomír Dolezel, Françoise Escal, Thomas Pavel, Shlomith Rimmon-Kenan, Georges Roque, Jean-Marie Schaeffer, Cesare Segre, and Werner Sollars. In the theoretical section, the authors assess the need for new thematics, relate thematics to structural analysis and interpretation, and sketch a history of the discipline. The second section contains three applications to literature and examines the theme of the double, the Faustian literary theme, and the relation between literary theme and plot. The third section includes essays on classical music, modern music, and painting. The volume concludes with an essay on the aesthetic implications of thematic studies. The contributors answer questions about the nature of themes in general, and what would constitute a modern theory of literary themes.

This anthology of mixed-genre writings on East European political culture examines the aesthetic character of Eastern Europe before and after 1989, the beginning of a "post-totalitarian age."This book consists of a dialogue of genres (fiction, parables, essay, analytic, programmatic) on the topic of Eastern European political culture before and after 1989. These texts introduce us to a reexamination of the aesthetic and political character of Eastern Europe. The later texts undertake a major theoretical revision of some of the key concepts in aesthetic and political philosophy associated with post-totalitarian Eastern Europe.The topic is very important for a correct evaluation of the current ideological and aesthetic makeup of our postmodern age. The most stimulating aspect of this collection is its continuous detour through related areas-its definition of political aesthetics by way of the historical avant-garde, its explanation of communism by way of the modernist utopia.

This book addresses the question of human uniqueness at a time when academic discourse has all but abandoned its long-held commitment to the value of individuality. Through an appraisal of the works of Emerson, Nietzsche, Heidegger, Derrida, and Foucault, the author establishes the ways in which the current critique of the self has grossly distorted the nature of the debate by reducing it to a simple choice between essential or constructed selves. Hans argues that the tradition that emerges from Emerson's work is based on a relational sense of the individual as much as it is devoted to the premise that we all have a specific form of integrity. Likewise, even though Nietzsche's critique of the fictional nature of the subject is the origin of contemporary visions of the fabricated self, Nietzsche is equally insistent that each of us is a productive uniqueness: we are all principles of selection whose links to the world embrace more than the social circumstances around us. Nietzsche's vision of our productive uniqueness is carried on in larger and smaller ways by Heidegger, Derrida, and Foucault, each of whom entertains a far more complex vision of the individual than those which currently dominate our ways of talking about what it means to be human.

This literary history examines Guillaume Apollinaire's reception and influence in the Western hemisphere during the early twentieth century. It identifies and reconstructs major literary and art historical paths of development, about which surprisingly little is known. In particular, it discusses Apollinaire's reception and formative influence in North America, England, Germany, Spain, Argentina, and Mexico, and includes important documents by Apollinaire himself that have not appeared in print until now.

Examines both Western and Japanese epic traditions to argue for a new concept of the epic—an epic of peace, toward which the genre is evolving globally.Epic Grandeur: Toward a Comparative Poetics of the Epic proposes a new concept of the epic. The book is based on the belief that the genre has been transforming itself throughout its history from conventional, war-oriented types to a new kind that promotes peace without having recourse to violent motifs. To prove this point, the book takes a new thematic approach which centers on the three elements of epic grandeur: the hero's attitude toward his mortality, his commitment to the community, and the dual dimension of time and space.The book also examines two relatively recent works: John Keats's The Fall of Hyperion and Miyazawa Kenji's Gingatetsudo no Yoru (A Night on the Galaxy Railroad). These works are used as examples of the "transitional epic" that departs from the conventional norms of the epic, and give the reader insight into underlying cultural differences and similarities between the East and West.

Examines the influence of Nietzsche on Russian Formalists, Russian Modernism, and Mikhail Bakhtin, reinforcing the importance of the modernist theoreticians by reading them in the contemporary theoretical context.Throwing new light on the important thesis about the influence of Friedrich Nietzsche on Russian formalists and Russian modernism, this book presents this theme in the context of relevant research, and convincingly defines the extent of the claims advanced in the body of the text.The author's close readings and competent incorporation of critical literature paradigmatically exemplify the truth of how precisely indeed literature 'reflects' the life of human societies; equally importantly, they also show that literature reveals its secrets only to the gaze of astute and alert readers. Together with a thorough knowledge and pertinent application of the scholarship in the field, and with frequent flashes of revealing insights and suggestive connections, close readings constitute the book's most consistently outstanding aspect, giving it increasingly more depth and dimension.

Explores the way seven women writers of the eighteenth century responded to Rousseau, and traces his crucial influence on their literary careers.Sexual Politics in the Enlightenment constitutes the first book-length feminist study of Rousseau's sexual politics and the reception of his works by women readers. By today's standards, Rousseau's sexual politics appear reactionary, paternalistic, even blatantly misogynist; yet, among his female contemporaries, his works often met with enthusiastic approval and had tremendous impact on their values and behavior. To probe Rousseau's paradoxical appeal to eighteenth-century readers, Mary Trouille examines how seven women authors responded to his writings and sexual politics and traces his influence on their lives and works. The writers include six Frenchwomen (Roland, d'Epinay, Stael, Genlis, Gouges, and an anonymous woman correspondent who called herself Henriette) and the English feminist Mary Wollstonecraft.The book constitutes an important contribution to French literature, women's studies, and eighteenth-century cultural studies. While a great deal has already been written on the individual women whom Trouille treats, what distinguishes this book is that it places multiple female subjects directly opposite Rousseau, and succeeds in showing that the relationship between mentor and student(s) is both multi-layered and fascinatingly complex.

Concludes that the closest thing in Western culture to the Middle Way of Buddhism is not any sort of theory or philosophy, but the practice of literature.Reading Emptiness connects ancient Buddhist attitudes and ideas with postmodern theory and aesthetics, concluding that the closest thing in Western culture to the Middle Way of Buddhism is not any sort of theory or philosophy, but the practice of literature. The book draws on scholarship and criticism in literary theory, philosophy, and science to speculate about the possible common ground between literary and Buddhist practices, aiming not so much to elucidate the ancient traditions of Buddhism as to seek ways in which literature might be integrated into a truly Western practice of Buddhism that would remain philosophically true to its Eastern roots.

These nine short stories explore love and loss in contemporary Damascus, as well as the possibilities of writing ethnography as fiction.Growing out of the author's anthropological fieldwork in Syria, these nine short stories explore love and loss in contemporary Damascus. Available here together for the first time in English, they confound popular stereotypes of Arab women and men as fundamentalists, terrorists, and victims of the Gulf War. The stories touch on such themes as tyranny, good and bad fortune in marriage, exile, the snobbery of old wealth, the ambition of new money, and much else. In a postscript, "The Pirates' Socks," Lindisfarne discusses why she chose to write about her fieldwork through the medium of fiction, and how writing these stories allowed her to tell truths an academic monograph could not contain. An Arabic edition of Dancing in Damascus was published in Syria in 1997, to considerable acclaim throughout the Arab world.

Explores the construction of the Aryan myth and its uses in both India and Europe.In Aryans, Jews, Brahmins, Dorothy M. Figueira provides a fascinating account of the construction of the Aryan myth and its uses in both India and Europe from the Enlightenment to the twentieth century. The myth concerns a race that inhabits a utopian past and gives rise first to Brahmin Indian culture and then to European culture. In India, notions of the Aryan were used to develop a national identity under colonialism, one that allowed Indian elites to identify with their British rulers. It also allowed non-elites to set up a counter identity critical of their position in the caste system. In Europe, the Aryan myth provided certain thinkers with an origin story that could compete with the Biblical one and could be used to diminish the importance of the West's Jewish heritage. European racial hygienists made much of the myth of a pure Aryan race, and the Nazis later looked at India as a cautionary tale of what could happen if a nation did not remain "pure."As Figueira demonstrates, the history of the Aryan myth is also a history of reading, interpretation, and imaginative construction. Initially, the ideology of the Aryan was imposed upon absent or false texts. Over time, it involved strategies of constructing, evoking, or distorting the canon. Each construction of racial identity was concerned with key issues of reading: canonicity, textual accessibility, interpretive strategies of reading, and ideal readers. The book's cross-cultural investigation demonstrates how identities can be and are created from texts and illuminates an engrossing, often disturbing history that arose from these creations.

Based on Nietzsche's critique of religion and culture, and engaging the contemporary offshoots of that critique, this book assesses the myths of origins that have been used to articulate the fundamental attitude toward the relationship between shame and beauty. In reconsidering some of the myths upon which the West is based, from Hesiod and Greek mythology to Plato and the Bible, Hans pursues the ways in which we have habitually separated shame and beauty in order to create the grounds that would provide us with the authority for our lives we think we need. By juxtaposing Socrates' repression of violence in The Republic and Nietzsche's conception of the overman, the author revises the network of relations that are associated with the religious, the aesthetic, and the political, asserting that the religious derives from the aesthetic rather than the other way around, and establishing a necessary connection between the political and the aesthetic.Hans aims to raise yet again the questions embodied in Nietzsche's attempt to prompt humans to face the true status of their actions in the world: are we finally able to address our shame without immediately projecting it onto another or repressing it? If so, what changes might we see in the psychological, social, and political worlds we would create out of such an acknowledgment? What value is to be found in accepting the uneasy relationship between shame and beauty upon which our lives rest? While The Origins of the Gods provides no definitive answers to such questions simply because none are possible, it makes use of such queries in order to reassert the great importance of Nietzsche's affirmation of the value of the world as it is. It argues that this affirmation has something crucial to offer if we are willing to forgo an authorized existence and confront the beauty and shame from which our lives are inevitably constituted.

Borrowed Lives is a novel. It is an enactment of issues of literary philosophy and criticism, including the question of whether there can be originality, coherence, and authenticity in life and art. It deepens William Blake's point - Make your own myth or else be enslaved by another man's - by asking whether one's own myth isn't also another man's myth and by portraying the terrible consequences of taking one's own myth literally.

This book is both an introductory overview of The Cantos and a detailed analysis advancing the knowledge of even the most sophisticated specialist. Sicari's analysis gives a clear orientation to the often bewildering but ultimately rewarding world of this difficult epic poem and shows that beneath the surface of the poem is the classical figure of the epic wanderer whose journey provides the "plot" of the poem.Non-specialists will appreciate Sicari's synthesis of a wide range of material. Sicari explores how Dante and the epic tradition informs The Cantos; those interested in the epic should find Sicari's study an important contribution to the field. Those studying modernism in general will see in Sicari's definition of the modern epic useful ways to study the other great achievements of high modernism, especially those of Yeats, Eliot, and Joyce. Those interested in the relation between literature and politics will find this book especially informative, for Sicari is one of the few critics on Pound who does not ignore Pound's politics, or simply castigate him for the unfortunate views he adopts and advocates. The analysis of Pound's fascism is a sub-theme that sheds new light on how politics enters a great modernist poem and affects its shape and intention.

This book argues that play offered Hamlet, John Donne, George Herbert, Andrew Marvell, Robert Burton, and Sir Thomas Browne a way to live within the contradictions and conflicts of late Renaissance life by providing a new stance for the self. Grounding its argument in recent theories of play and in a historical analysis that sees the seventeenth century as a point of crisis in the formation of the western self, the author demonstrates how play helped mediate this crisis and how central texts of the period enact this mediation.

Through the Lens of the Reader is a sequence of ten essays exploring European narrative from the eighteenth to the twentieth century. It covers a wide spectrum of authors ranging from Goethe through Balzac, Flaubert, Zola, George Eliot, Henry James to Rilke, Thomas Mann, and Kafka. The essays are unified by a particular mode of reading, in which the lens of the reader becomes the filter through which texts are constructed in accordance with the signals emitted by their narrational and linguistic strategies.

Reading Old Friends includes essays, reviews, and poems on poetics. Matthias, who has spent much time in England, concentrates on British poetry ranging from late modernist figures such as David Jones and Hugh MacDiarmid to contemporaries such as Geoffrey Hill, Seamus Heaney, Michael Hamburger, and John Fuller. He also seeks to establish, or re-establish, meaningful trans-Atlantic connections between Wendell Berry and Jeremy Hooker, for example, or between Robert Duncan and David Jones. Other, more generally acknowledged figures, are also discussed, including Wordsworth, Pope, Crabbe, Constable, Turner, Britten, Tippet, Lowell, Auden, and Berryman. The book also contains three poems on poetics that engage many of the theoretical issues left implicit in most of the essays.

This book explores the relationship between authority and context and attempts to establish the ways in which authority is a function of a particular agent or set of agents, and the degree to which it is a product of a context rather than an agent. The work is not a sociological or psychological study but rather a literary/philosophical speculation into the roots of our conceptions of authority. It declares all authority to be aesthetic in nature and is based on an analysis of several key texts from various different cultural backgrounds: Foucault, Weber, Nietzsche, Confucius, and Homer.

By using the concept of play as a common denominator, this book outlines ways in which literary creativity can act as a free, open, and speculatively unburdened version of religious concerns. Contributors include Louis Dupré, Arthur Quinn, Sanford Budick, Giuseppe Mazzotta, Judah Goldin, and Jean-Michel Heimonet.

This book studies the literary and cinematic functions of the pornographic as a development from a poetics of obscenity. It focuses on the developments of French, British, and American artistic pornography since the eighteenth century. Discussing female literary figures including Hall, Wharton, Nin, "Reage," Jong, and Shulman; such men as Cleland, Sade, Beardsley, Lawrence, Joyce, and Miller; and film makers such as Brakhage, Jack Smith, Bruce Conner, Bertolucci, Oshima, and Wertmuller; Michelson analyzes both the use of aesthetic pornography and the philosophical, cultural, and legal implications of its use. He proposes that realizing the obscene -in the sense of speaking the unspeakable- is the principle aesthetic function of pornography.

A philosophy professor's intellectual life unravels into a transformative journey that bridges Western thought and tantric Buddhism, blurring the line between lived experience and philosophical inquiry.Michael Evers, a philosophy professor steeped in Western thought and quiet indulgence, finds himself drawn into a series of strange, provocative, and transformative encounters. As his path unfolds, the boundaries between scholarship and experience dissolve, leading him toward a radically different way of seeing—one shaped by the paradoxes and disciplines of tantric Buddhism.Blending vivid narrative with profound philosophical inquiry, The Arimaspian Eye is not a conventional novel. It is an exploration—of consciousness, of culture, and of the uneasy dialogue between East and West. Through episodes that are by turns playful, unsettling, and illuminating, David L. Hall crafts a work that challenges the limits of fiction itself.At once a novel of ideas, an academic satire, and a spiritual odyssey, this is a book for readers willing to venture beyond plot into deeper terrain—where thought becomes action, and understanding demands transformation.

This book is a study of the relation between cognitive linguistics and literary theory. Theory of literary interpretation is reinterpreted in terms of current debate in cognitive science. While research in the humanities and social sciences is reasonably concerned with charting the power of culture to structure and constrain, Spolsky suggests that it is worthwhile to investigate the role of biological materialism as co-legislator of human life and understanding. The inevitable slippage we have come to acknowledge between words and the world has at least an analogue, and presumably also a source, in the workings of the human brain.

Philosophy and literary theory have devoted a great deal of their analysis to the problem of the origin and modalities of argumentation, but there has been an almost total lack of interest in the question of its procedural limits. Manners of Interpretation is an essay on ways of ending interpretations in literary studies as well as on patterns of controversy and consensus in the humanities. Tamen examines two major families of indisputable arguments in post-Enlightenment literary criticism and addresses the question of how one recognizes the proper time to use a given argument, especially and specifically an indisputable argument. The former aim leads to a tentative history of the constitution of literary theory as a set of identifiable ways of using arguments. The latter, meanwhile, points to a theory of argument and controversy and to a contribution to the discussion of human activities that, in spite of not being teachable, are nevertheless learnable. Such a theory seems to be particularly relevant both to the study of the interpretive dimension of literary criticism as it is now practiced and also to the knowledge and description of an area of the humanities that has often been neglected.

This is the first sustained, critical examination of the work of Edward Hopper, a major twentieth-century American painter. It is a sequence of meditations on his painting "A Woman in the Sun." Each meditation, informed by Derrida's conception of the supplement, is about both the painting and about the nature of the reading process.

This is an American novel of formed chaos playfully enacting the centrality of language in late twentieth-century art and life through the voices of two women steeped in Western traditions, one telling the story of her restoration of an ante-bellum house on the Florida Gulf Coast, the other faithfully recording it but running culturally wild in the process.In both literal and extended senses, The Restorationist is a mystery, with attendant bafflements, horrors, attempts to get to the bottom of things: mayhem and murder; artifices of trivialization by media, our technological doubles; arrangements of power in communities and in texts; signs and selves.

An exploration of language, knowledge, and evolution that unifies philosophy, science, and paradox into a single transformative vision of reality.What if the deepest problems of philosophy—language, mind, time, evolution, and reality itself—were not separate puzzles, but expressions of a single underlying structure?In Knowledge, Evolution and Paradox, Koen DePryck advances a bold and integrative framework that challenges the limits of postmodern skepticism and fragmented academic discourse. Drawing on insights from iterative, chaotic, and probabilistic processes in nature and computation, DePryck proposes a new way to understand how meaning, knowledge, and reality co-emerge through language.At its core, this work confronts enduring philosophical tensions:How can multiple disciplinary "worlds" belong to one world?How do language-games relate across apparent incommensurability?What is the role of paradox and self-reference in thought and reality?And how can mind and consciousness be understood as embodied, evolving phenomena?DePryck develops an ambitious interdisciplinary synthesis that bridges the sciences and humanities, offering not only a critique of postmodern limits but a constructive alternative grounded in evolutionary and systemic thinking.