The arrival of the Anthropocene brings the suggestion that we are
only now beginning to speculate on an inhuman world that is not for
us, only now confronting fears and anxieties of ecological,
political, social, and philosophical extinction. While pointing out
that reflections on disaster were not foreign to what we
historically call romanticism, Last Things pushes romantic thought
toward an altogether new way of conceiving the "end of things," one
that treats lastness as neither privation nor conclusion. Through
quieter, non-emphatic modes of thinking the end of human thought,
Khalip explores lastness as what marks the limits of our life and
world. Reading the fate of romanticism-and romantic studies-within
the key of the last, Khalip refuses to elegize or celebrate our
ends, instead positing romanticism as a negative force that exceeds
theories, narratives, and figures of survival and sustainability.
Each chapter explores a range of romantic and contemporary
materials: poetry by John Clare, Emily Dickinson, John Keats, Percy
Shelley, and William Wordsworth; philosophical texts by William
Godwin, David Hume, Immanuel Kant, and Jean-Jacques Rousseau;
paintings by Hubert Robert, Caspar David Friedrich, and Paterson
Ewen; installations by Tatsuo Miyajima and James Turrell; and
photography by John Dugdale, Peter Hujar, and Joanna Kane.
Shuttling between temporalities, Last Things undertakes an original
reorganization of romantic thought for contemporary culture. It
examines an archive on the side of disappearance, perishing, the
inhuman, and lastness.
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