What is a woman? What is a man? How do they--and how should
they--relate to each other? Does our yearning for "wholeness" refer
to something real, and if there is a Whole, what is it, and why do
we feel so estranged from it? For centuries now, art and literature
have increasingly valorized uniqueness and self-sufficiency. The
theoreticians who loom so large within contemporary thought also
privilege difference over similarity. Silverman reminds us that
this is but half the story, and a dangerous half at that, for if we
are all individuals, we are doomed to be rivals and enemies. A much
older story, one that prevailed through the early modern era, held
that likeness or resemblance was what organized the universe, and
that everything emerges out of the same flesh. Silverman shows that
analogy, so discredited by much of twentieth-century thought,
offers a much more promising view of human relations. In the West,
the emblematic story of turning away is that of Orpheus and
Eurydice, and the heroes of Silverman's sweeping new reading of
nineteenth- and twentieth-century culture, the modern heirs to the
old, analogical view of the world, also gravitate to this myth.
They embrace the correspondences that bind Orpheus to Eurydice and
acknowledge their kinship with others past and present. The first
half of this book assembles a cast of characters not usually
brought together: Friedrich Nietzsche, Sigmund Freud, Marcel
Proust, Lou-Andreas Salome, Romain Rolland, Rainer Maria Rilke,
Wilhelm Jensen, and Paula Modersohn-Becker. The second half is
devoted to three contemporary artists, whose works we see in a
moving new light: Terrence Malick, James Coleman, and Gerhard
Richter.
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