This is an original reading of Mikhail Bakhtin in the context of Western philosophical traditions and counter-traditions. The book portrays Bakhtin as a Modernist thinker torn between an ideological secularity and a profound religious sensibility, invariably concerned with questions of ethics and impelled to turn from philosophy to literature as another way of knowing.
Most major studies of Bakhtin highlight the fragmented and apparently discontinuous nature of his work. Erdinast-Vulcan emphasizes, instead, the underlying coherence of the Bakhtinian project, reading its inherent ambivalences as an intersection of philosophical, literary, and psychological insights into the dynamics of embodied subjectivity. Bakhtin's turn to literature and poetry, as well as the dissatisfactions that motivated it, align him with three other "exilic" Continental philosophers who were his contemporaries: Bergson, Merleau-Ponty, and Levinas. Adopting Bakhtin's own open-ended approach to the human sciences, the book stages a series of philosophical encounters between these thinkers, highlighting their respective itineraries and impasses, and generating a Bakhtinian synergy of ideas.

This is an original reading of Mikhail Bakhtin in the context of Western philosophical traditions and counter-traditions. The book portrays Bakhtin as a Modernist thinker torn between an ideological secularity and a profound religious sensibility, invariably concerned with questions of ethics and impelled to turn from philosophy to literature as another way of knowing.
Most major studies of Bakhtin highlight the fragmented and apparently discontinuous nature of his work. Erdinast-Vulcan emphasizes, instead, the underlying coherence of the Bakhtinian project, reading its inherent ambivalences as an intersection of philosophical, literary, and psychological insights into the dynamics of embodied subjectivity. Bakhtin's turn to literature and poetry, as well as the dissatisfactions that motivated it, align him with three other "exilic" Continental philosophers who were his contemporaries: Bergson, Merleau-Ponty, and Levinas. Adopting Bakhtin's own open-ended approach to the human sciences, the book stages a series of philosophical encounters between these thinkers, highlighting their respective itineraries and impasses, and generating a Bakhtinian synergy of ideas.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Y Beibl: Pryddest Gan "Cristion," Sef Y Parch John Jones (called Vulcan) Cyhoeddedig gan H.Humphreys, 1874

This book seeks to read contemporary films as symptoms of the societies they are made in.Films represent their own subject matter in terms of symbolic, encoded scenes. The decoding for the films I chose occurs through a use of very specific, heavily coded spaces as visualisable shorthand for a complex of homophobic reactions. The first chapter, Geographies of Cruising, analyzes the representation of streets and the leading character's cruising on the streets in Eyes Wide Shut. The second chapter, Geographies of Effeminacy, concentrates on the denial of space to non-masculine men exemplified in The Talented Mr. Ripley. In the third chapter, Geographies of Exclusion, the representation of a cellar in Mystic River serves to display the links between paedophilia and homosexuality. The fourth chapter, Geographies of Abuse and Rape, is an exercise on "out of placeness" and examines the connections made between male/male rape and homosexuality in I'll Sleep When I'm Dead. The last chapter is an extended reading of Brokeback Mountain, in which the tension between closed spaces and wild spaces leads to a discussion of contemporary representation of homosexuality.

Through an examination of short stories spanning Conrad's entire writing career, Daphna Erdinast-Vulcan engages with the question of authorial subjectivity and ethics in Modernism in general, and in Conrad's short fiction in particular. Part One of the study, inspired by Derrida and the early philosophical writings of M. M. Bakhtin, establishes an original theoretical matrix, which turns on the principle of 'heterobiography'. Part Two applies this cultural-historical perspective through close readings of ten short stories, linking Conrad's essentially Romantic sensibility and his unique position on the threshold of Modernism with some of the philosophical issues that have emerged from the 'Postmodern turn'.

This study relates Conrad's work to the cultural crisis of the late nineteenth century, the post-Nietzschean phase of modernity. It discusses "faultlines"-- ambiguities and apparent aesthetic ruptures-- in nine of the major novels and novellas. These faultlines are diagnosed as the symptoms of an unresolved tension between Conrad's temperamental affinity with the Nietzschean outlook and his fierce ideological rejection of its ultimate implications. Presenting Conrad as a modernist at war with modernity, the author studies the perpetual tug-of-war between the artistic will to meaning and the writer's susceptibility to the modern temper, both as a theme and as a structuring principle in his work. The modes of this struggle are defined as the failure of myth, the failure of metaphysics, and the failure of textuality. This forceful and original book draws on the work of Nietzsche, Valhinger, Bakhtin, Heller, MacIntyre, and other philosophers and cultural historians to present the ethical and epistemological issues which are interwoven with Conrad's aesthetics.