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.

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.