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This broad interdisciplinary and comparative study of the ways in
which we discursively "make" the world and its things aims to go
beyond the "poetic thinking" of Heidegger toward a more pragmatic
way of interpreting concrete social, cultural, and political
experience.
The book outlines three constitutive functions of world-making.
"Endowing" signifies the direct provision of the "wherewithal" that
must come into being if anything else is to come into being.
"Enabling" develops or facilitates what is endowed; it is a kind of
education in being-in-the-world. "Entitling" embraces the realm of
justice and decision; it concerns what is right for human beings to
have and do and be.
Placing these functions in contemporary contexts, the book offers
as an alternative some perspectives of American pragmatism (Dewey,
Peirce, James, Mead, Buchler) and Continental philosophy (Arendt,
Merleau-Ponty, Heidegger, Husserl, Barthes, Gramsci). The book
closely examines the thinking of Hobbes, Descartes, Vico, Calderon,
and Jefferson and several literary figures and thinkers (Yeats,
Emerson, Hopkins, Baudelaire, Pascal, Rilke, Frost, Brecht).
Throughout, the book investigates and questions the tradition of
possessive individualism interpreted by modern scholars, notably
Pocock.
The book is in five parts. Part I argues a need to move beyond
deconstructing toward reconstructing. Part II considers the
interactions of endowing, enabling, and entitling. In Part III, the
author explores the ways in which discourse works in the Cartesian
discourse of reason, and the phenomenon of Manifest Destiny as
rendered by Frost. The focus of Part IV is incorporating, which
builds on Merleau-Ponty's concept of flesh, or the process by which
the body acts and becomes fully worldly. Part V addresses the
phenomena of experience in a variety of modes, including the role
of story and natality, experimental theater, the epistolary novel,
and representations of the heroic Lucretia.
A postscript, exploring the "conclusion" with which scholarly books
typically end, offers a perspectivist reading of the final text,
Emerson's "Experience."
By attempting to suspend moral, ideological, or psychological
assumptions, a phenomenological interpretation of literature hopes
to reach "the things themselves," the essential phenomena of being,
space, and time, as they are constituted, by consciousness, in
words. Although there has been a tradition of phenomenological
criticism in Europe for the last twenty years, David Halliburton is
the first to write a general study of an American author from this
particular point of view. The book begins with a methodological
chapter that sets out the assumptions and procedures of the
approach. This is followed by analyses of Poe's major works,
exploring such special problems as Poe's treatment of the material
world, including technology; the interrelation of body and
consciousness; poetic voice; attitudes toward women; and the will
to affirmation, plenitude, and unity. The center of interest is
neither Poe's biography nor environment but always the meaning of
Poe's words. Because these works are shaped by a single imagination
and because they are experienced in time, as a process, each work
has its own "way of going." The aim of the interpretation is to
find this way and go along with it; to live each work dynamically,
as it "happens," while tracing its interaction with other works.
Originally published in 1973. The Princeton Legacy Library uses the
latest print-on-demand technology to again make available
previously out-of-print books from the distinguished backlist of
Princeton University Press. These editions preserve the original
texts of these important books while presenting them in durable
paperback and hardcover editions. The goal of the Princeton Legacy
Library is to vastly increase access to the rich scholarly heritage
found in the thousands of books published by Princeton University
Press since its founding in 1905.
By attempting to suspend moral, ideological, or psychological
assumptions, a phenomenological interpretation of literature hopes
to reach "the things themselves," the essential phenomena of being,
space, and time, as they are constituted, by consciousness, in
words. Although there has been a tradition of phenomenological
criticism in Europe for the last twenty years, David Halliburton is
the first to write a general study of an American author from this
particular point of view. The book begins with a methodological
chapter that sets out the assumptions and procedures of the
approach. This is followed by analyses of Poe's major works,
exploring such special problems as Poe's treatment of the material
world, including technology; the interrelation of body and
consciousness; poetic voice; attitudes toward women; and the will
to affirmation, plenitude, and unity. The center of interest is
neither Poe's biography nor environment but always the meaning of
Poe's words. Because these works are shaped by a single imagination
and because they are experienced in time, as a process, each work
has its own "way of going." The aim of the interpretation is to
find this way and go along with it; to live each work dynamically,
as it "happens," while tracing its interaction with other works.
Originally published in 1973. The Princeton Legacy Library uses the
latest print-on-demand technology to again make available
previously out-of-print books from the distinguished backlist of
Princeton University Press. These editions preserve the original
texts of these important books while presenting them in durable
paperback and hardcover editions. The goal of the Princeton Legacy
Library is to vastly increase access to the rich scholarly heritage
found in the thousands of books published by Princeton University
Press since its founding in 1905.
Dramas of Culture is shaped by twelve carefully interwoven
interdisciplinary essays on the role of performance as inscribed
within contemporary cultural debate. Part One addresses the recent
cultural turn in scholarship and public affairs and offers three
provocative discussions of its genealogy, goals, and shortcomings.
Underpinning these arguments are the key dramatic elements of
language, performativity, and spectacle. Part Two stresses the
constitutive roles of scene and setting, melodrama, and tragic
conflict for literary theory, political thought, and dialectical
philosophy, each with direct bearings on contemporary cultural
studies. Parts Three and Four turn to the intellectual and cultural
significance of specific plays in the Western repertoire. Part
Three examines several major efforts to rethink the nature of
tragedy as a dramatic genre, emphasizing its capacity to reveal the
fragility and provisionality of culture, while Part Four focuses on
prominent examples of the shifting relations among drama, history,
and processes of cultural change.
Dramas of Culture is shaped by twelve carefully interwoven
interdisciplinary essays on the role of performance as inscribed
within contemporary cultural debate. Part One addresses the recent
cultural turn in scholarship and public affairs and offers three
provocative discussions of its genealogy, goals, and shortcomings.
Underpinning these arguments are the key dramatic elements of
language, performativity, and spectacle. Part Two stresses the
constitutive roles of scene and setting, melodrama, and tragic
conflict for literary theory, political thought, and dialectical
philosophy, each with direct bearings on contemporary cultural
studies. Parts Three and Four turn to the intellectual and cultural
significance of specific plays in the Western repertoire. Part
Three examines several major efforts to rethink the nature of
tragedy as a dramatic genre, emphasizing its capacity to reveal the
fragility and provisionality of culture, while Part Four focuses on
prominent examples of the shifting relations among drama, history,
and processes of cultural change.
David Halliburton's book is a richly textured study of the complete
writings of Stephen Crane, including Maggie: A Girl of the Streets,
The Red Badge of Courage, and the less well-known fiction,
newswriting, and poetry. Offering close readings of the works
within a broad framework, Halliburton sets out to explore the
imaginative world Crane created in his total oeuvre of fiction,
poetry and reportage. Comparative and interdisciplinary methods,
combined with insights from historians such as Toynbee and
Hofsteader, enable Halliburton to shed light on a number of issues.
These include Crane's interest in musicality, the importance of his
poetry and journalism to his other writings, the phenomenology of
his social structures, his mastery of prosody, and the relation of
his writings to the ideas of thinkers such as William James,
Santayana, Weber and Sartre. This ambitious and comprehensive book
sets a standard by which to measure all future interpretations of
Crane.
David Halliburton's book is a richly textured study of the complete
writings of Stephen Crane, including Maggie: A Girl of the Streets,
The Red Badge of Courage, and the less well-known fiction,
newswriting, and poetry. Offering close readings of the works
within a broad framework, Halliburton sets out to explore the
imaginative world Crane created in his total oeuvre of fiction,
poetry and reportage. Comparative and interdisciplinary methods,
combined with insights from historians such as Toynbee and
Hofsteader, enable Halliburton to shed light on a number of issues.
These include Crane's interest in musicality, the importance of his
poetry and journalism to his other writings, the phenomenology of
his social structures, his mastery of prosody, and the relation of
his writings to the ideas of thinkers such as William James,
Santayana, Weber and Sartre. This ambitious and comprehensive book
sets a standard by which to measure all future interpretations of
Crane.
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