From the Renaissance on, a new concept of the frame becomes crucial to a range of artistic media, which in turn are organized around and fascinated by this frame. The frame decontextualizes, cutting everything that is within it from the continuity of the world and creating a realm we understand as the realm of fiction. The modern theatrical stage, framed paintings, the novel, the cinematic screen-all present us with such framed-off zones. Naturally, the frame creates a separation between inside and out. But, as this book argues, what is outside the frame, what is offstage, or off screen, remains particularly mysterious. It constitutes the primary enigma of the work of art in the modern age. It is to the historical and conceptual significance of this "off" that this book is dedicated. By focusing on what is outside the frame of a work of art, it offers a comprehensive theory of film, a concise history of American cinema from D.W. Griffith to Quentin Tarantino, and a reflection on the place and significance of film within the arts of modernity in general.

This powerful new reading of "Moby-Dick" brings into play some of the most consequential theoretical developments of the last three decades in philosophy, cultural studies, and literary criticism. It takes account of four trends in innovative critical thought: recent theories of power, as articulated by Foucault, Deleuze, Butler, and Agamben; theories of trauma and testimony developed by Felman and Caruth; the new thinking of ethics, articulated by Levinas and Derrida; and the new thinking of history developed by New Historicism. All four, the author argues, participate in a groundbreaking new elaboration of the concept of disaster. "Moby-Dick's" privilege, the author claims, anticipates this new thinking of the disaster and shows that it demands simultaneously a new thinking of the literary. Read from this perspective, Melville's novel can both be illuminated by these recent theoretical developments and, in turn, illuminate them, adding new and complex dimensions to their findings.

How is one to think the significance of the art of film for philosophy? What would it mean to introduce film as a question into the heart of the philosophical enterprise? How would this transform our understanding of film, on the one hand, and of philosophy and the philosophical tradition, on the other? These are the questions that guide this project on the hitherto critically neglected but seminal film director Brian De Palma. Becoming Visionary: Brian De Palma's Cinematic Education of the Senses is located at the intersection of philosophy and film studies, and makes each of these disciplines productive and useful for each other in a new way. It is a concrete examination of the logic governing the work of a major American artist that is, at the same time, a general philosophical examination of the logic of meaning governing all the major filmic categories and is thus a comprehensive theory of film. Becoming Visionary develops a new matrix for thinking the relations between philosophy and film and, by extension, between philosophy and the arts

How is one to think the significance of the art of film for philosophy? What would it mean to introduce film as a question into the heart of the philosophical enterprise? How would this transform our understanding of film, on the one hand, and of philosophy and the philosophical tradition, on the other? These are the questions that guide this project on the hitherto critically neglected but seminal film director Brian De Palma. Becoming Visionary: Brian De Palma's Cinematic Education of the Senses is located at the intersection of philosophy and film studies, and makes each of these disciplines productive and useful for each other in a new way. It is a concrete examination of the logic governing the work of a major American artist that is, at the same time, a general philosophical examination of the logic of meaning governing all the major filmic categories and is thus a comprehensive theory of film. Becoming Visionary develops a new matrix for thinking the relations between philosophy and film and, by extension, between philosophy and the arts

Shoshana Felman ranks as one of the most influential literary critics of the past five decades. Her work has inspired and shaped such divergent fields as psychoanalytic criticism, deconstruction, speech-act theory and performance studies, feminist and gender studies, trauma studies, and critical legal studies. Shoshana Felman has not only influenced these fields: her work has opened channels of communication between them. In all of her work Felman charts a way for literary critics to address the ways in which texts have real effects in the world and how our quest for meaning is transformed in the encounter with the texts that hold such a promise.The present collection gathers the most exemplary and influential essays from Felmanas oeuvre, including articles previously untranslated into English. The Claims of Literature also includes responses to Felmanas work by leading contemporary theorists, including Stanley Cavell, Judith Butler, Julia Kristeva, Cathy Caruth, Juliet Mitchell, Winfried Menninghaus, and Austin Sarat. It concludes with a section on Felman as a teacher, giving transcripts of two of her classes, one at Yale in September 2001, the other at Emory in December 2004.

This powerful new reading of "Moby-Dick" brings into play some of the most consequential theoretical developments of the last three decades in philosophy, cultural studies, and literary criticism. It takes account of four trends in innovative critical thought: recent theories of power, as articulated by Foucault, Deleuze, Butler, and Agamben; theories of trauma and testimony developed by Felman and Caruth; the new thinking of ethics, articulated by Levinas and Derrida; and the new thinking of history developed by New Historicism. All four, the author argues, participate in a groundbreaking new elaboration of the concept of disaster. "Moby-Dick's" privilege, the author claims, anticipates this new thinking of the disaster and shows that it demands simultaneously a new thinking of the literary. Read from this perspective, Melville's novel can both be illuminated by these recent theoretical developments and, in turn, illuminate them, adding new and complex dimensions to their findings.