This book presents an innovative format for poetry criticism that its authors call "dialogical poetics." This approach shows that readings of poems, which in academic literary criticism often look like a product of settled knowledge, are in reality a continual negotiation between readers. But Derek Attridge and Henry Staten agree to rein in their own interpretive ingenuity and "minimally interpret" poems - reading them with careful regard for what the poem can be shown to actually say, in detail and as a whole, from opening to closure. Based on a series of emails, the book explores a number of topics in the reading of poetry, including historical and intellectual context, modernist difficulty, the role of criticism, and translation. This highly readable book will appeal to anyone who enjoys poetry, offering an inspiring resource for students whilst also mounting a challenge to some of the approaches to poetry currently widespread in the academy.

This book presents an innovative format for poetry criticism that its authors call "dialogical poetics." This approach shows that readings of poems, which in academic literary criticism often look like a product of settled knowledge, are in reality a continual negotiation between readers. But Derek Attridge and Henry Staten agree to rein in their own interpretive ingenuity and "minimally interpret" poems - reading them with careful regard for what the poem can be shown to actually say, in detail and as a whole, from opening to closure. Based on a series of emails, the book explores a number of topics in the reading of poetry, including historical and intellectual context, modernist difficulty, the role of criticism, and translation. This highly readable book will appeal to anyone who enjoys poetry, offering an inspiring resource for students whilst also mounting a challenge to some of the approaches to poetry currently widespread in the academy.

Only since the Romantic period has art been understood in terms of an ineffable aesthetic quality of things like poems, paintings, and sculptures, and the art-maker as endowed with an inexplicable power of creation. From the Greeks to the 18th century, art was conceived as techne--the skill and know-how by which things and states of affairs are ordered. Techne Theory shows how to use this concept to cut through the Romantic notion of art as a kind of magic by returning to the original sense of art as techne, the standpoint of the person who actually knows how to make a work of art. Understood as techne, art-making, like all other cultural accomplishments, is a form of work performed by an artisan who has inherited the know-how of previous generations of artisans. Along the way, Techne Theory cuts through the humanist-structuralist impasse over the question of artistic agency and explains what 'form' really means.

"Eros in Mourning" begins with a reading of the "Iliad" that shows how Homer, not yet influenced by the ideology of transcendence, analyzes the structure of unassuageable mourning in a way that is as up-to-date as the latest poststructuralism. Then, in readings of Dante, "Hamlet, La Princess de Cleves, " "Heart of Darkness," and Lacan, Staten depicts the "thanato-erotic" hysteria that is set off by the specter of the dead and decomposing body that is also the body of sexual love and which, in the "transcendentalizing" tradition, is more female than male. Yet, St. John, certain troubadours, and Milton offer glimpses of a more affirmative relation to "eros in mourning."

Henry Staten adopts an innovative "psychodialectical" approach to Nietzsche, drawn from Nietzsche's own doctrine that philosophical thought is governed by drives and instincts that for Nietzsche as for Freud are fundamentally sexual in nature. Staten explores what he calls the libidinal economy of the Nietzschean text, focusing on the dialectic between Nietzsche's conscious project and the system of erotic influences upon his writings. Addressing both Nietzsche's thematic concerns and the nuances of his rhetoric, Staten offers penetrating interpretations of individual works including The Genealogy of Morals, The Birth of Tragedy, and Thus Spake Zarathustra."

"By linking Wittgenstein with Derrida, Staten suggests that the intellectual relevance of deconstruction is wider than the English-speaking public has recognized."--"Studies in the Humanities"

"This work is altogether first rate. It is informative, faithful, rigorous and completely original in its problematization. It is an original theoretical advance which I believe will mark an essential step forward in the field."--Jacques Derrida

"Staten has plenty of philosophical acuity and critical sensitivity as well as wide philosophical scholarship, and he writes in a clear, muscular style which illuminates the issues sometimes profoundly without in any way concealing their difficulty and complxity. . . . "Wittgenstein and Derrida" should be essential reading not only for anyone interested in the current critical debate but also for philosophers."--Bernard Harrison, University of Sussex, England

This book examines Aristotle, Kant, and especially Husserl to bring to light Derrida's development of the classical philosophical concepts of form (eidos), verbal formula (logos), the object-in-general, and time. The later work of Wittgenstein is then examined in detail and Wittgenstein's "zigzag" writing in the Philosophical Investigations is interpreted as deconstructive syntax, directed, like Derrida's work, against the dominance of the philosophical concern with the form of an entity.

Henry Staten is a professor of English and philosophy at the University of Utah.

Only since the Romantic period has art been understood in terms of an ineffable aesthetic quality of things like poems, paintings, and sculptures, and the art-maker as endowed with an inexplicable power of creation. From the Greeks to the 18th century, art was conceived as techne--the skill and know-how by which things and states of affairs are ordered. Techne Theory shows how to use this concept to cut through the Romantic notion of art as a kind of magic by returning to the original sense of art as techne, the standpoint of the person who actually knows how to make a work of art. Understood as techne, art-making, like all other cultural accomplishments, is a form of work performed by an artisan who has inherited the know-how of previous generations of artisans. Along the way, Techne Theory cuts through the humanist-structuralist impasse over the question of artistic agency and explains what 'form' really means.