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It has become a commonplace that "images" were central to the
twentieth century and that their role will be even more powerful in
the twenty-first. But what is an image and what can an image be?
"Releasing the Image" understands images as something beyond mere
representations of things. Releasing images from that function, it
shows them to be self-referential and self-generative, and in this
way capable of producing forms of engagement beyond spectatorship
and subjectivity. This understanding of images owes much to
phenomenology--the work of Husserl, Heidegger, and
Merleau-Ponty--and to Gilles Deleuze's post-phenomenological work.
The essays included here cover historical periods from the Romantic
era to the present and address a range of topics, from Cezanne's
painting, to images in poetry, to contemporary audiovisual art.
They reveal the aesthetic, ethical, and political stakes of the
project of releasing images and provoke new ways of engaging with
embodiment, agency, history, and technology.
It has become a commonplace that "images" were central to the
twentieth century and that their role will be even more powerful in
the twenty-first. But what is an image and what can an image be?
"Releasing the Image" understands images as something beyond mere
representations of things. Releasing images from that function, it
shows them to be self-referential and self-generative, and in this
way capable of producing forms of engagement beyond spectatorship
and subjectivity. This understanding of images owes much to
phenomenology--the work of Husserl, Heidegger, and
Merleau-Ponty--and to Gilles Deleuze's post-phenomenological work.
The essays included here cover historical periods from the Romantic
era to the present and address a range of topics, from Cezanne's
painting, to images in poetry, to contemporary audiovisual art.
They reveal the aesthetic, ethical, and political stakes of the
project of releasing images and provoke new ways of engaging with
embodiment, agency, history, and technology.
The arrival of the Anthropocene brings the suggestion that we are
only now beginning to speculate on an inhuman world that is not for
us, only now confronting fears and anxieties of ecological,
political, social, and philosophical extinction. While pointing out
that reflections on disaster were not foreign to what we
historically call romanticism, Last Things pushes romantic thought
toward an altogether new way of conceiving the "end of things," one
that treats lastness as neither privation nor conclusion. Through
quieter, non-emphatic modes of thinking the end of human thought,
Khalip explores lastness as what marks the limits of our life and
world. Reading the fate of romanticism-and romantic studies-within
the key of the last, Khalip refuses to elegize or celebrate our
ends, instead positing romanticism as a negative force that exceeds
theories, narratives, and figures of survival and sustainability.
Each chapter explores a range of romantic and contemporary
materials: poetry by John Clare, Emily Dickinson, John Keats, Percy
Shelley, and William Wordsworth; philosophical texts by William
Godwin, David Hume, Immanuel Kant, and Jean-Jacques Rousseau;
paintings by Hubert Robert, Caspar David Friedrich, and Paterson
Ewen; installations by Tatsuo Miyajima and James Turrell; and
photography by John Dugdale, Peter Hujar, and Joanna Kane.
Shuttling between temporalities, Last Things undertakes an original
reorganization of romantic thought for contemporary culture. It
examines an archive on the side of disappearance, perishing, the
inhuman, and lastness.
Romanticism is often synonymous with models of identity and action
that privilege individual empowerment and emotional autonomy. In
the last two decades, these models have been the focus of critiques
of Romanticism's purported self-absorption and alienation from
politics. While such critiques have proven useful, they often draw
attention to the conceptual or material tensions of romantic
subjectivity while accepting a conspicuous, autonomous subject as a
given, thus failing to appreciate the possibility that Romanticism
sustains an alternative model of being, one anonymous and
dispossessed, one whose authority is irreducible to that of an
easily recognizable, psychologized persona. In "Anonymous Life,"
Khalip goes against the grain of these dominant critical stances by
examining anonymity as a model of being that is provocative for
writers of the era because it resists the Enlightenment emphasis on
transparency and self-disclosure. He explores how romantic
subjectivity, even as it negotiates with others in the social
sphere, frequently rejects the demands of self-assertion and fails
to prove its authenticity and coherence.
Constellations of a Contemporary Romanticism takes its title and
point of departure from Walter Benjamin's concept of the historical
constellation, which puts both "contemporary" and "romanticism" in
play as period designations and critical paradigms. Featuring
fascinating and diverse contributions by an international roster of
distinguished scholars working in and out of romanticism-from
deconstruction to new historicism, from queer theory to
postcolonial studies, from visual culture to biopolitics-this
volume makes good on a central tenet of Benjamin's conception of
history: These critics "grasp the constellation" into which our
"own era has formed with a definite earlier one." Each of these
essays approaches romanticism as a decisive and unexpired thought
experiment that makes demands on and poses questions for our own
time: What is the unlived of a contemporary romanticism? What has
romanticism's singular untimeliness bequeathed to futurity? What is
romanticism's contemporary "redemption value" for painting and
politics, philosophy and film?
Constellations of a Contemporary Romanticism takes its title and
point of departure from Walter Benjamin's concept of the historical
constellation, which puts both "contemporary" and "romanticism" in
play as period designations and critical paradigms. Featuring
fascinating and diverse contributions by an international roster of
distinguished scholars working in and out of romanticism-from
deconstruction to new historicism, from queer theory to
postcolonial studies, from visual culture to biopolitics-this
volume makes good on a central tenet of Benjamin's conception of
history: These critics "grasp the constellation" into which our
"own era has formed with a definite earlier one." Each of these
essays approaches romanticism as a decisive and unexpired thought
experiment that makes demands on and poses questions for our own
time: What is the unlived of a contemporary romanticism? What has
romanticism's singular untimeliness bequeathed to futurity? What is
romanticism's contemporary "redemption value" for painting and
politics, philosophy and film?
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