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This collection of specially commissioned essays offers a wide
array of new psychoanalytic approaches impacted by Lacanian theory,
queer studies, post-colonial studies, feminism, and deconstruction
in the domains of film and literature. We have witnessed a
remarkable return to psychoanalysis in those fields, fields from
which it had been excluded or discredited for a while. This has
changed recently, and we need to understand why. The fourteen
essays make use a freshly minted psychoanalytic concepts to read
diverse texts, films and social practices. The distinguished
authors gathered here, an international group of scholars coming
from Japan, China, Korea, India, Belgium, Greece, France,
Australia, and the USA, are all cognizant of the advances of theory
under the form of deconstruction, feminism, post-colonial studies
and trauma studies. These essays take into account the latest
developments in Lacanian theory and never bracket off subjective
agency when dealing with literature or film. The authors make sense
of changes brought to psychoanalytical theory by redefinitions of
the Oedipus complex, reconsiderations of the death drive,
applications of Lacan's symptom and the concept of the Real,
reassessments of the links between affect and trauma, insights into
the resilience of Romantic excess and jouissance, awareness of the
role of transference in classical and modernist texts, and
pedagogical techniques aimed at teaching difficult texts, all the
while testifying to the influence on Lacanian theory of thinkers
like Maurice Blanchot, Roland Barthes, Melanie Klein, Didier
Anzieu, Jacques Derrida, Judith Butler, Gilles Deleuze, Alain
Badiou, and Slavoj Zizek. Chapter 3 of this book is freely
available as a downloadable Open Access PDF under a Creative
Commons Attribution-Non Commercial-No Derivatives 4.0 license
available at http://www.taylorfrancis.com/books/e/9781003002727
This gathering of eminent thinkers from the sciences and the
humanities engages a common theme: In what ways does language-and
storytelling in particular-deal with ethics in science, in
literature, and in other art forms? Evelyn Fox Keller, Jean-Michel
Rabate, Mieke Bal, and Roald Hoffmann explore ways in which science
and rhetoric, politics and fiction, science and storytelling, and
ethics and aesthetics are deeply and creatively imbricated with
each other, rather than distinct and autonomous.
This gathering of eminent thinkers from the sciences and the
humanities engages a common theme: In what ways does language-and
storytelling in particular-deal with ethics in science, in
literature, and in other art forms? Evelyn Fox Keller, Jean-Michel
Rabate, Mieke Bal, and Roald Hoffmann explore ways in which science
and rhetoric, politics and fiction, science and storytelling, and
ethics and aesthetics are deeply and creatively imbricated with
each other, rather than distinct and autonomous.
This collection of specially commissioned essays offers a wide
array of new psychoanalytic approaches impacted by Lacanian theory,
queer studies, post-colonial studies, feminism, and deconstruction
in the domains of film and literature. We have witnessed a
remarkable return to psychoanalysis in those fields, fields from
which it had been excluded or discredited for a while. This has
changed recently, and we need to understand why. The fourteen
essays make use a freshly minted psychoanalytic concepts to read
diverse texts, films and social practices. The distinguished
authors gathered here, an international group of scholars coming
from Japan, China, Korea, India, Belgium, Greece, France,
Australia, and the USA, are all cognizant of the advances of theory
under the form of deconstruction, feminism, post-colonial studies
and trauma studies. These essays take into account the latest
developments in Lacanian theory and never bracket off subjective
agency when dealing with literature or film. The authors make sense
of changes brought to psychoanalytical theory by redefinitions of
the Oedipus complex, reconsiderations of the death drive,
applications of Lacan's symptom and the concept of the Real,
reassessments of the links between affect and trauma, insights into
the resilience of Romantic excess and jouissance, awareness of the
role of transference in classical and modernist texts, and
pedagogical techniques aimed at teaching difficult texts, all the
while testifying to the influence on Lacanian theory of thinkers
like Maurice Blanchot, Roland Barthes, Melanie Klein, Didier
Anzieu, Jacques Derrida, Judith Butler, Gilles Deleuze, Alain
Badiou, and Slavoj Zizek. Chapter 3 of this book is freely
available as a downloadable Open Access PDF under a Creative
Commons Attribution-Non Commercial-No Derivatives 4.0 license
available at http://www.taylorfrancis.com/books/e/9781003002727
This volume makes a significant contribution to both the study of
Derrida and of modernist studies. The contributors argue, first,
that deconstruction is not "modern"; neither is it "postmodern" nor
simply "modernist." They also posit that deconstruction is
intimately connected with literature, not because deconstruction
would be a literary way of doing philosophy, but because literature
stands out as a "modern" notion. The contributors investigate the
nature and depth of Derrida's affinities with writers such as
Joyce, Kafka, Antonin Artaud, Georges Bataille, Paul Celan, Maurice
Blanchot, Theodor Adorno, Samuel Beckett, and Walter Benjamin,
among others. With its strong connection between philosophy and
literary modernism, this highly original volume advances modernist
literary study and the relationship of literature and philosophy.
Expectation is a major volume of Jean-Luc Nancy's writings on
literature, written across three decades but, for the most part,
previously unavailable in English. More substantial than literary
criticism, these essays collectively negotiate literature's
relation to philosophy. Nancy pursues such questions as
literature's claims to truth, the status of narrative, the relation
of poetry and prose, and the unity of a book or of a text, and he
addresses a number of major European writers, including Dante,
Sterne, Rousseau, Hoelderlin, Proust, Joyce, and Blanchot. The
final section offers a number of impressive pieces by Nancy that
completely merge his concerns for philosophy and literature and
philosophy-as-literature. These include a lengthy parody of
Valery's "La Jeune Parque," several original poems by Nancy, and a
beautiful prose-poetic discourse on an installation by Italian
artist Claudio Parmiggiani that incorporates the Faust theme.
Opening with a substantial Introduction by Jean-Michel Rabate that
elaborates Nancy's importance as a literary thinker, this book
constitutes the most substantial statement to date by one of
today's leading philosophers on a discipline that has been central
to his work across his career.
Raoul Moati intervenes in the critical debate that divided two
prominent philosophers in the mid-twentieth century. In the 1950s,
the British philosopher J. L. Austin advanced a theory of speech
acts, or the "performative," that Jacques Derrida and John R.
Searle interpreted in fundamentally different ways. Their
disagreement centered on the issue of intentionality, which Derrida
understood phenomenologically and Searle read pragmatically. The
controversy had profound implications for the development of
contemporary philosophy, which, Moati argues, can profit greatly by
returning to this classic debate. In this book, Moati
systematically replays the historical encounter between Austin,
Derrida, and Searle and the disruption that caused the lasting
break between Anglo-American language philosophy and continental
traditions of phenomenology and its deconstruction. The key issue,
Moati argues, is not whether "intentionality," a concept derived
from Husserl's phenomenology, can or cannot be linked to Austin's
speech-acts as defined in his groundbreaking How to Do Things with
Words, but rather the emphasis Searle placed on the performativity
and determined pragmatic values of Austin's speech-acts, whereas
Derrida insisted on the trace of writing behind every act of speech
and the iterability of signs in different contexts.
Raoul Moati intervenes in the critical debate that divided two
prominent philosophers in the mid-twentieth century. In the 1950s,
the British philosopher J. L. Austin advanced a theory of speech
acts, or the "performative," that Jacques Derrida and John R.
Searle interpreted in fundamentally different ways. Their
disagreement centered on the issue of intentionality, which Derrida
understood phenomenologically and Searle read pragmatically. The
controversy had profound implications for the development of
contemporary philosophy, which, Moati argues, can profit greatly by
returning to this classic debate. In this book, Moati
systematically replays the historical encounter between Austin,
Derrida, and Searle and the disruption that caused the lasting
break between Anglo-American language philosophy and continental
traditions of phenomenology and its deconstruction. The key issue,
Moati argues, is not whether "intentionality," a concept derived
from Husserl's phenomenology, can or cannot be linked to Austin's
speech-acts as defined in his groundbreaking How to Do Things with
Words, but rather the emphasis Searle placed on the performativity
and determined pragmatic values of Austin's speech-acts, whereas
Derrida insisted on the trace of writing behind every act of speech
and the iterability of signs in different contexts.
"An extensive volume of Barthes's work on film, photography, and
visual culture has been overdue. Jean-Michel Rabate has chosen an
apt moment to fill this gap."--Gabriele Schwab, University of
California, Irvine "A valuable, exciting, and welcome addition to
the commentary in English on Roland Barthes."--Michael Groden,
University of Western Ontario In the final stages of his career,
Roland Barthes abandoned his long-standing suspicion of
photographic representation to write Camera Lucida, at once an
elegy to his dead mother and a treatise on photography. In "Writing
the Image After Roland Barthes," Jean-Michel Rabate and nineteen
contributors examine the import of Barthes's shifting positions on
photography and visual representation and the impact of his work on
current developments in cultural studies and theories of the media
and popular culture.
This book examines Samuel Beckett's unique lesson in courage in the
wake of humanism's postwar crisis-the courage to go on living even
after experiencing life as a series of catastrophes. Rabate, a
former president of the Samuel Beckett Society and a leading
scholar of modernism, explores the whole range of Beckett's plays,
novels, and essays. He places Beckett in a vital philosophical
conversation that runs from Bataille to Adorno, from Kant and Sade
to Badiou. At the same time, he stresses Beckett's inimitable sense
of metaphysical comedy. Foregrounding Beckett's decision to write
in French, Rabate inscribes him in a continental context marked by
a "writing degree zero" while showing the prescience and ethical
import of Beckett's tendency to subvert the "human" through the
theme of the animal. Beckett's "declaration of inhuman rights," he
argues, offers the funniest mode of expression available to us
today.
Examining the ways in which modernism is created within specific
historical contexts, as well as how it redefines the concept of
history itself, this book sheds new light on the
historical-mindedness of modernism and the artistic avant-gardes.
Cutting across Anglophone and less explored European traditions and
featuring work from a variety of eminent scholars, it deals with
issues as diverse as artistic medium, modernist print culture,
autobiography as history writing, avant-garde experimentations and
modernism's futurity. Contributors examine both literary and
artistic modernism, combining theoretical overviews and archival
research with case studies of Anglophone as well as European
modernism, which speak to the current historicizing trend in
modernist and literary studies.
Jean-Michel Rabate uses Nietzsche's image of a "pathos of
distance," the notion that values are created by a few gifted and
lofty individuals, as the basis for a wide-ranging investigation
into the ethics of the moderns. Revealing overlooked connections
between Nietzsche's and Benjamin's ideas of history and ethics,
Rabate provides an original genealogy for modernist thought, moving
through figures and moments as varied as Yeats and the birth of
Irish Modernism, the ethics of courage in Virginia Woolf, Rilke,
Apollinaire, and others in 1910, T. S. Eliot's post-war despair,
Jean Cocteau's formidable selfmythology in his first film The Blood
of a Poet, Siri Hustvedt's novel of American trauma, and J. M.
Coetzee's dystopia portraying an affectless future haunted by a
messianic promise.
Jean-Michel Rabate uses Nietzsche's image of a "pathos of
distance," the notion that values are created by a few gifted and
lofty individuals, as the basis for a wide-ranging investigation
into the ethics of the moderns. Revealing overlooked connections
between Nietzsche's and Benjamin's ideas of history and ethics,
Rabate provides an original genealogy for modernist thought, moving
through figures and moments as varied as Yeats and the birth of
Irish Modernism, the ethics of courage in Virginia Woolf, Rilke,
Apollinaire, and others in 1910, T. S. Eliot's post-war despair,
Jean Cocteau's formidable selfmythology in his first film The Blood
of a Poet, Siri Hustvedt's novel of American trauma, and J. M.
Coetzee's dystopia portraying an affectless future haunted by a
messianic promise.
The decade since the publication of Jean-Michel Rabate's
controversial manifesto "The Future"" of Theory" saw important
changes in the field. The demise of most of the visible French or
German philosophers, who had produced texts that would trigger new
debates, then to be processed by Theory, has led to drastic
revisions and starker assessments. Globalization has been the most
obvious factor to modify the selection of texts studied. During the
twentieth century, Theory incorporated poetics, rhetorics,
aesthetics and linguistics, while also opening itself to
continental philosophy. What has changed today? The knowledge that
we live in a de-centered world has destabilized the primacy granted
to a purely Western canon. Moreover, much of contemporary theory
remains highly allusive and this is often baffling for students.
Theory keeps recycling itself, producing authentic returns of basic
theses, terms and concepts. Canonical modern theorists often return
to classical texts, as those of Plato, Kant, Hegel, Nietzsche. And
now we want to know: what is new?"Crimes of the Future "explores
the past, present and potential future of Theory.
The decade since the publication of Jean-Michel Rabate's
controversial manifesto "The Future"" of Theory" saw important
changes in the field. The demise of most of the visible French or
German philosophers, who had produced texts that would trigger new
debates, then to be processed by Theory, has led to drastic
revisions and starker assessments. Globalization has been the most
obvious factor to modify the selection of texts studied. During the
twentieth century, Theory incorporated poetics, rhetorics,
aesthetics and linguistics, while also opening itself to
continental philosophy. What has changed today? The knowledge that
we live in a de-centered world has destabilized the primacy granted
to a purely Western canon. Moreover, much of contemporary theory
remains highly allusive and this is often baffling for students.
Theory keeps recycling itself, producing authentic returns of basic
theses, terms and concepts. Canonical modern theorists often return
to classical texts, as those of Plato, Kant, Hegel, Nietzsche. And
now we want to know: what is new?"Crimes of the Future "explores
the past, present and potential future of Theory.
This book examines Samuel Beckett's unique lesson in courage in the
wake of humanism's postwar crisis-the courage to go on living even
after experiencing life as a series of catastrophes. Rabate, a
former president of the Samuel Beckett Society and a leading
scholar of modernism, explores the whole range of Beckett's plays,
novels, and essays. He places Beckett in a vital philosophical
conversation that runs from Bataille to Adorno, from Kant and Sade
to Badiou. At the same time, he stresses Beckett's inimitable sense
of metaphysical comedy. Foregrounding Beckett's decision to write
in French, Rabate inscribes him in a continental context marked by
a "writing degree zero" while showing the prescience and ethical
import of Beckett's tendency to subvert the "human" through the
theme of the animal. Beckett's "declaration of inhuman rights," he
argues, offers the funniest mode of expression available to us
today.
This collection of essays explores the main concepts and methods of
reading launched by French philosopher Jacques Derrida who died in
2004. Derrida exerted a huge influence on literary critics in the
1980s, but later there was a backlash against his theories. Today,
one witnesses a general return to his way of reading literature,
the rationale of which is detailed and explained in the essays. The
authors, both well-known and younger specialists, give many precise
examples of how Derrida, who always remained at the cusp between
literature and philosophy, posed fundamental questions and thus
changed the field of literary criticism, especially with regard to
poetry. The contributors also highlight the way Derrida made
spectacular interventions in feminism, psychoanalytic studies,
animal studies, digital humanities and post-colonial studies.
This volume is an introduction to the relationship between
psychoanalysis and literature. Jean-Michel Rabate takes Sigmund
Freud as his point of departure, studying in detail Freud's
integration of literature in the training of psychoanalysts and how
literature provided crucial terms for his myriad theories, such as
the Oedipus complex. Rabate subsequently surveys other
theoreticians such as Wilfred Bion, Marie Bonaparte, Carl Jung,
Jacques Lacan, and Slavoj Zizek. This Introduction is organized
thematically, examining in detail important terms like deferred
action, fantasy, hysteria, paranoia, sublimation, the uncanny,
trauma, and perversion. Using examples from Miguel de Cervantes and
William Shakespeare to Sophie Calle and Yann Martel, Rabate
demonstrates that the psychoanalytic approach to literature,
despite its erstwhile controversy, has recently reemerged as a
dynamic method of interpretation.
Jacques Lacan is renowned as a theoretician of psychoanalysis whose work is still influential in many countries. He refashioned psychoanalysis in the name of philosophy and linguistics at a time when it faced certain intellectual decline. Focusing on key terms in Lacan's often difficult, idiosyncratic development of psychoanalysis, this volume brings new perspectives to the work of an intimidating influential thinker.
Much has been written on Beckett and Sade, yet nothing systematic
has been produced. This Element is systematic by adopting a
chronological order, which is necessary given the complexity of
Beckett's varying assessments of Sade. Beckett mentioned Sade early
in his career, with Proust as a first guide. His other sources were
Guillaume Apollinaire and Mario Praz's book, La Carne, La morte e
il Diavolo Nella Letteratura Romantica (1930), from which he took
notes about sadism for his Dream Notebook. Dante's meditation on
the absurdity of justice provides closure facing Beckett's wonder
at the pervasive presence of sadism in humans.
This collection explains developments within Beckett studies and
why he has emerged as one of the most iconic writers of the
twentieth century. It also proposes a new interpretive framework
that explores both the expanded canon, which has doubled the volume
of his works in the last ten years, and the new methods used to
approach it. This book covers all the most recent approaches to the
Beckett study, such as archival research, queer theory,
mathematical readings of literature, neuro-scientific approaches,
translation studies, and disability studies. These new approaches
are shown to be relevant and necessary to provide a renewed
understanding of the lasting value of Beckett's works.
1922: Literature, Culture, Politics examines key aspects of culture
and history in 1922, a year made famous by the publication of
several modernist masterpieces, such as T. S. Eliot's The Waste
Land and James Joyce's Ulysses. Individual chapters written by
leading scholars offer new contexts for the year's significant
works of art, philosophy, politics, and literature. 1922 also
analyzes both the political and intellectual forces that shaped the
cultural interactions of that privileged moment. Although this
volume takes post-World War I Europe as its chief focus, American
artists and authors also receive thoughtful consideration. In its
multiplicity of views, 1922 challenges misconceptions about the
'Lost Generation' of cultural pilgrims who flocked to Paris and
Berlin in the 1920s, thus stressing the wider influence of that
momentous year.
1922: Literature, Culture, Politics examines key aspects of culture
and history in 1922, a year made famous by the publication of
several modernist masterpieces, such as T. S. Eliot's The Waste
Land and James Joyce's Ulysses. Individual chapters written by
leading scholars offer new contexts for the year's significant
works of art, philosophy, politics, and literature. 1922 also
analyzes both the political and intellectual forces that shaped the
cultural interactions of that privileged moment. Although this
volume takes post-World War I Europe as its chief focus, American
artists and authors also receive thoughtful consideration. In its
multiplicity of views, 1922 challenges misconceptions about the
'Lost Generation' of cultural pilgrims who flocked to Paris and
Berlin in the 1920s, thus stressing the wider influence of that
momentous year.
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