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Hitherto classified as a form of genre fiction, or as a particular
aesthetic quality of literature by H. P. Lovecraft, the weird has
now come to refer to a broad spectrum of artistic practices and
expressions including fiction, film, television, photography,
music, and visual and performance art. Largely under-theorized so
far, The American Weird brings together perspectives from literary,
cultural, media and film studies, and from philosophy, to provide a
thorough exploration of the weird mode. Separated into two sections
– the first exploring the concept of the weird and the second how
it is applied through various media – this book generates new
approaches to fundamental questions: Can the weird be
conceptualized as a generic category, as an aesthetic mode or as an
epistemological position? May the weird be thought through in
similar ways to what Sianne Ngai calls the zany, the cute, and the
interesting? What are the transformations it has undergone
aesthetically and politically since its inception in the early
twentieth century? Which strands of contemporary critical theory
and philosophy have engaged in a dialogue with the discourses of
and on the weird? And what is specifically “American” about
this aesthetic mode? As the first comprehensive, interdisciplinary
study of the weird, this book not only explores the writings of
Lovecraft, Caitlín Kiernan, China Miéville, and Jeff VanderMeer,
but also the graphic novels of Alan Moore, the music of Captain
Beefheart, the television show Twin Peaks and the films of Lily
Amirpour, Matthew Barney, David Lynch, and Jordan Peele.
This collection of essays discusses genre fiction and film within
the discursive framework of the environmental humanities and
analyses the convergent themes of spatiality, climate change, and
related anxieties concerning the future of human affairs, as
crucial for any understanding of current forms of "weird" and
"fantastic" literature and culture. Given their focus on the
culturally marginal, unknown, and "other," these genres figure as
diagnostic modes of storytelling, outlining the latent anxieties
and social dynamics that define a culture's "structure of feeling"
at a given historical moment. The contributions in this volume map
the long and continuous tradition of weird and fantastic fiction as
a seismograph for eco-geographical turmoil from the nineteenth to
the twenty-first century, offering innovative and insightful
ecocritical readings of H. P. Lovecraft, Harriet Prescott Spofford,
China Mieville, N. K. Jemisin, Thomas Ligotti, and Jeff VanderMeer,
among others.
One of the most important French philosophers working today,
Francois Laruelle has developed an innovative and powerful
repertoire of concepts across an oeuvre spanning four decades and
more than twenty books. His work-termed non-philosophy or, more
recently, non-standard philosophy-has garnered international
attention in recent years and stands likely to have a significant
impact on the critical practices of the humanities in the near
future. Bringing together some of the most prominent scholars of
Laruelle, Superpositions: Laruelle and the Humanities explores the
intersections of Laruelle's work with multiple discourses within
the humanities, including philosophy, critical theory, political
theory, media studies, and religious studies. The book addresses
two main questions: In what relation does non-philosophical thought
stand with respect to the materials and methods of other
disciplines? How can Laruelle's non-standard philosophy be applied,
appropriated and used by other discourses? Superpositions provides
a useful introduction to Laruelle's work for students and scholars,
and marks an important intervention into one of the most vigorous
and contested areas of contemporary scholarship in the critical
humanities.
One of the most important French philosophers working today,
Francois Laruelle has developed an innovative and powerful
repertoire of concepts across an oeuvre spanning four decades and
more than twenty books. His work-termed non-philosophy or, more
recently, non-standard philosophy-has garnered international
attention in recent years and stands likely to have a significant
impact on the critical practices of the humanities in the near
future. Bringing together some of the most prominent scholars of
Laruelle, Superpositions: Laruelle and the Humanities explores the
intersections of Laruelle's work with multiple discourses within
the humanities, including philosophy, critical theory, political
theory, media studies, and religious studies. The book addresses
two main questions: In what relation does non-philosophical thought
stand with respect to the materials and methods of other
disciplines? How can Laruelle's non-standard philosophy be applied,
appropriated and used by other discourses? Superpositions provides
a useful introduction to Laruelle's work for students and scholars,
and marks an important intervention into one of the most vigorous
and contested areas of contemporary scholarship in the critical
humanities.
This collection of essays discusses genre fiction and film within
the discursive framework of the environmental humanities and
analyses the convergent themes of spatiality, climate change, and
related anxieties concerning the future of human affairs, as
crucial for any understanding of current forms of "weird" and
"fantastic" literature and culture. Given their focus on the
culturally marginal, unknown, and "other," these genres figure as
diagnostic modes of storytelling, outlining the latent anxieties
and social dynamics that define a culture's "structure of feeling"
at a given historical moment. The contributions in this volume map
the long and continuous tradition of weird and fantastic fiction as
a seismograph for eco-geographical turmoil from the nineteenth to
the twenty-first century, offering innovative and insightful
ecocritical readings of H. P. Lovecraft, Harriet Prescott Spofford,
China Mieville, N. K. Jemisin, Thomas Ligotti, and Jeff VanderMeer,
among others.
Hitherto classified as a form of genre fiction, or as a particular
aesthetic quality of literature by H. P. Lovecraft, the weird has
now come to refer to a broad spectrum of artistic practices and
expressions including fiction, film, television, photography,
music, and visual and performance art. Largely under-theorized so
far, The American Weird brings together perspectives from literary,
cultural, media and film studies, and from philosophy, to provide a
thorough exploration of the weird mode. Separated into two sections
– the first exploring the concept of the weird and the second how
it is applied through various media – this book generates new
approaches to fundamental questions: Can the weird be
conceptualized as a generic category, as an aesthetic mode or as an
epistemological position? May the weird be thought through in
similar ways to what Sianne Ngai calls the zany, the cute, and the
interesting? What are the transformations it has undergone
aesthetically and politically since its inception in the early
twentieth century? Which strands of contemporary critical theory
and philosophy have engaged in a dialogue with the discourses of
and on the weird? And what is specifically “American” about
this aesthetic mode? As the first comprehensive, interdisciplinary
study of the weird, this book not only explores the writings of
Lovecraft, Caitlín Kiernan, China Miéville, and Jeff VanderMeer,
but also the graphic novels of Alan Moore, the music of Captain
Beefheart, the television show Twin Peaks and the films of Lily
Amirpour, Matthew Barney, David Lynch, and Jordan Peele.
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