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Textual Layering: Contact, Historicity, Critique sets out to
rethink our relation to textual tradition against the background of
several contemporary developments, including the emergence of
digital culture, the increasing spectacularization of psychic as
well as social life, the renegotiation of historical thinking, and
the precarious position of the theoretical humanities within
academia. To this end, the volume re-invests the concept of
"layering," a concept currently used in a wide range of fields,
including metaphor studies and linguistics, cybernetics, the social
sciences, art, and architecture. Drawing on existing definitions of
"layering," the chapters in this book return to and re-appraise
some of the most crucial concerns in the post-1960s theoretical
scene: that is, concerns over the strained interplay between
writing and the body; textuality and history; critique, differance
and the feminine; memory, trace, and the immemorial. The aim of the
diverse-often polemical-analyses carried out in this volume is to
reactivate the critical force of textual tradition today through a
renewed appreciation of its historical embeddedness, its libidinal
sources, as well as its complex economy of separation and contact,
diachronicity and synchronicity, (re)layering and de-layering. This
collection will be of interest to scholars of continental
philosophy, literary theory, gender studies, architecture, film and
visual culture studies, psychoanalysis, postmodernism,
post-colonial studies, and political and social theory.
Julia Kristeva has revolutionized the study of modernism by
developing a theoretical approach that is uniquely attuned to the
dynamic interplay between, on the one hand, linguistic and formal
experimentation, and, on the other hand, subjective crisis and
socio-political upheaval. Inspired by the contestatory spirit of
the late 1960s in which she emerged as a theorist, Kristeva has
defended the project of the European avant-gardes and has
systematically attempted to reclaim their legacy in the new
societal structures produced by a global, spectacle-dominated
capitalism. Understanding Kristeva, Understanding Modernism brings
together essays that take up the threads in Kristeva's analyses of
the avant-garde, offering an appreciation of her overall
contribution, the intellectual and political horizon within which
she has produced her seminal works as well as of the blind spots
that need to be acknowledged in any contemporary examination of her
insights. As with other volumes in this series, this volume is
structured in three parts. The first part provides new readings of
key texts or central aspects in Kristeva's oeuvre. The second part
takes up the task of showing the impact of Kristeva's thought on
the appreciation of modernist concerns and strategies in a variety
of fields: literature, philosophy, the visual arts, and dance. The
third part is a glossary of some of Kristeva's key terms, with each
entry written by an expert contributor.
In Dialogue with Godot: Waiting and Other Thoughts, edited by
Ranjan Ghosh, PhD, puts together thirteen new essays on Beckett s
most popular and widely read play, Waiting for Godot. Chapters are
envisaged as dialogues with Godot, keeping in mind the event of
waiting and other issues related to this Godot-Waiting phenomenon.
The merit of this book lies in exploring this play from thirteen
fresh perspectives introducing some important themes that have not
been dealt previously. Contributors explore the play in reference
to topics as varied as Hindu philosophy, Agamben, Kristeva,
Derrida, the absence of women in the play, Aristotleanism in
structural reading, and anti-existentialism. Essays ask, can we
make claims to read this play outside the absurd tradition ? Is it
an anti-existential play? Can Beckett possibly be Indianised ? How
can the dialectic between waiting and delay be problematized? If
Beckett was up to de-structure conventional modes of drama-writing,
what connection could he possibly have with Aristotle and his
normative modes? Can the Vladimir-Estragon relationship be
critiqued psychoanalytically? Can questions of political commitment
be challenged anew, resisting easy propositions to considering it a
Resistance play? Can the Godot / Resistance collocation be examined
through torture (the series of beatings that structures the play),
through relationship (the pseudo-couple), and finally through
language (the insistent coupling of violence and meaning)? In
Dialogue with Godot offers a refreshingly new and varied approach
to Samuel Beckett s most popular play."
This innovative introductory text not only clearly explains
Kristeva's most difficult ideas, but also provides new insights
into her work. All Kristeva's key concepts are clearly explained,
and new interpretations are offered of the "chora," "Oedipus" and
"abjection," as well as "revolt" and the "feminine genius."
Kristeva's intellectual development is set in historical and
political context and the creative power of her work is also
highlighted. Finally, the original interview reveals Kristeva's
true intellectual and political aspirations.
This book occurs at the intersection of philosophy, critical
theory, psychoanalysis and the visual arts. Each chapter looks at
art produced in various traumatogenic cultures: detention centres,
post-Holocaust film, autobiography and many more.Other chapters
look at the Juarez femicides, the production of collective memory,
of makeshift memorials, acts of forgiveness and contemporary forms
of trauma. The book proposes new ways of 'thinking trauma',
foregrounding the possibility of healing and the task that the
critical humanities has to play in this healing. Where is its place
in an increasingly terror-haunted world, where personal and
collective trauma is as much of an everyday occurrence as it is
incomprehensible? What has become known as the 'classical model of
trauma' has foregrounded the unrepresentability of the traumatic
event. New, revisionist approaches seek to move beyond an aporetic
understanding of trauma, investigating both intersubjective and
intrasubjective psychic processes of healing. Traumatic memory is
not always verbal and 'iconic' forms of communication are part of
the arts of healing.
This book occurs at the intersection of philosophy, critical
theory, psychoanalysis and the visual arts. Each chapter looks at
art produced in various traumatogenic cultures: detention centres,
post-Holocaust film, autobiography and many more.Other chapters
look at the Juarez femicides, the production of collective memory,
of makeshift memorials, acts of forgiveness and contemporary forms
of trauma. The book proposes new ways of 'thinking trauma',
foregrounding the possibility of healing and the task that the
critical humanities has to play in this healing. Where is its place
in an increasingly terror-haunted world, where personal and
collective trauma is as much of an everyday occurrence as it is
incomprehensible? What has become known as the 'classical model of
trauma' has foregrounded the unrepresentability of the traumatic
event. New, revisionist approaches seek to move beyond an aporetic
understanding of trauma, investigating both intersubjective and
intrasubjective psychic processes of healing. Traumatic memory is
not always verbal and 'iconic' forms of communication are part of
the arts of healing.
In Dialogue with Godot: Waiting and Other Thoughts, Ranjan Ghosh
puts together thirteen new essays on Beckett's most popular and
widely read play, Waiting for Godot. Chapters are envisaged as
dialogues with Godot, keeping in mind the event of waiting and
other issues related to this Godot-Waiting phenomenon. The merit of
this book lies in exploring this play from thirteen fresh
perspectives introducing some important themes that have not been
dealt previously. Contributors explore the play in reference to
topics as varied as Hindu philosophy, Agamben, Kristeva, Derrida,
the absence of women in the play, Aristotleanism in structural
reading, and anti-existentialism. Essays ask, can we make claims to
read this play outside the "absurd tradition?" Is it an
anti-existential play? Can Beckett possibly be "Indianized?" How
can the dialectic between "waiting" and "delay" be problematized?
If Beckett was up to de-structure conventional modes of
drama-writing, what connection could he possibly have with
Aristotle and his normative modes? Can the Vladimir-Estragon
relationship be critiqued psychoanalytically? Can questions of
political commitment be challenged anew, resisting easy
propositions to considering it a Resistance play? Can the Godot /
Resistance collocation be examined through torture (the series of
beatings that structures the play), through relationship (the
pseudo-couple), and finally through language (the insistent
coupling of violence and meaning)? In Dialogue with Godot offers a
refreshingly new and varied approach to Samuel Beckett's most
popular play.
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