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In Jacques Derrida: Opening Lines, Marian Hobson gives us a
thorough and elegant analysis of this controversial and seminal
contemporary thinker. Looking closely at the language and the
construction of some of Derrida's philosophy, Hobson suggests the
way he writes, indeed the fact he writes in another language,
affects how he can be understood by English speakers.
This superb study on the question of language will make
illuminating reading for anyone studying or engaged with Derrida's
philosophy.
In Jacques Derrida: Opening Lines, Marian Hobson gives us a
thorough and elegant analysis of this controversial and seminal
contemporary thinker. Looking closely at the language and the
construction of some of Derrida's philosophy, Hobson suggests the
way he writes, indeed the fact he writes in another language,
affects how he can be understood by English speakers.
This superb study on the question of language will make
illuminating reading for anyone studying or engaged with Derrida's
philosophy.
Are works of art imitations? If so, what exactly do they imitate?
Should an artist remind his audience that what it is perceiving is
in fact artifice, or should he try above all to persuade it to
accept the illusion as reality? Questions such as these, which have
dominated aesthetic theory since the Greeks, were debated with
extraordinary vigour and ingenuity in eighteenth-century France. In
this book Dr Hobson analyses these debates, focusing in turn on
painting, the novel, drama, poetry and music. In each case she
relates theory to contemporary works of art by Watteau, Chardin,
Diderot, Beaumarchais, Gluck and many others. She shows that
disputes within the theory of each art centred upon the nature of
the perceiver's attention. Dr Hobson provides a method of mapping
the changes in artistic style which took place as the century
advanced. In discussing such conceptual transformations Dr Hobson
opens an important perspective for the study of Romanticism and
Realism.
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