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Georges Bataille (1897 - 1962) was a philosopher, writer, and
literary critic whose work has had a significant impact across
disciplines as diverse as philosophy, sociology, economics, art
history and literary criticism, as well as influencing key figures
in post-modernist and post-structuralist philosophy such as Jacques
Derrida and Michel Foucault. In recent years, the number of works
published on Georges Bataille, as well as the variety of contexts
in which his work is invoked, has markedly increased. In Georges
Bataille: Key Concepts an international team of contributors
provide an accessible introduction to and survey of Bataille's
thought. The editors' introduction provides an overview of
Bataille's work, while the chapters in the first section cover the
social, political, artistic and philosophical contexts that shaped
his thought. In the second part, each chapter engages with a key
theme in Bataille's philosophy, including: art, eroticism, evil,
inner experience, heterology, religion, sacrifice, and sovereignty.
The final chapter addresses Bataille's literary writings. Georges
Bataille: Key Concepts is an invaluable guide for students from
across the Humanities and Social Sciences, coming to Bataille's
work for the first time. Contributors: Giulia Agostini, Elisabeth
Arnould-Bloomfield, Tiina Arppe, Marcus Coelen, Simonetta
Falasca-Zamponi, Patrick ffrench, Marina Galletti, Nadine Hartmann,
Mark Hewson, Andrew Hussey, Stuart Kendall, Claire Nioche, Gerhard
Poppenberg, and Michele Richman.
Georges Bataille (1897 - 1962) was a philosopher, writer, and
literary critic whose work has had a significant impact across
disciplines as diverse as philosophy, sociology, economics, art
history and literary criticism, as well as influencing key figures
in post-modernist and post-structuralist philosophy such as Jacques
Derrida and Michel Foucault. In recent years, the number of works
published on Georges Bataille, as well as the variety of contexts
in which his work is invoked, has markedly increased. In Georges
Bataille: Key Concepts an international team of contributors
provide an accessible introduction to and survey of Bataille's
thought. The editors' introduction provides an overview of
Bataille's work, while the chapters in the first section cover the
social, political, artistic and philosophical contexts that shaped
his thought. In the second part, each chapter engages with a key
theme in Bataille's philosophy, including: art, eroticism, evil,
inner experience, heterology, religion, sacrifice, and sovereignty.
The final chapter addresses Bataille's literary writings. Georges
Bataille: Key Concepts is an invaluable guide for students from
across the Humanities and Social Sciences, coming to Bataille's
work for the first time. Contributors: Giulia Agostini, Elisabeth
Arnould-Bloomfield, Tiina Arppe, Marcus Coelen, Simonetta
Falasca-Zamponi, Patrick ffrench, Marina Galletti, Nadine Hartmann,
Mark Hewson, Andrew Hussey, Stuart Kendall, Claire Nioche, Gerhard
Poppenberg, and Michele Richman.
Blanchot's writings on literature have imposed themselves in the
canon of modern literary theory and yet have remained a mysterious
presence. This is in part due to their almost hypnotic literary
style, in part due to their distinctive amalgam of a number of
philosophical sources (Hegel, Heidegger, Levinas, Bataille), which,
although hardly unknown in the Anglophone philosophical world, have
not yet made themselves fully at home in literary theory.
This book aims to make visible the coherence of Blanchot's critical
project. To recognize the challenge that Blanchot represents for
literary criticism, one has to see that he always has in view the
self-interrogation that characterizes modern literature, both in
its theory and its practice. Blanchot's essays study the forms and
the paths of this research, its solutions and its impasses; and
increasingly, they sketch out the philosophical and historical
horizon within which its significance appears. The effect is to
revise the terms in which we see the genesis of the modern literary
concept, not least of the manifestations of which is literary
criticism itself.
Blanchot's writings on literature have imposed themselves in the
canon of modern literary theory and yet have remained a mysterious
presence. This is in part due to their almost hypnotic literary
style, in part due to their distinctive amalgam of a number of
philosophical sources (Hegel, Heidegger, Levinas, Bataille), which,
although hardly unknown in the Anglophone philosophical world, have
not yet made themselves fully at home in literary theory.
This book aims to make visible the coherence of Blanchot's critical
project. To recognize the challenge that Blanchot represents for
literary criticism, one has to see that he always has in view the
self-interrogation that characterizes modern literature, both in
its theory and its practice. Blanchot's essays study the forms and
the paths of this research, its solutions and its impasses; and
increasingly, they sketch out the philosophical and historical
horizon within which its significance appears. The effect is to
revise the terms in which we see the genesis of the modern literary
concept, not least of the manifestations of which is literary
criticism itself.
This excavation report follows earlier work undertaken in 1997-99,
and reveals a similar pattern of finds - a Late Neolithic / Early
Bronze Age funerary landscape to the north of the site and a mainly
Iron Age and Roman agrarian site to the south. The funerary site is
of considerable significance, and finds include some of the
earliest pottery to be found in Staffordshire.
Although it is appealing to think that fashion has taken a sharp
turn away from conventions established in the industry over the
past century and more, is this really the case? Or are 'pioneering'
designs simply part of a cyclical revival of forgotten fashions?
Looking at some of the most influential designers of the twentieth
century, Vinken considers the politics and philosophies that have
been the driving forces directing their sense of style.Vinken
describes 'Fashion Zeitgeist' as a trend characterized by
representations of traces of the past. She considers the key
concepts behind designers such as Yamamoto, Gaultier, and
Lagerfeld. The originality of Yamamoto's multi-layered look stems
from his philosophy that it is the individual sum of experience
that is important, not the collective consequences of history.
Martin Margiela, although he himself refuses to be photographed or
appear in the public eye, brings new individuality into fashion.
Chanel, under the direction of Karl Lagerfeld, is viewed as the
only fashion house to have remained fresh after 100 years, yet is
this success essentially proof of the self-referential qualities
fashion has adopted? What inspired the fetish for labels at the end
of the twentieth century? Answering these questions and many more,
this concise and thought-provoking book shows how beauty, gender,
sexuality, commerce and dandyism have persisted in defining the
fashion system.
Although it is appealing to think that fashion has taken a sharp
turn away from conventions established in the industry over the
past century and more, is this really the case? Or are 'pioneering'
designs simply part of a cyclical revival of forgotten fashions?
Looking at some of the most influential designers of the twentieth
century, Vinken considers the politics and philosophies that have
been the driving forces directing their sense of style.Vinken
describes 'Fashion Zeitgeist' as a trend characterized by
representations of traces of the past. She considers the key
concepts behind designers such as Yamamoto, Gaultier, and
Lagerfeld. The originality of Yamamoto's multi-layered look stems
from his philosophy that it is the individual sum of experience
that is important, not the collective consequences of history.
Martin Margiela, although he himself refuses to be photographed or
appear in the public eye, brings new individuality into fashion.
Chanel, under the direction of Karl Lagerfeld, is viewed as the
only fashion house to have remained fresh after 100 years, yet is
this success essentially proof of the self-referential qualities
fashion has adopted? What inspired the fetish for labels at the end
of the twentieth century? Answering these questions and many more,
this concise and thought-provoking book shows how beauty, gender,
sexuality, commerce and dandyism have persisted in defining the
fashion system.
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