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.

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.

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.

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.