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This book investigates what Bataille, in "The Pineal Eye," calls
mythological representation: the mythological anthropology with
which this unusual thinker wished to outflank and undo scientific
(and philosophical) anthropology. Gasche probes that anthropology
by situating Bataille's thought with respect to the quatrumvirate
of Schelling, Hegel, Nietzsche, and Freud. He begins by showing
what Bataille's understanding of the mythological owes to
Schelling. Drawing on Hegel, Nietzsche, and Freud, he then explores
the notion of image that constitutes the sort of representation
that Bataille's innovative approach entails. Gasche concludes that
Bataille's mythological anthropology takes on Hegel's phenomenology
in a systematic fashion. By reading it backwards, he not only
dismantles its architecture, he also ties each level to the
preceding one, replacing the idealities of philosophy with the
phantasmatic representations of what he dubs "low materialism."
Phenomenology, Gasche argues, thus paves the way for a new
"science" of phantasms.
The Naked Communist argues that the political ideologies of
modernity were fundamentally determined by four basic figures: the
world, the enemy, the secret, and the catastrophe. While the
"world" names the totality that functioned as the ultimate horizon
of modern political imagination, the three other figures define the
necessary limits of this totality by reflecting on the limits of
representation. The book highlights the enduring presence of these
figures in the modern imagination through detailed analysis of a
concrete historical example: American anti-Communist politics of
the 1950s. Its primary objective is to describe the internal
mechanisms of what we could call an anti- Communist "aesthetic
ideology." The book thus traces the way anti-Communist popular
culture emerged in the discourse of Cold War liberalism as a
political symptom of modernism. Based on a discursive analysis of
American anti-Communist politics, the book presents parallel
readings of modernism and popular fiction from the 1950s (nuclear
holocaust novels, spy novels, and popular political novels) in
order to show that, despite the radical separation of the two
cultural fields, they both participated in a common ideological
program.
The Naked Communist argues that the political ideologies of
modernity were fundamentally determined by four basic figures: the
world, the enemy, the secret, and the catastrophe. While the
"world" names the totality that functioned as the ultimate horizon
of modern political imagination, the three other figures define the
necessary limits of this totality by reflecting on the limits of
representation. The book highlights the enduring presence of these
figures in the modern imagination through detailed analysis of a
concrete historical example: American anti-Communist politics of
the 1950s. Its primary objective is to describe the internal
mechanisms of what we could call an anti- Communist "aesthetic
ideology." The book thus traces the way anti-Communist popular
culture emerged in the discourse of Cold War liberalism as a
political symptom of modernism. Based on a discursive analysis of
American anti-Communist politics, the book presents parallel
readings of modernism and popular fiction from the 1950s (nuclear
holocaust novels, spy novels, and popular political novels) in
order to show that, despite the radical separation of the two
cultural fields, they both participated in a common ideological
program.
This book investigates what Bataille, in The Pineal Eye, calls
mythological representation: the mythological anthropology with
which this unusual thinker wished to outflank and undo scientific
(and philosophical) anthropology. Gasch(r) probes that anthropology
by situating Bataille's thought with respect to the quatrumvirate
of Schelling, Hegel, Nietzsche, and Freud. He begins by showing
what Bataille's understanding of the mythological owes to
Schelling. Drawing on Hegel, Nietzsche, and Freud, he then explores
the notion of image that constitutes the sort of representation
that Bataille's innovative approach entails. Gasch(r) concludes
that Bataille's mythological anthropology takes on Hegel's
phenomenology in a systematic fashion. By reading it backwards, he
not only dismantles its architecture, he also ties each level to
the preceding one, replacing the idealities of philosophy with the
phantasmatic representations of what he dubs low materialism.
Phenomenology, Gasch(r) argues, thus paves the way for a new
science of phantasms.
The world of international politics has recently been rocked by a
seemingly endless series of scandals involving auditory
surveillance: the NSA's warrantless wiretapping is merely the most
sensational example of what appears to be a universal practice
today. What is the source of this generalized principle of
eavesdropping? All Ears: The Aesthetics of Espionage traces the
long history of moles from the Bible, through Jeremy Bentham's
"panacoustic" project, all the way to the intelligence-gathering
network called "Echelon." Together with this archeology of auditory
surveillance, Szendy offers an engaging account of spycraft's
representations in literature (Sophocles, Shakespeare, Joyce,
Kafka, Borges), opera (Monteverdi, Mozart, Berg), and film (Lang,
Hitchcock, Coppola, De Palma). Following in the footsteps of
Orpheus, the book proposes a new concept of "overhearing" that
connects the act of spying to an excessive intensification of
listening. At the heart of listening Szendy locates the ear of the
Other that manifests itself as the originary division of a
"split-hearing" that turns the drive for mastery and surveillance
into the death drive.
Handsomely Done: Aesthetics, Politics, and Media after Melville
brings together leading and emerging scholars from comparative
literature, critical theory, and media studies to examine
Melville's works in light of their ongoing afterlife and seemingly
permanent contemporaneity. The volume explores the curious fact
that the works of this most linguistically complex and seemingly
most "untranslatable" of authors have yielded such compelling
translations and adaptations as well as the related tendency of
Melville's writing to flash into relevance at every new
historical-political conjuncture. The volume thus engages not only
Melville-reception across media (Jorge Luis Borges, John Huston,
Jean-Luc Godard, Led Zeppelin, Claire Denis) but also the
Melvillean resonances and echoes of various political events and
movements, such as the Attica Uprising, the Red Army Faction,
Occupy Wall Street, and Black Lives Matter. This consideration of
Melville's afterlife opens onto theorizations of intermediality,
un/translatability, and material intensity even as it also
continually faces the most concrete and pressing questions of
history and politics. Handsomely Done presents readers with a
Melville who is a philologist and even a cinematographer, but also
a potent political thinker, a thinker of capital and credit as well
as of resistance, insubordination, and escape.
The world of international politics has recently been rocked by a
seemingly endless series of scandals involving auditory
surveillance: the NSA's warrantless wiretapping is merely the most
sensational example of what appears to be a universal practice
today. What is the source of this generalized principle of
eavesdropping? All Ears: The Aesthetics of Espionage traces the
long history of moles from the Bible, through Jeremy Bentham's
"panacoustic" project, all the way to the intelligence-gathering
network called "Echelon." Together with this archeology of auditory
surveillance, Szendy offers an engaging account of spycraft's
representations in literature (Sophocles, Shakespeare, Joyce,
Kafka, Borges), opera (Monteverdi, Mozart, Berg), and film (Lang,
Hitchcock, Coppola, De Palma). Following in the footsteps of
Orpheus, the book proposes a new concept of "overhearing" that
connects the act of spying to an excessive intensification of
listening. At the heart of listening Szendy locates the ear of the
Other that manifests itself as the originary division of a
"split-hearing" that turns the drive for mastery and surveillance
into the death drive.
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