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- This is the first book of its kind to review a series of
contemporary novels in English through the prism of the critical
and theoretical categories of grievability and ungrievability. In
the wake of Judith Butler's work on (un-)grievable groups, it
addresses the ways in which fiction in English since the 1990s
operates in its singularity to delve into the socio-cultural
construction of grievability, thereby refining and displacing the
more traditional categories of subalternity, inaudibility and
invisibility associated with the poetics of postmodernism. - It
also considers these categories in relation with the neighbouring
issues of visibility and invisibility, ultimately providing a
welcome prism though which to envisage such secular forms as the
obituary and the elegy. Such genres provide means to perform
mourning or, conversely, postulate an ethics of melancholia through
continuing attachment to the departed. - Central to the objectives
of this volume is the idea of providing an analysis of how Butler's
influential categories may be of specific use to literary scholars
all the more so as, in our post-trauma age, this traditional
function of literature has brought to the fore such aspects of
grievability as the influence of race, class, gender and/or sexual
orientation in the determination of the grievability or
ungrievability of the human beings exposed to individual or
collective violence. - More concretely, this book uses the prism of
(un-)grievability to contribute to the study of the ethics and
politics of literature, taking on board the ethics and politics of
form. It shows how some fictions delve into the lives of those
considered ungrievable and are submitted to invisibility and/or
illicit dead, while, in perpetrator trauma fictions, it is the
perpetrators themselves whose refusal or impossibility to
acknowledge the harm done to others under warfare conditions,
foster a relation of spectrality that transforms the unfairly
killed into ghosts who cannot be laid down to rest. - The essays
collected in this volume relate the relevance of the
above-mentioned critical and theoretical categories to various
cultural areas of the English-speaking world, charting the
singularities and common concerns of an array of contemporary texts
and themes relating to various grounds of relegation and
invisibilisation.
- This is the first book of its kind to review a series of
contemporary novels in English through the prism of the critical
and theoretical categories of grievability and ungrievability. In
the wake of Judith Butler's work on (un-)grievable groups, it
addresses the ways in which fiction in English since the 1990s
operates in its singularity to delve into the socio-cultural
construction of grievability, thereby refining and displacing the
more traditional categories of subalternity, inaudibility and
invisibility associated with the poetics of postmodernism. - It
also considers these categories in relation with the neighbouring
issues of visibility and invisibility, ultimately providing a
welcome prism though which to envisage such secular forms as the
obituary and the elegy. Such genres provide means to perform
mourning or, conversely, postulate an ethics of melancholia through
continuing attachment to the departed. - Central to the objectives
of this volume is the idea of providing an analysis of how Butler's
influential categories may be of specific use to literary scholars
all the more so as, in our post-trauma age, this traditional
function of literature has brought to the fore such aspects of
grievability as the influence of race, class, gender and/or sexual
orientation in the determination of the grievability or
ungrievability of the human beings exposed to individual or
collective violence. - More concretely, this book uses the prism of
(un-)grievability to contribute to the study of the ethics and
politics of literature, taking on board the ethics and politics of
form. It shows how some fictions delve into the lives of those
considered ungrievable and are submitted to invisibility and/or
illicit dead, while, in perpetrator trauma fictions, it is the
perpetrators themselves whose refusal or impossibility to
acknowledge the harm done to others under warfare conditions,
foster a relation of spectrality that transforms the unfairly
killed into ghosts who cannot be laid down to rest. - The essays
collected in this volume relate the relevance of the
above-mentioned critical and theoretical categories to various
cultural areas of the English-speaking world, charting the
singularities and common concerns of an array of contemporary texts
and themes relating to various grounds of relegation and
invisibilisation.
Transcending the Postmodern: The Singular Response of Literature to
the Transmodern Paradigm gathers an introduction and ten chapters
concerned with the issue of Transmodernity as addressed by and
presented in contemporary novels hailing from various parts of the
English-speaking world. Building on the theories of Transmodernity
propounded by Rosa Maria Rodriguez Magda, Enrique Dussel, Marc
Luyckx Ghisi and Irena Ateljevic, inter alia, it investigates the
links between Transmodernity and such categories as Postmodernity,
Postcolonialism and Transculturalism with a view to help define a
new current in contemporary literary production. The chapters
either follow the main theoretical drives of the transmodern
paradigm or problematise them. In so doing, they branch out towards
various issues that have come to inspire contemporary novelists,
among which: the presence of the past, the ascendance of new
technologies, multiculturalism, terrorism, and also vulnerability,
interdependence, solidarity and ecology in a globalised context. In
so doing, it interrogates the ethics, aesthetics and politics of
the contemporary novel in English.
Editors Jean-Michel Ganteau and Susana Onega) have assembled a
volume which addresses the relationship between trauma and ethics,
and moves one step further to engage with vulnerability studies in
their relation to literature and literary form. It consists of an
introduction and of twelve articles written by specialists from
various European countries and includes an interview with US
novelist Jayne Anne Philips, conducted by her translator into
French, Marc Amfreville, addressing her latest novel, Quiet Dell,
through the victimhood-vulnerability prism. The corpus of primary
sources on which the volume is based draws on various literary
backgrounds in English, from Britain to India, through the USA. The
editors draw on material from the ethics of alterity, trauma
studies and the ethics of vulnerability in line with the work of
moral philosophers like Emmanuel Levinas, as well as with a more
recent and challenging tradition of continental thinkers, virtually
unknown so far in the English-speaking world, represented by
Guillaume Le Blanc, Nathalie Maillard, and Corinne Pelluchon, among
others. Yet another related line of thought followed in the volume
is that represented by feminist critics like Catriona McKenzie,
Wendy Rogers and Susan Dodds.
The Wounded Hero in Contemporary Fiction tracks the emergence of a
new type of physically and/or spiritually wounded hero(ine) in
contemporary fiction. Editors, Susana Onega and Jean-Michel Ganteu
bring together some of the top minds in the field to explore the
paradoxical lives of these heroes that have embraced, rather than
overcome, their suffering, alienation and marginalisation as a form
of self-definition.
Drawing on a variety of theoretical approaches including trauma
theory, psychoanalysis, genre theory, narrative theory, theories of
temporality, cultural theory, and ethics, this book breaks new
ground in bringing together trauma and romance, two categories
whose collaboration has never been addressed in such a systematic
and in-depth way. The volume shows how romance strategies have
become an essential component of trauma fiction in general and
traumatic realism in particular. It brings to the fore the
deconstructive powers of the darker type of romance and its
adequacy to perform traumatic acting out and fragmentation. It also
zooms in on the variations on the ghost story as medium for the
evocation of trans-generational trauma, as well as on the
therapeutic drive of romance that favors a narrative presentation
of the working-through phase of trauma. Chapters explore various
acceptations and extensions of psychic trauma, from the individual
to the cultural, analyzing narrative texts that belong in various
genres from the ghost story to the misery memoir to the graphic
novel. The selection of primary sources allows for a review of
leading contemporary British authors such as Peter Ackroyd, Martin
Amis, Ian McEwan, Salman Rushdie, Graham Swift, Sarah Waters and
Jeanette Winterson, and of those less canonical such as Jackie Kay,
Alan Moore and Dave Gibbons, Justine Picardie, Peter Roche and Adam
Thorpe.
This book provides a comprehensive compilation of essays on the
relationship between formal experimentation and ethics in a number
of generically hybrid or "liminal" narratives dealing with
individual and collective traumas, running the spectrum from the
testimonial novel and the fictional autobiography to the fake
memoir, written by a variety of famous, more neglected contemporary
British, Irish, US, Canadian, and German writers. Building on the
psychological insights and theorizing of the fathers of trauma
studies (Janet, Freud, Ferenczi) and of contemporary trauma critics
and theorists, the articles examine the narrative strategies,
structural experimentations and hybridizations of forms, paying
special attention to the way in which the texts fight the
unrepresentability of trauma by performing rather than representing
it. The ethicality or unethicality involved in this endeavor is
assessed from the combined perspectives of the non-foundational,
non-cognitive, discursive ethics of alterity inspired by Emmanuel
Levinas, and the ethics of vulnerability. This approach makes
Contemporary Trauma Narratives an excellent resource for scholars
of contemporary literature, trauma studies and literary theory.
Drawing on a variety of theoretical approaches including trauma
theory, psychoanalysis, genre theory, narrative theory, theories of
temporality, cultural theory, and ethics, this book breaks new
ground in bringing together trauma and romance, two categories
whose collaboration has never been addressed in such a systematic
and in-depth way. The volume shows how romance strategies have
become an essential component of trauma fiction in general and
traumatic realism in particular. It brings to the fore the
deconstructive powers of the darker type of romance and its
adequacy to perform traumatic acting out and fragmentation. It also
zooms in on the variations on the ghost story as medium for the
evocation of trans-generational trauma, as well as on the
therapeutic drive of romance that favors a narrative presentation
of the working-through phase of trauma. Chapters explore various
acceptations and extensions of psychic trauma, from the individual
to the cultural, analyzing narrative texts that belong in various
genres from the ghost story to the misery memoir to the graphic
novel. The selection of primary sources allows for a review of
leading contemporary British authors such as Peter Ackroyd, Martin
Amis, Ian McEwan, Salman Rushdie, Graham Swift, Sarah Waters and
Jeanette Winterson, and of those less canonical such as Jackie Kay,
Alan Moore and Dave Gibbons, Justine Picardie, Peter Roche and Adam
Thorpe.
The Wounded Hero in Contemporary Fiction tracks the emergence of a
new type of physically and/or spiritually wounded hero(ine) in
contemporary fiction. Editors, Susana Onega and Jean-Michel Ganteu
bring together some of the top minds in the field to explore the
paradoxical lives of these heroes that have embraced, rather than
overcome, their suffering, alienation and marginalisation as a form
of self-definition.
This book provides a comprehensive compilation of essays on the
relationship between formal experimentation and ethics in a number
of generically hybrid or "liminal" narratives dealing with
individual and collective traumas, running the spectrum from the
testimonial novel and the fictional autobiography to the fake
memoir, written by a variety of famous, more neglected contemporary
British, Irish, US, Canadian, and German writers. Building on the
psychological insights and theorizing of the fathers of trauma
studies (Janet, Freud, Ferenczi) and of contemporary trauma critics
and theorists, the articles examine the narrative strategies,
structural experimentations and hybridizations of forms, paying
special attention to the way in which the texts fight the
unrepresentability of trauma by performing rather than representing
it. The ethicality or unethicality involved in this endeavor is
assessed from the combined perspectives of the non-foundational,
non-cognitive, discursive ethics of alterity inspired by Emmanuel
Levinas, and the ethics of vulnerability. This approach makes
Contemporary Trauma Narratives an excellent resource for scholars
of contemporary literature, trauma studies and literary theory.
This text provides an excellent introduction and overview of
Narratology, a rapidly growing field in the humanities. Literary
narratologists have provided many key concepts and analytical tools
which are widely used in the interdisciplinary analysis of such
narrative features as plot, point of view, speech presentation,
ideological perspective and interpretation. The introduction
explains the central concepts of narratology, their historical
development, and draws together contemporary trends from many
different disciplines into common focus. It offers a compendium of
the development of narratology from classical poetics to the
present. The essays are all prefaced by individual forewords
helping the reader to place each individual selection in context.
Recent developments are assessed across disciplines, highlighting
the mutual influences of narratology and deconstruction,
psychoanalysis, feminism, film and media studies.
This volume addresses the construction and artistic representation
of traumatic memories in the contemporary Western world from a
variety of inter- and trans-disciplinarity critical approaches and
perspectives, ranging from the cultural, political, historical, and
ideological to the ethical and aesthetic, and distinguishing
between individual, collective, and cultural traumas. The chapters
introduce complementary concepts from diverse thinkers including
Cathy Caruth, Jacques Derrida, Judith Butler, Homi Bhabha, Abraham
and Torok, and Joyce Carol Oates; they also draw from fields of
study such as Memory Studies, Theory of Affects, Narrative and
Genre Theory, and Cultural Studies. Traumatic Memory and the
Political, Economic, and Transhistorical Functions of Literature
addresses trauma as a culturally embedded phenomenon and
deconstructs the idea of trauma as universal, transhistorical, and
abstract.
This volume addresses the construction and artistic representation
of traumatic memories in the contemporary Western world from a
variety of inter- and trans-disciplinarity critical approaches and
perspectives, ranging from the cultural, political, historical, and
ideological to the ethical and aesthetic, and distinguishing
between individual, collective, and cultural traumas. The chapters
introduce complementary concepts from diverse thinkers including
Cathy Caruth, Jacques Derrida, Judith Butler, Homi Bhabha, Abraham
and Torok, and Joyce Carol Oates; they also draw from fields of
study such as Memory Studies, Theory of Affects, Narrative and
Genre Theory, and Cultural Studies. Traumatic Memory and the
Political, Economic, and Transhistorical Functions of Literature
addresses trauma as a culturally embedded phenomenon and
deconstructs the idea of trauma as universal, transhistorical, and
abstract.
Editors Jean-Michel Ganteau and Susana Onega) have assembled a
volume which addresses the relationship between trauma and ethics,
and moves one step further to engage with vulnerability studies in
their relation to literature and literary form. It consists of an
introduction and of twelve articles written by specialists from
various European countries and includes an interview with US
novelist Jayne Anne Philips, conducted by her translator into
French, Marc Amfreville, addressing her latest novel, Quiet Dell,
through the victimhood-vulnerability prism. The corpus of primary
sources on which the volume is based draws on various literary
backgrounds in English, from Britain to India, through the USA. The
editors draw on material from the ethics of alterity, trauma
studies and the ethics of vulnerability in line with the work of
moral philosophers like Emmanuel Levinas, as well as with a more
recent and challenging tradition of continental thinkers, virtually
unknown so far in the English-speaking world, represented by
Guillaume Le Blanc, Nathalie Maillard, and Corinne Pelluchon, among
others. Yet another related line of thought followed in the volume
is that represented by feminist critics like Catriona McKenzie,
Wendy Rogers and Susan Dodds.
This text provides an excellent introduction and overview of
Narratology, a rapidly growing field in the humanities. Literary
narratologists have provided many key concepts and analytical tools
which are widely used in the interdisciplinary analysis of such
narrative features as plot, point of view, speech presentation,
ideological perspective and interpretation.
The introduction explains the central concepts of narratology,
their historical development, and draws together contemporary
trends from many different disciplines into common focus. It offers
a compendium of the development of narratology from classical
poetics to the present.
The essays are all prefaced by individual forewords helping the
reader to place each individual selection in context. Recent
developments are assessed across disciplines, highlighting the
mutual influences of narratology and deconstruction,
psychoanalysis, feminism, film and media studies.
Peter Ackroyd (b. 1947) in internationally celebrated as a novelist
and also well known as poet, biographer and reviewer. He came to
public notice after the publication of his award-winning novel,
Hawksmoor (1985), a thrilling historiographic metafiction that
combines the horror of an 18th-century gothic tale of ritual murder
with the suspense of a 20th-century detective story. A most
versatile and prolific writer, Ackroyd sees his different writing
activities as part of the same overall attempt to revitalise the
English cultural tradition. In the first book-length study to date,
Susana Onega's assessment of Ackroyd's literary identify treads the
entire range of his writings. Topics covered by the book include
Ackroyd's fictional treatment of London, his recovery of the
English Catholic cultural tradition; his self-conscious re-writing
of history; and the way in which the multilayered interplay of form
and meaning in the novels works to enhance the fictionality of the
created world while simultaneously suggesting a paradoxical
yearning for mythical closure.
This is the first full-length study of Jeanette Winterson's
complete oeuvre, offering detailed analysis of her nine novels as
well as addressing her non-fiction and minor fictional work. Susana
Onega combines the study of formal issues such as narrative
structure, perspective and point of view with thematic analyses
approached from a variety of theoretical perspectives, from
narratology and feminist theory to Hermetic and Kabalistic
symbolism, to provide a comprehensive 'vertical' analysis of
Winterson's novels. Onega reveals the books as complex linguistic
artefacts, crammed with intertextual echoes. She demonstrates the
inseparability of form and meaning within Winterson's work, and
positions her within the wider context of contemporary British
fiction alongside fellow visionaries such as Peter Ackroyd, Maureen
Duffy and Marina Warner. -- .
Transcending the Postmodern: The Singular Response of Literature to
the Transmodern Paradigm gathers an introduction and ten chapters
concerned with the issue of Transmodernity as addressed by and
presented in contemporary novels hailing from various parts of the
English-speaking world. Building on the theories of Transmodernity
propounded by Rosa Maria Rodriguez Magda, Enrique Dussel, Marc
Luyckx Ghisi and Irena Ateljevic, inter alia, it investigates the
links between Transmodernity and such categories as Postmodernity,
Postcolonialism and Transculturalism with a view to help define a
new current in contemporary literary production. The chapters
either follow the main theoretical drives of the transmodern
paradigm or problematise them. In so doing, they branch out towards
various issues that have come to inspire contemporary novelists,
among which: the presence of the past, the ascendance of new
technologies, multiculturalism, terrorism, and also vulnerability,
interdependence, solidarity and ecology in a globalised context. In
so doing, it interrogates the ethics, aesthetics and politics of
the contemporary novel in English.
This is the first full-length study of Jeanette Winterson's
complete oeuvre, offering detailed analysis of her nine novels as
well as addressing her non-fiction and minor fictional work. Susana
Onega combines the study of formal issues such as narrative
structure, perspective and point of view with thematic analyses
approached from a variety of theoretical perspectives, from
narratology and feminist theory to Hermetic and Kabalistic
symbolism, to provide a comprehensive 'vertical' analysis of
Winterson's novels. Onega reveals the books as complex linguistic
artefacts, crammed with intertextual echoes. She demonstrates the
inseparability of form and meaning within Winterson's work, and
positions her within the wider context of contemporary British
fiction alongside fellow visionaries such as Peter Ackroyd, Maureen
Duffy and Marina Warner. -- .
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