The author of four seminal works on science and culture, Donna Haraway here speaks for the first time in a direct and non-academic voice. How Like a Leaf will be a welcome inside view of the author's thought.
From the Objectivists to e-poetry, this thoughtful and innovative book explores the dynamic relationship between the ethical imperative and poetic practice, revitalizing the study of the most prominent post-war American poets in a fresh, provocative way. Contributing to the "turn to ethics" in literary studies, the book begins with Emmanual Levinas’ philosophy, proposing that his reorientation of ontology and ethics demands a social responsibility. In poetic practice this responsibility for the other, it is argued, is both responsive to the traumatized semiotics of our shared language and directed towards an emancipatory social activism. Individual chapters deal with Charles Olson’s The Maximus Poems (including reproductions of previously unpublished archive material), Gary Snyder’s environmental poetry, Allen Ginsberg’s Beat poetics, Jerome Rothenberg’s ethnopoetics, and Bruce Andrew’s Language poetry. Following the book’s chronological and contextual approach, their work is situated within a constellation of poetic schools and movements, and in relation to the shifting socio-political conditions of post-war America. In its redefinition and extension of the key notion of "poethics" and, as guide to the development of experimental work in modern American poetry, this book will interest and appeal to a wide audience.
This book provides a comprehensive, critical overview of the turn to ethics in literature, film, and visual culture. It discusses the concept of a biovisual ethics, offering a new theory of the relation between film and ethics based on the premise that images are capable of generating their own ethical content. This ethics operates hermeneutically and materializes in cinema’s unique power to show us other modes of being. The author considers a wealth of contemporary art films and documentaries that embody ethical issues through the very form of the text. The ethical imagination generated by films such as The Nine Muses, Post Tenebras Lux, Amour, and Nostalgia For the Light is crucially defined by openness, uncertainty, opacity, and the refusal of hegemonic practices of visual representation.
Challenging the prevalent view that the 1960s did not have any lasting effect, From Revolution to Ethics demonstrates that intellectuals and activists turned to ethics as the touchstone for understanding interpersonal, institutional, and political dilemmas. In absorbing and scrupulously researched detail Bourg explores the developing ethical fascination as it emerged among student Maoists courting terrorism, anti-psychiatric celebrations of madness, feminists mobilizing against rape, and pundits and philosophers championing human rights.
Author: Todd F. Davis
Publisher: University of Virginia Press
Release Date: 2001
Genre: Literary Criticism
Divided into four descriptive sections—"Theory and the Ethics of Literary Text," "Confronting the Difficult: The Ethics of Race and Power," "Making Darkness Visible: The Ethical Implications of Narrative as Witness," and "Ways of Seeing: The Diversity of Applied Ethical Criticism"—this unprecedented collection of essays traces the interpretive, pedagogic, and theoretical concerns inherent in the study of literature, ethics, and modes of criticism. Wayne C. Booth's "Why Ethical Criticism Can Never Be Simple," J. Hillis Miller's "How to Be 'in Tune with the Right' in The Golden Bowl," Susan Gubar's "Poets of Testimony," and Martha C. Nussbaum's "Exactly and Responsibly: A Defense of Ethical Criticism" are among the fifteen essays included. Bringing together ethical criticism's most important theorists, Mapping the Ethical Turn is a cohesive introduction to a reading paradigm that continues to influence the ways in which we think and feel about the stories that mark our lives.
Author: Zahi Zalloua
Publisher: U of Nebraska Press
Release Date: 2014-05-01
Genre: Literary Criticism
Drawing on literary theory and canonical French literature, Reading Unruly examines unruliness as both an aesthetic category and a mode of reading conceived as ethical response. Zahi Zalloua argues that when faced with an unruly work of art, readers confront an ethical double bind, hesitating then between the two conflicting injunctions of either thematizing (making sense) of the literary work, or attending to its aesthetic alterity or unreadability. Creatively hesitating between incommensurable demands (to interpret but not to translate back into familiar terms), ethical readers are invited to cultivate an appreciation for the unruly, to curb the desire for hermeneutic mastery without simultaneously renouncing meaning or the interpretive endeavor as such. Examining French texts from Montaigneês sixteenth-century Essays to Diderotês fictional dialogue Rameauês Nephew and Baudelaireês prose poems The Spleen of Paris, to the more recent works of Jean-Paul Sartreês Nausea, Alain Robbe-Grilletês Jealousy, and Marguerite Durasês The Ravishing of Lol Stein, Reading Unruly demonstrates that in such an approach to literature and theory, reading itself becomes a desire for more, an ethical and aesthetic desire to prolong rather than to arrest the act of interpretation. ¾
Author: David Sergeant
Publisher: Edinburgh University Press
Release Date: 2011-11-30
Genre: Literary Criticism
New essays on Burns' special place in Scottish, English and Irish literary cultureIn this volume, 17 leading Burns scholars, poetry critics and practising poets reflect on the enduring significance of one of the most important poets of the 18th century. They show that Burns was a highly innovative and technically accomplished poet, as capable of transforming earlier traditions as of launching new literary trends.Looks at Burns' place amongst his literary predecessors, contemporaries and heirs, including:* Scottish poets such as Ramsay, Fergusson, Byron, Hogg, MacDiarmid, Paterson, Dunn & Mackay Brown* English poets such as Milton, Addison, Gray & Wordsworth* Classical writers such as Virgil* Irish poets such as Merriman, Goldsmith, Dermody & HeaneyBy looking at Burns in the context of other poets, each chapter sheds new lighton his own practices and the practice of poetry in general. They investigate the political, national, philosophical and ethical aspects of his poetry, showing how you can deepen
Author: Paul du Gay
Release Date: 2002-01-31
Genre: Social Science
Phrases such as `corporate culture', `market culture' and the `knowledge economy', have now become familiar clarion calls in the world of work. They are calls that have echoed through organizations and markets. Clearly something is happening to the ways markets and organizations are being represented and intervened in and this signals a need to reassess their very constitution. In particular, the once clean divide that placed the economy, dealt with mainly by economists, on one side, and culture, addressed chiefly by those in anthropology, sociology and the other `cultural sciences', on the other, can no longer hold. This volume presents the work of an international group of academics from a range of disciplines including sociology, media and cultural studies, social anthropology and geography, all of whom are involved not only in thinking `culture' into the economy but thinking culture and economy together.
Author: David Parker
Publisher: Cornell University Press
Release Date: 2007
Genre: Biography & Autobiography
All of us take our moral bearings from a conception of the good, or a range of goods, that we consider most important. We are in this sense selves in moral space. Building on the work of the philosopher Charles Taylor, among others, David Parker examines a range of classic and contemporary autobiographies—including those of St. Augustine, William Wordsworth, Friedrich Nietzsche, Edmund Gosse, Roland Barthes, Seamus Heaney, and J. M. Coetzee—to reveal a whole domain of life narrative that has been previously ignored, one that enables a new approach to the question of what constitutes a "good" life narrative. Moving from an ethics toward an aesthetics of life writing, Parker follows Wittgenstein's view that ethics and aesthetics are one.The Self in Moral Space is distinctive in that its key ethical question is not What is it right for the life writer to do? but the broader question What is it good to be? This question opens up an important debate with the dominant postmodern paradigms that prevail in life writing studies today. In Parker's estimation, such paradigms are incapable of explaining why life writing matters in the contemporary context. Life narrative, he argues, faces readers with the perennial ethical question How should a human being live? We need a new reconstructive paradigm, as offered by this book, in order to gain a fuller understanding of life narrative and its humanistic potential.
Addressing a constellation of diverse thinkers—including Emmanuel Levinas, Patricia Williams, Jean-Francois Lyotard, Michel Foucault, Frantz Fanon, Julia Kristeva, and Luce Irigaray—the author proposes a new conception of ethics, an ethics of dissensus that rethinks the relation between freedom and obligation in a double context of embodiment and antagonism. The author employs discourses that have hitherto been segregated: postmodern ethics, feminism, race theory, and the idea of radical democracy.
Author: Martti Koskenniemi
Publisher: Bloomsbury Publishing
Release Date: 2011-06-10
Today international law is everywhere. Wars are fought and opposed in its name. It is invoked to claim rights and to challenge them, to indict or support political leaders, to distribute resources and to expand or limit the powers of domestic and international institutions. International law is part of the way political (and economic) power is used, critiqued, and sometimes limited. Despite its claim for neutrality and impartiality, it is implicit in what is just, as well as what is unjust in the world. To understand its operation requires shedding its ideological spell and examining it with a cold eye. Who are its winners, and who are its losers? How - if at all - can it be used to make a better or a less unjust world? In this collection of essays Professor Martti Koskenniemi, a well-known practitioner and a leading theorist and historian of international law, examines the recent debates on humanitarian intervention, collective security, protection of human rights and the 'fight against impunity' and reflects on the use of the professional techniques of international law to intervene politically. The essays both illustrate and expand his influential theory of the role of international law in international politics. The book is prefaced with an introduction by Professor Emmanuelle Jouannet (Sorbonne Law School), which locates the texts in the overall thought and work of Martti Koskenniemi.
Author: Shameem Black
Publisher: Columbia University Press
Release Date: 2009-12-01
Genre: Literary Criticism
Theorists of Orientalism and postcolonialism argue that novelists betray political and cultural anxieties when characterizing "the Other." Shameem Black takes a different stance. Turning a fresh eye toward several key contemporary novelists, she reveals how "border-crossing" fiction represents socially diverse groups without resorting to stereotype, idealization, or other forms of imaginative constraint. Focusing on the work of J. M. Coetzee, Amitav Ghosh, Jeffrey Eugenides, Ruth Ozeki, Charles Johnson, Gish Jen, and Rupa Bajwa, Black introduces an interpretative lens that captures the ways in which these authors envision an ethics of representing social difference. They not only offer sympathetic portrayals of the lives of others but also detail the processes of imagining social difference. Whether depicting the multilingual worlds of South and Southeast Asia, the exportation of American culture abroad, or the racial tension of postapartheid South Africa, these transcultural representations explore social and political hierarchies in constructive ways. Boldly confronting the orthodoxies of recent literary criticism, Fiction Across Borders builds upon such seminal works as Edward Said's Orientalism and offers a provocative new study of the late twentieth-century novel.
Author: Rebecca L. Walkowitz
Publisher: Columbia University Press
Release Date: 2012-06-19
Genre: Literary Criticism
In this broad-ranging and ambitious intervention in the debates over the politics, ethics, and aesthetics of cosmopolitanism, Rebecca L. Walkowitz argues that modernist literary style has been crucial to new ways of thinking and acting beyond the nation. While she focuses on modernist narrative, Walkowitz suggests that style conceived expansively as attitude, stance, posture, and consciousness helps to explain many other, nonliterary formations of cosmopolitanism in history, anthropology, sociology, transcultural studies, and media studies. Walkowitz shows that James Joyce, Joseph Conrad, Virginia Woolf, Salman Rushdie, Kazuo Ishiguro, and W. G. Sebald use the salient features of literary modernism in their novels to explore different versions of transnational thought, question moral and political norms, and renovate the meanings of national culture and international attachment. By deploying literary tactics of naturalness, triviality, evasion, mix-up, treason, and vertigo, these six authors promote ideas of democratic individualism on the one hand and collective projects of antifascism or anti-imperialism on the other. Joyce, Conrad, and Woolf made their most significant contribution to this "critical cosmopolitanism" in their reflection on the relationships between narrative and political ideas of progress, aesthetic and social demands for literalism, and sexual and conceptual decorousness. Specifically, Walkowitz considers Joyce's critique of British imperialism and Irish nativism; Conrad's understanding of the classification of foreigners; and Woolf's exploration of how colonizing policies rely on ideas of honor and masculinity. Rushdie, Ishiguro, and Sebald have revived efforts to question the definitions and uses of naturalness, argument, utility, attentiveness, reasonableness, and explicitness, but their novels also address a range of "new ethnicities" in late-twentieth-century Britain and the different internationalisms of contemporary life. They use modernist strategies to articulate dynamic conceptions of local and global affiliation, with Rushdie in particular adding playfulness and confusion to the politics of antiracism. In this unique and engaging study, Walkowitz shows how Joyce, Conrad, and Woolf developed a repertoire of narrative strategies at the beginning of the twentieth century that were transformed by Rushdie, Ishiguro, and Sebald at the end. Her book brings to the forefront the artful idiosyncrasies and political ambiguities of twentieth-century modernist fiction.
Author: Rudi Visker
Publisher: Springer Science & Business Media
Release Date: 2006-01-27
At the origin of this volume, a simple question: what to make of that surprisingly monotonous series of statements produced by our societies and our philosophers that all converge in one theme - the importance of difference? To clarify the meaning of the difference at stake here, we have tried to rephrase it in terms of the two major and mutually competing paradigms provided by the history of phenomenology only to find both of them equally unable to accommodate this difference without violence. Neither the ethical nor the ontological approach can account for a subject that insists on playing a part of its own rather than following the script provided for it by either Being or the Good. What appears to be, from a Heideggerian or Levinasian perspective, an unwillingness to open up to what offers to deliver us from the condition of subjectivity is analysed in these pages as a structure in its own right. Far from being the wilful, indifferent and irresponsive being its critics have portrayed it to be, the so-called 'postmodern' subject is essentially finite, not even able to assume the transcendence to which it owes its singularity. This inability is not a lack - it points instead to a certain unthought shared by both Heidegger and Levinas which sets the terms for a discussion no longer our own. Instead of blaming Heidegger for underdeveloping 'being-with', we should rather stress that his account of mineness may be, in the light of contemporary philosophy, what stands most in need of revision. And, instead of hailing Levinas as the critic whose stress on the alterity of the Other corrects Heidegger's existential solipsism, the problems into which Levinas runs in defining that alterity call for a different diagnosis and a corresponding change in the course that phenomenology has taken since. Instead of preoccupying itself with the invisible, we should focus on the structures of visibility that protect us from its terror. The result? An account of difference that is neither ontological nor ethical, but 'mè-ontological', and that can help us understand some of the problems our societies have come to face (racism, sexism, multiculturalism, pluralism). And, in the wake of this, an unexpected defence of what is at stake in postmodernism and in the question it has refused to take lightly: who are we? Finally, an homage to Arendt and Lyotard who, if read through each other's lenses, give an exact articulation to the question with which our age struggles: how to think the 'human condition' once one realizes that there is an 'inhuman' side to it which, instead of being its mere negation, turns out to be that without which it would come to lose its humanity?