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Written in the wake of Jacques Derrida's death in 2004, Derrida From Now On attempts both to do justice to the memory of Derrida and to demonstrate the continuing significance of his work for contemporary philosophy and literary theory. If Derrida's thought is to remain relevant for us today, it must be at once understood in its original context and uprooted and transplanted elsewhere. Michael Naas thus begins with an analysis of Derrida's attachment to the French language, to Europe, and to European secular thought, before turning to Derrida's long engagement with the American context and to the ways in which deconstruction allows us to rethink the history, identity, and promise of post-9/11 America. Taking as its point of departure several of Derrida's later works (from Faith and Knowledgeand The Work of Mourning to Rogues and Learning to Live Finally), the book demonstrates how Derrida's analyses of the phantasms of sovereignty, the essential autoimmunity of democracy or religion, or the impossible mourning of the nation-state can help us to understand what is happening today in American culture, literature, and politics. Though Derrida's thought has always lived on only by being translated elsewhere, his disappearance will have driven home this necessity with a new force and an unprecedented urgency. Derrida From Now On is an effect of this force and an attempt to respond to this urgency.
A Different History of French Culture
Gambling has been a practice central to many cultures throughout history. In Dice, Cards, Wheels, Thomas M. Kavanagh scrutinizes the changing face of the gambler in France over a period of eight centuries, using gambling and its representations in literature as a lens through which to observe French culture. Kavanagh argues that the way people gamble tells us something otherwise unrecognized about the values, conflicts, and cultures that define a period or class. To gamble is to enter a world traced out by the rules and protocols of the game the gambler plays. That world may be an alternative to the established order, but the shape and structure of the game reveal indirectly hidden tensions, fears, and prohibitions.
Drawing on literature from the Middle Ages to the present, Kavanagh reconstructs the figure of the gambler and his evolving personae. He examines, among other examples, Bodel's dicing in a twelfth-century tavern for the conversion of the Muslim world; Pascal's post-Reformation redefinition of salvation as the gambler's prize; the aristocratic libertine's celebration of the bluff; and Balzac's, Barbey d'Aurevilly's, and Bourget's nineteenth-century revisions of the gambler.
Dice, Cards, Wheels embraces the tremendous breadth of French history and emerges as a broad-ranging study of the different forms of gambling, from the dice games of the Middle Ages to the digital slot machines of the twenty-first century, and what those games tell us about French culture and history.
Material Culture and Metaphysics in the Heptameron and Evangelical Narrative
arthly Treasures maps the presence, position and use in the narrative of a variety of material objects in Marguerite de Navarre's Heptameron. There is a wide selection of objects, ranging from tapestries with scripture passages woven into the borders, fine arts paintings, chalices incised with proverbs, emblems, table linens, copies of Bibles or manuscripts, clothing, masks, stage props, jewelry, furniture and foodstuffs. Although the presence of such material objects seems paradoxical, given the scriptural mandate to disregard things of this world, and to "store up treasure", rather, in heaven, Marguerite found license to use such objects both in the Bible and in the daily life-oriented and artifact-studded sermons and writings collected in the Table Talk of Martin Luther.
Vol. 1 (1988) through current issue
Eighteenth-Century Fiction publishes articles in both English and French on all aspects of imaginative prose in the period 1700–1800, but will also examine papers on late 17th-century or early 19th-century fiction, particularly when the works are discussed in connection with the eighteenth century.
Toward a Critique of (Post)colonial Expression
The relationship between power and language has been a central theme in critical theory for decades now, yet there is still much to be learned about the sheer force of language in the world in which we live. In Empire of Language, Laurent Dubreuil explores the power-language phenomenon in the context of European and, particularly, French colonialism and its aftermath. Through readings of the colonial experience, he isolates a phraseology based on possession, in terms of both appropriation and haunting, that has persisted throughout the centuries. Not only is this phraseology a legacy of the past, it is still active today, especially in literary renderings of the colonial experience-but also, and more paradoxically, in anticolonial discourse. This phrase shaped the teaching of European languages in the (former) empires, and it tried to configure the usage of those idioms by the "Indigenes." Then, scholarly disciplines have to completely reconsider their discursive strategies about the colonial, if, at least, they attempt to speak up.
Dubreuil ranges widely in terms of time and space, from the ancien régime through the twentieth century, from Paris to Haiti to Quebec, from the Renaissance to the riots in the banlieues. He examines diverse texts, from political speeches, legal documents, and colonial treatises to anthropological essays, poems of the Négritude, and contemporary rap, ever attuned to the linguistic strategies that undergird colonial power. Equally conversant in both postcolonial criticism and poststructuralist scholarship on language, but also deeply grounded in the sociohistorical context of the colonies, Dubreuil sets forth the conditions for an authentically postcolonial scholarship, one that acknowledges the difficulty of getting beyond a colonialism-and still maintains the need for an afterward.
Paulson examines literary, philosophical, and pedagogical writing on blindness in France from the Enlightenment, when philosophical speculation and surgical cures for cataracts demystified the difference between the blind and the sighted, to the nineteenth century, when the literary figure of the blind bard or seer linked blindness with genius, madness, and narrative art. A major theme of the book is the effect of blindness on the use of language and sign systems: the philosophes were concerned at first with understanding the doctrine of innate ideas, rather than with understanding blindness as such.
Originally published in 1987.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Divine and Literary Judgment in Fourteenth-Century French Poetry
Eschatological Subjects: Divine and Literary Judgment in Fourteenth-Century French Poetry takes an innovative approach to medieval eschatology by examining how poets cast themselves in the scene of judgment as defendants summoned to answer to the Almighty for the sins of their writing. Since medieval Europeans lived in perpetual anxiety of divine judgment, constantly surrounded by reminders in art and literature, author J. M. Moreau shows that this is a natural extension of medieval life. But Eschatological Subjects goes even further to demonstrate the largely unrecognized duality of this judge figure: not just God, the judge is also the imperious and imperfect human reader. The simultaneous divine and human judgments in (and of) French poetry reveal much about the ethical stakes of writing vernacular poetry in the later Middle Ages and importantly about the relationships between authors and audiences. Focusing on Guillaume de Deguileville, Guillaume de Machaut, and Jean Froissart (each of whom composed scenes in which they appear on trial before God), Moreau contributes important new insights on the complex “trial process” of later medieval literature, in which poetic authority and fame depended on the poet’s ability to defend himself before a fearful court of reader opinion.
Vol. 36 (1996) through current issue
Exploring all periods of French literature and thought, l'esprit créateur has been analyzing and documenting contemporary French and Francophone Studies for half a century. Contributors represent a variety of methodologies and critical approaches, and address literature, film, criticism, and culture.
"J.J. was born for music," Jean-Jacques Rousseau wrote of himself, "not to be consumed in its execution, but to speed its progress and make discoveries about it. His ideas on the art and about the art are fertile, inexhaustible." Rousseau was a practicing musician and theorist for years before publication of his first Discourse, but until now scholars have neglected these ideas.
This graceful translation remedies both those failings by bringing together the Essay, which John T. Scott says "most clearly displays the juncture between Rousseau's musical theory and his major philosophical works," with a comprehensive selection of the musical writings. Many of the latter are responses to authors like Rameau, Grimm, and Raynal, and a unique feature of this edition is the inclusion of writings by these authors to help establish the historical and ideological contexts of Rousseau's writings and the intellectual exchanges of which they are a part.
With an introduction that provides historical background, traces the development of Rousseau's musical theory, and shows that these writings are not an isolated part of his oeuvre but instead are animated by the same "system," this volume fashions a much-needed portal through which literary scholars, musicologists, historians, and political theorists can enter into an important but hitherto overlooked chamber of Rousseau's vast intellectual palace.