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Indeterminacy, Infinity, Irresolvability
The Musically Sublime rewrites musically the history and philosophy of the sublime. Music enables us to reconsider the traditional course of sublime feeling on a track from pain to pleasure. Resisting the notionthat there is a single format for sublime feeling, Wurth shows how, from the mid–eighteenth century onward, sublime feeling is, instead, constantly rearticulated in a complex interaction with musicality.Wurth takes as her point of departure Immanuel Kant’s Critique of Judgment and Jean-François Lyotard’s aesthetic writings of the 1980s and 1990s. Kant framed the sublime narratively as an epic of selftranscendence. By contrast, Lyotard sought to substitute immanence for Kantian transcendence, yet he failed to deconstruct the Kantian epic. The book performs this deconstruction by juxtaposing eighteenth- andnineteenth-century conceptions of the infinite, Sehnsucht, the divided self, and unconscious drives with contemporary readings of instrumental music.
Books, Literature, and the Culture of Consumption in Germany, 1770–1815
The consumer revolution of the eighteenth century brought new and exotic commodities to Europe from abroad—coffee, tea, spices, and new textiles to name a few. Yet one of the most widely distributed luxury commodities in the period was not new at all, and was produced locally: the book. In Necessary Luxuries, Matt Erlin considers books and the culture around books during this period, focusing specifically on Germany where literature, and the fine arts in general, were the subject of soul-searching debates over the legitimacy of luxury in the modern world.
Building on recent work done in the fields of consumption studies as well as the New Economic Criticism, Erlin combines intellectual-historical chapters (on luxury as a concept, luxury editions, and concerns about addictive reading) with contextualized close readings of novels by Campe, Wieland, Moritz, Novalis, and Goethe. As he demonstrates, artists in this period were deeply concerned with their status as luxury producers. The rhetorical strategies they developed to justify their activities evolved in dialogue with more general discussions regarding new forms of discretionary consumption. By emphasizing the fragile legitimacy of the fine arts in the period, Necessary Luxuries offers a fresh perspective on the broader trajectory of German literature in the late eighteenth and early nineteenth century, recasting the entire period in terms of a dynamic unity, rather than simply as a series of literary trends and countertrends.
Culture, Politics, and the Animality of the Human Being
This book explores the significance of human animality in the philosophy of Friedrich Nietzsche and provides the first systematic treatment of the animal theme in Nietzsche's corpus as a whole Lemm argues that the animal is neither a random theme nor a metaphorical device in Nietzsche's thought. Instead, it stands at the center of his renewal of the practice and meaning of philosophy itself. Lemm provides an original contribution to on-going debates on the essence of humanism and its future. At the center of this new interpretation stands Nietzsche's thesis that animal life and its potential for truth, history, and morality depends on a continuous antagonism between forgetfulness (animality) and memory (humanity). This relationship accounts for the emergence of humanity out of animality as a function of the antagonism between civilization and culture. By taking the antagonism of culture and civilization to be fundamental for Nietzsche's conception of humanity and its becoming, Lemm gives a new entry point into the political significance of Nietzsche's thought. The opposition between civilization and culture allows for the possibility that politics is more than a set of civilizational techniques that seek to manipulate, dominate, and exclude the animality of the human animal. By seeing the deep-seated connections of politics with culture, Nietzsche orients politics beyond the domination over life and, instead, offers the animality of the human being a positive, creative role in the organization of life. Lemm's book presents Nietzsche as the thinker of an emancipatory and affirmative biopolitics.This book will appeal not only to readers interested in Nietzsche, but also to anyone interested in the theme of the animal in philosophy, literature, cultural studies and the arts, as well as those interested in the relation between biological life and politics.
This volume explores the three normative sciences that Peirce distinguished (aesthetics, ethics, and logic) and their relation to phenomenology and metaphysics. The essays approach this topic from a variety of angles, ranging from questions concerning the normativity of logic to an application of Peirce's semiotics to John Coltrane's "A Love Supreme." A recurrent question throughout is whether a moral theory can be grounded in Peirce's work, despite his rather vehement denial that this can be done. Some essays ask whether a dichotomy exists between theoretical and practical ethics. Other essays show that Peirce's philosophy embraces meliorism, examine the role played by self-control, seek to ground communication theory in Peirce's speculative rhetoric, or examine the normative aspect of the notion of truth.
Architectural Metaphor in German Thought
The eighteenth century struggled to define architecture as either an art or a science-the image of the architect as a grand figure who synthesizes all other disciplines within a single master plan emerged from this discourse. Immanuel Kant and Johann Wolfgang Goethe described the architect as their equal, a genius with godlike creativity. For writers from Descartes to Freud, architectural reasoning provided a method for critically examining consciousness. The architect, as philosophers liked to think of him, was obligated by the design and construction process to mediate between the abstract and the actual.
In On the Ruins of Babel, Daniel Purdy traces this notion back to its wellspring. He surveys the volatile state of architectural theory in the Enlightenment, brought on by the newly emerged scientific critiques of Renaissance cosmology, then shows how German writers redeployed Renaissance terminology so that "harmony," "unity," "synthesis," "foundation," and "orderliness" became states of consciousness, rather than terms used to describe the built world. Purdy's distinctly new interpretation of German theory reveals how metaphors constitute interior life as an architectural space to be designed, constructed, renovated, or demolished. He elucidates the close affinity between Hegel's Romantic aesthetic of space and Daniel Libeskind's deconstruction of monumental architecture in Berlin's Jewish Museum.
Through a careful reading of Walter Benjamin's writing on architecture as myth, Purdy details how classical architecture shaped Benjamin's modernist interpretations of urban life, particularly his elaboration on Freud's archaeology of the unconscious. Benjamin's essays on dreams and architecture turn the individualist sensibility of the Enlightenment into a collective and mythic identification between humans and buildings.
Dreaming, Writing, and Restlessness in Twentieth-Century Literature
I sleep, but my heart wakes,says the Song of Songs. The other nightnames the sleepless night we spend in dreams.From The Interpretation of Dreams to Finnegans Wake, many of the great writing projects of the first half of the twentieth century articulate experiences of waking in the very depths of sleep, where no Ican declare itself present though the heart still beats. After World War II, in the cold light of the closure of the age of dreambooks, Beckett and Blanchot discover with new clarity, and new fatigue, that what wakes when the Isleeps doesn't sleep when the Iwakes.Revisiting Freud's argument that the dream is a form of writing, The Other Night looks at how life becomes literature in this wakefulness. Though we seem to be seeing things in our dreams, we are actually confronted with a kind of writing. This writing is not in our power, and yet it is ours. We are responsible for it in the same strange way that we are responsible for our lives.
Reflections On Philosophic Tradition
Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form--of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions. Recalling that drawing and design were once used interchangeably, Nancy notes that "drawing" designates a design that remains without project, plan, or intention. His argument offers a way of rethinking a number of historical terms (sketch, draft, outline, plan, mark, notation), which includes rethinking drawing in its graphic, filmic, choreographic, poetic, melodic, and rhythmic sense. If drawing is not reducible to any form of closure, it never resolves a tension specific to drawing but allows the pleasure of drawing to come into appearance, which is also the pleasure in drawing, the gesture of a desire that remains in excess of all knowledge. Situating drawing in these terms, Nancy engages a number of texts in which Freud addresses the force of desire in the rapport between aesthetic and sexual pleasure, texts that also turn around the same questions concerning form in its formation, form as a formative force. Between the sections of the text, Nancy has placed a series of "sketchbooks" on drawing, composed of a broad range of quotations on art from different writers, artists, or philosophers.
Identities, Sexualities, and the Theater of Gender
More than any other area of late-twentieth-century thinking, gender theory and its avatars have been to a large extent a Franco-American invention. In this book, a leading Franco-American scholar traces differences and intersections in the development of gender and queer theories on both sides of the Atlantic. Looking at these theories through lenses that are both “American” and “French,” thus simultaneously retrospective and anticipatory, she tries to account for their alleged exhaustion and currency on the two sides of the Atlantic. The book is divided into four parts. In the first, the author examines two specifically “American” features of gender theories since their earliest formulations: on the one hand, an emphasis on the theatricality of gender (from John Money’s early characterization of gender as “role playing” to Judith Butler’s appropriation of Esther Newton’s work on drag queens); on the other, the early adoption of a “queer” perspective on gender issues. In the second part, the author reflects on a shift in the rhetoric concerning sexual minorities and politics that is prevalent today. Noting a shift from efforts by oppressed or marginalized segments of the population to make themselves “heard” to an emphasis on rendering themselves “visible,” she demonstrates the formative role of the American civil rights movement in this new drive to visibility. The third part deals with the travels back and forth across the Atlantic of “sexual difference,” ever since its elevation to the status of quasi-concept by psychoanalysis. Tracing the “queering” of sexual difference, the author reflects on both the modalities and the effects of this development. The last section addresses the vexing relationship between Western feminism and capitalism. Without trying either to commend or to decry this relationship, the author shows its long-lasting political and cultural effects on current feminist and postfeminist struggles and discourses. To that end, she focuses on one of the intense debates within feminist and postfeminist circles, the controversy over prostitution.