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A Systematic Approach in Confrontation with Martin Heidegger, Émmanuel Lévinas, and Jean-Luc Marion
Being and God argues that defensible philosophical theorization concerning the topic “God” is both possible and necessary within the framework of an adequate systematic philosophy—which must include a theory of Being—but is not possible in the absence of such a framework.
A Modern Edition
Jonathan David Gross is a professor of English at DePaul University and the director of the DePaul Humanities Center. He previously edited The Sylph (Northwestern, 2007) and Emma; or, The Unfortunate Attachment (2004), both by Lady Georgiana, Duchess of Devonshire. He is the author of Byron: The Erotic Liberal (2001), and edited Byron’s "Corbeau Blanc": The Life and Letters of Lady Melbourne (1997).
Conscience and Rhetoric in Hobbes, Hegel, and Heidegger
In a work that brings a new field altering perspective as well as new tools to the history of philosophy, Karen S. Feldman offers a powerful and elegantly written account of how philosophical language appears to "produce" the very thing here, "conscience" that it seems to be discovering or describing. Conscience, as Binding Words convincingly argues, can only ever be understood, interpreted, and made effective through tropes and figures of language. The question this raises, and the one that interests Feldman here is: If conscience has no tangible, literal referent to which we can apply, then where does it get its "binding force?"
Nietzsche and the Modern Drama
With their intense lyricism, Meena Alexander’s poems convey the fragmented experience of the traveler, for whom home is both nowhere and everywhere. The landscapes she evokes, whether reading Bashō in the Himalayas, or walking a city street, hold echoes of otherness. Place becomes a palimpsest, composed of layer upon layer of memory, dream, and desire. There are poems of love and poems of war—we see the rippling effects of violence and dislocation, of love and its aftermath. The poems in Birthplace with Buried Stones range widely over time and place, from Alexander’s native India to New York City. We see traces of mythology, ritual, and other languages. Uniquely attuned to life in a globalized world, Alexander’s poetry is an apt guide, bringing us face to face with the power of a single moment and its capacity to evoke the unseen and unheard.
Gender and Desire in Early Twentieth-Century German and Austrian Novels and Paintings
Bodily Desire, Desired Bodies examines the diverse ways that literary works and paintings can be read as screens onto which new images of masculinity and femininity are cast. Esther Bauer focuses on German and Austrian writers and artists from the 1910s and 1920s —specifically authors Franz Kafka, Vicki Baum, and Thomas Mann, and painters Otto Dix, Christian Schad, and Egon Schiele—who gave spectacular expression to shifting trends in male and female social roles and the organization of physical desire and the sexual body.
Bauer’s comparative approach reveals the ways in which artists and writers echoed one another in undermining the gender duality and highlighting sexuality and the body. As she points out, as sites of negotiation and innovation, these works reconfigured bodies of desire against prevailing notions of sexual difference and physical attraction and thus became instruments of social transformation.
Arun Kolatkar and Bilingual Literary Culture
Recent philosophical reexaminations of sacred texts have focused almost exclusively on the Christian New Testament, and Paul in particular. The Book of Job and the Immanent Genesis of Transcendence revives the enduring philosophical relevance and political urgency of the book of Job and thus contributes to the recent “turn toward religion” among philosophers such as Slavoj Žižek and Alain Badiou. Job is often understood to be a trite folktale about human limitation in the face of confounding and absolute transcendence; on the contrary, Hankins demonstrates that Job is a drama about the struggle to create a just and viable life in a material world that is ontologically incomplete and consequently open to radical, unpredictable transformation. Job’s abiding legacy for any future materialist theology becomes clear as Hankins analyzes Job’s dramatizations of a transcendence that is not externally opposed to but that emerges from an ontologically incomplete material world.
Charlie Chaplin was one of the cinema’s consummate comic performers, yet he has long been criticized as a lackluster film director. In this groundbreaking work—the first to analyze Chaplin’s directorial style—Donna Kornhaber radically recasts his status as a filmmaker. Spanning Chaplin’s career, Kornhaber discovers a sophisticated "Chaplinesque" visual style that draws from early cinema and slapstick and stands markedly apart from later, "classical" stylistic conventions. His is a manner of filmmaking that values space over time and simultaneity over sequence, crafting narrative and meaning through careful arrangement within the frame rather than cuts between frames. Opening up aesthetic possibilities beyond the typical boundaries of the classical Hollywood film, Chaplin’s filmmaking would profoundly influence directors from Fellini to Truffaut. To view Chaplin seriously as a director is to re-understand him as an artist and to reconsider the nature and breadth of his legacy.