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Fifty Years After Gadamer's Truth and Method
These essays examine the achievements of hermeneutics as well as its current status and prospects for the future. Gadamer’s text provides an important focus, but the ambition of these critical reappraisals extends to hermeneutics more broadly and to a range of other thinkers, such as Heidegger, Ricoeur, Derrida, and Rorty.
Global Modernity and World Literature in Latin America
Mariano Siskind’s groundbreaking debut book redefines the scope of world literature, particularly regarding the place of Latin America in its imaginaries and mappings. In Siskind’s formulation, world literature is a modernizing discursive strategy, a way in which cultures negotiate their aspirations to participate in global networks of cultural exchange, and an original tool to reorganize literary history. Working with novels, poems, essays, travel narratives, and historical documents, Siskind reads the way Latin American literary modernity was produced as a global relation, from the rise of planetary novels in the 1870s and the cosmopolitan imaginaries of modernism at the turn of the twentieth century, to the global spread of magical realism. With its unusual breadth of reference and firm but unobtrusive grounding in philosophy, literary theory, and psychoanalysis, Cosmopolitan Desires will have a major impact in the fields of Latin American studies and comparative literature.
In The Cultural Origins of the Socialist Realist Aesthetic, Irina Gutkin brings together the best work written on the subject to argue that socialist realism encompassed a philosophical worldview that marked thinking in the USSR on all levels: political, social, and linguistic. Using a wealth of diverse cultural material, Gutkin traces the emergence of the central tenants of socialist realist theory from Symbolism and Futurism through the 1920s and 1930s.
A systematic rereading of early modern philosophers in the light of recent Continental philosophy, Current Continental Thought and Modern Philosophy exposes overlooked but critical aspects of sixteenth through eighteenth century philosophy even as it brings to light certain historical assumptions that have colored and distorted our understanding of modernist thought. This volume thus retrieves modern thinkers from the modernistic ways in which they have been portrayed since the nineteenth century; at the same time, it enhances our view of the roots and concerns of current Continental thought.
From Goethe to the Present
In this ambitious book, Kirk Wetters traces the genealogy of the demonic in German literature from its imbrications in Goethe to its varying legacies in the work of essential authors, both canonical and less well known, such as Gundolf, Spengler, Benjamin, Lukács, and Doderer. Wetters focuses especially on the philological and metaphorological resonances of the demonic from its core formations through its appropriations in the tumultuous twentieth century.
Propelled by equal parts theoretical and historical acumen, Wetters explores the ways in which the question of the demonic has been employed to multiple theoretical, literary, and historico-political ends. He thereby produces an intellectual history that will be consequential both to scholars of German literature and to comparatists.
Designed for Flight both continues and enlarges the exploration of the rhythms of our emotional lives undertaken in Gregory Fraser’s first two collections. A master of metaphor, Fraser works magic within tightly controlled forms, loading lines with surprising juxtapositions and changes of direction. Taken together, the poems trace the sometimes instant, sometimes decades-long movement from incomprehensible loss and grief to rueful reflection and, if we’re lucky, uneasy accommodation. Casting a sharply observant eye on past selves, always steering clear of simple sentiment, the speaker in this collection looks back with bitter irony and forgiveness in equal measure. Against the fears and frustrations of childhood, the dissolution of a doomed relationship, and the distance between the hoped for and the actual, Fraser’s poems offer the imagination’s capacity for endless invention and the compensatory pleasures of art.
Leopold Tyrmand, a Polish Jew who survived World War II by working in Germany under a false identity, would go on to live and write under Poland’s Communist regime for twenty years before emigrating to the West, where he continued to express his deeply felt anti-Communist views. Diary 1954—written after the independent weekly paper that employed him was closed for refusing to mourn Stalin’s death—is an account of daily life in Communist Poland. Like Czesław Miłosz, Václav Havel, and other dissidents who described the absurdities of Soviet-backed regimes, Tyrmand exposes the lies—big and small—that the regimes employed to stay in power. Witty and insightful, Tyrmand’s diary is the chronicle of a man who uses seemingly minor modes of resistance—as a provocative journalist, a Warsaw intellectual, the "spiritual father" of Polish hipsters, and a promoter of jazz in Poland—to maintain his freedom of thought.
Deleuze's Transcendental Empiricism and the Ontology of Immanence
From one end of his philosophical work to the other, Gilles Deleuze consistently described his position as a transcendental empiricism. But just what is transcendental about Deleuze’s transcendental empiricism? And how does his position fit with the traditional empiricism articulated by Hume? In Difference and Givenness, Levi Bryant addresses these long neglected questions so critical to an understanding of Deleuze’s thinking. Through a close examination of Deleuze’s independent work focusing especially on Difference and Repetition as well as his engagement with thinkers such as Kant, Maïmon, Bergson, and Simondon, Bryant sets out to unearth Deleuze’s transcendental empiricism and to show how it differs from transcendental idealism, absolute idealism, and traditional empiricism.
A Reading of Alexander Pushkin's Boris Godunov
In an ambitious reinterpretation of the premier work of Russia's national poet, J. Douglas Clayton reads Boris Godunov as the expression of Alexander Pushkin's thinking about the Russian state, especially the Russian state of his own time (some two hundred years distant from the events of the play), and even his own place within that state. Here we see how the play marks a sharp break with the Decembrists and Pushkin's own youthful liberalism, signaling its author's emergence as a Russian conservative. Boris Godunov, Clayton argues, can be best understood as an ideologically conservative defense of autocracy.
E. T. A. Hoffmann and the Russian Theatrical Avant-Garde