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In today's Europe, the term Eurosceptic often accompanies accusations of retrograde nationalism, irrational feelings, even fanaticism. When applied to Europe, skepticism, one of the critic's formative traits, acquires a bad reputation, as if it can only be an annihilating, rather than constructive, form of doubt. And yet skepticism is a much-needed critical affect, particularly when it comes to Europe. If we need to be skeptical of anything, it is Europe. Today one hears claims about Europe having become postnational, postracial, even post-Europe. How else can the literary and cultural critic welcome such claims other than with a healthy dose of skepticism?