Project MUSE®: Paragraph - Latest Articles
https://muse.jhu.edu/journal/335
Project MUSE®: Latest articles in Paragraph.daily12026-05-12T00:00:00-05:00text/htmlen-USVol. 29 (2006) - Vol. 31 (2008)Latest Articles: ParagraphTWOProject MUSE®Paragraph1750-01760264-8334Latest articles in Paragraph. Feed provided by Project MUSE®Elaboration, Counterpoint, Transgression: Music and the Role of the Aesthetic in the Criticism of Edward W. Said
https://muse.jhu.edu/article/255387
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Said’s most extended reflections on music, in Musical Elaborations1 and On Late Style,2 present a particularly conflicting set of ideas on the role of the aesthetic in society. In approaching the subject of the interface between Western classical music and critical theory, Said enters into a discourse that has been largely shaped by the philosophy of Theodor Adorno, for whom music, particularly that of Beethoven and Schoenberg, is central to his critique of modernity. In Said’s writings on music, an ambivalent relationship with Adorno’s theory of music history emerges, creating a tension with another theoretical influence in Said’s music and literary criticism, that of Gramsci. Through his critique of Adorno’s
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/335/image/coversmallElaboration, Counterpoint, Transgression: Music and the Role of the Aesthetic in the Criticism of Edward W. Said2008-12-25text/htmlen-USElaboration, Counterpoint, Transgression: Music and the Role of the Aesthetic in the Criticism of Edward W. Said2008-12-252008TWOProject MUSE®586312026-05-12T00:00:00-05:002008-12-25From Quietism to Quiet Politics: Inheriting Emerson’s Antislavery Testimony
https://muse.jhu.edu/article/255388
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In sketching ideas for his first abolitionist address, Ralph Waldo Emerson asks in his journal, ‘Does not he do more to abolish Slavery who works all day steadily in his garden, than he who goes to the abolition meeting & makes a speech?’1 The logic of his inquiry is sound: if the people of Concord grew their own food, they would decrease the demand for slave-produced goods and therefore slow the machinery of the slave economy. But the thought is troubling, too, for it is in preparing to make a speech that Emerson wonders about the productivity of his making a speech — an impulse that finds its way into the opening of his address, where he proposes that with regard to abolitionism, ‘if one man cannot speak
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/335/image/coversmallFrom Quietism to Quiet Politics: Inheriting Emerson’s Antislavery Testimony2008-12-25text/htmlen-USFrom Quietism to Quiet Politics: Inheriting Emerson’s Antislavery Testimony2008-12-252008TWOProject MUSE®887352026-05-12T00:00:00-05:002008-12-25Analogue Apollo: Cybernetics and the Space Age
https://muse.jhu.edu/article/255389
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‘Apollo the distant deadly Archer ( . . . ) the god who strikes from worlds away’.1
This year is the sixtieth anniversary of the publication of Norbert Wiener’s Cybernetics: or Control and Communication in the Animal and the Machine,2 and if the ritualistic function of the anniversary is to remember, celebrate and retrospectively evaluate the significance of an event, then Wiener’s text is certainly deserving of such attention. Because cybernetics suffers from the curious paradox of being both pervasive in its influence on contemporary theory and relatively forgotten as an event. This is the evaluation of a number of studies published over the last ten years or so, which have in their different ways
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/335/image/coversmallAnalogue Apollo: Cybernetics and the Space Age2008-12-25text/htmlen-USAnalogue Apollo: Cybernetics and the Space Age2008-12-252008TWOProject MUSE®814882026-05-12T00:00:00-05:002008-12-25Lacan’s ‘Of the Gaze as Objet Petit a’ as Anamorphic Discourse
https://muse.jhu.edu/article/255390
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In a recent article in this journal, Douglas Sadao Aoki discussed the impenetrability of Jacques Lacan’s work to some of our most eminent thinkers, and argued that its perceived illegibility arises from a staging of theory within the text itself.1 Something similar is suggested by Christine Buci-Glucksmann, who writes that Lacan’s ‘linguistic baroquism’ serves as the paradigm of his theory of art as anamorphosis.2 It is not unlikely, then, that the structure of Lacan’s complex 1964 seminars on vision in The Four Fundamental Concepts of Psychoanalysis mirrors the very operation that they theorize: anamorphosis.
While the seminars on vision have not been treated as specifically deceptive or
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/335/image/coversmallLacan’s ‘Of the Gaze as Objet Petit a’ as Anamorphic Discourse2008-12-25text/htmlen-USLacan’s ‘Of the Gaze as Objet Petit a’ as Anamorphic Discourse2008-12-252008TWOProject MUSE®765682026-05-12T00:00:00-05:002008-12-25The Materialization of Prose: Poiesis versus Dianoia in the work of Godzich & Kittay, Shklovsky, Silliman and Agamben
https://muse.jhu.edu/article/255391
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Steven Fredman’s study of what he calls ‘poets’ prose’ lists over twenty contemporary American poets, primarily of the postmodern avant-garde, who work significantly or almost exclusively in prose. Such an unprecedented proliferation of prose within poetry reveals, he argues, certain qualities of prose that equate with American poets’ commitment to freedom and open-ness, qualities that poetic constraint does not always easily accommodate.1 While this relationship between freedom and prose poetry is questioned by Steven Monte, who feels the constraint inherent to prose poetry has been overlooked,2 other critics such as Margueritte Murphy stress that ‘all is permitted in a prose poem’.3 This generic
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/335/image/coversmallThe Materialization of Prose: Poiesis versus Dianoia in the work of Godzich & Kittay, Shklovsky, Silliman and Agamben2008-12-25text/htmlen-USThe Materialization of Prose: Poiesis versus Dianoia in the work of Godzich & Kittay, Shklovsky, Silliman and Agamben2008-12-252008TWOProject MUSE®858262026-05-12T00:00:00-05:002008-12-25Negotiating Paul: Between Philosophy and Theology
https://muse.jhu.edu/article/255392
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‘[I]n the confrontation — both the contests and the collaborations — of “philosophy and theology”, these two great titans of Western thought and culture, the most important word is the “and”.’
Saint Paul has become fashionable again. Yet today it is the philosophers who are championing the apostle and, moreover, philosophers who at the same time declare themselves resolute atheists. Most notable among these unlikely proponents of the Pauline message are Giorgio Agamben (The Time which Remains: A Commentary on the Letter to the Romans (Stanford, Stanford University Press, 2005)), Alain Badiou (Saint Paul: The Foundation of Universalism, translated by Ray Brassier (Stanford, Stanford University Press
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/335/image/coversmallNegotiating Paul: Between Philosophy and Theology2008-12-25text/htmlen-USNegotiating Paul: Between Philosophy and Theology2008-12-252008TWOProject MUSE®379992026-05-12T00:00:00-05:002008-12-25An Other Europe
https://muse.jhu.edu/article/255393
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Does Europe exist? The identity of Europe has rarely seemed less certain. What traditionally might be conceived of as its conceptual, institutional, political, cultural and geographical unity and integrity have been extended, undermined, defended, strengthened or abandoned, according to your point of view. As debates around the possible inclusion of Turkey within a European Community (to which ‘Europe’ cannot plausibly be reduced) have shown, the world seems to divide into those who are no longer able to define Europe’s identity, and a collection of mutually opposed camps who are all too certain of what Europe is. If there is a consensus, then, it is that Europe must be rethought.
Among those
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/335/image/coversmallAn Other Europe2008-12-25text/htmlen-USAn Other Europe2008-12-252008TWOProject MUSE®698712026-05-12T00:00:00-05:002008-12-25Notes on Contributors
https://muse.jhu.edu/article/255394
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Katherine Fry is from Brighton. She studied music at King’s College, Cambridge, and critical theory at King’s College London. She has a particular interest in the music of Schoenberg, the reception of Wagner in the twentieth century and the interface between music, language and critical theory. She is currently a PhD student in the Music Department at King’s College London.
Sophie Fuggle is a doctoral student at King’s College London and is writing her thesis on power and ethics in the letters of Saint Paul and the work of Michel Foucault. She is currently co-editing a collection of essays entitled Word on the Street to be published in early 2009. She is also co-editing a special edition of the Journal of
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/335/image/coversmallNotes on Contributors2008-12-25text/htmlen-USNotes on Contributors2008-12-252008TWOProject MUSE®50362026-05-12T00:00:00-05:002008-12-25Index: Paragraph 31 (2008)
https://muse.jhu.edu/article/255395
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Neil Badmington The ‘Inkredible’ Roland Barthes 31:1, 84–94
Jennifer M. Barker Out of Sync, Out of Sight: Synaesthesia and Film Spectacle 31:2, 236–251
Martine Beugnet Cinema and Sensation: Contemporary French Film and Cinematic Corporeality 31:2, 173–188
Jonathan Culler Preparing the Novel: Spiralling Back 31:1, 109–120
Georgina Evans Imagination and the Senses: Krzysztof Kieślowski’s Trois Couleurs: Blanc 31:2, 223–235
Patrick Ffrench Belief in the Body: Philippe Garrel’s Le Révélateur and Deleuze 31:2, 159–172
Katherine Fry Elaboration, Counterpoint, Transgression: Music and the Role of the Aesthetic in the Criticism of Edward W. Said 31:3
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Project MUSE®https://muse.jhu.edu/2026-05-12T00:00:00-05:00https://muse.jhu.edu/journal/335/image/coversmallIndex: Paragraph 31 (2008)2008-12-25text/htmlen-USIndex: Paragraph 31 (2008)2008-12-252008TWOProject MUSE®55402026-05-12T00:00:00-05:002008-12-25