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Music and Ethical Responsibility
Music and Ethical Responsibility argues that musical experience involves encounters with others, and ethical responsibilities arise from those encounters.
After Blanchot
What does it mean to come after Blanchot? Three things, at least. First, it is to recognise that it is no longer possible to believe in an essentialist determination of literary discourse or of aesthetic experience. All this has disappeared; and there is no way back. Second, there is the question of history. What is Blanchot's legacy to us, his readers? Any name, however irreplaceably singular, is always already preceded, limited, challenged even, by the abiding anonymity of the person, animal, or thing it claims to name. Every name is necessarily impersonal, anonymous, other. Blanchot after Blanchot, then, can best be understood in the sense of that which is according to Blanchot - and that is nothing other than the infinite process of reading and rereading Blanchot: without end. Here, a third meaning to the phrase after Blanchot comes into view. For if we come after Blanchot, it is surely because Blanchot is still before us, still in front, still in the future, still to come.
New Perspectives on Sartre
This volume deals with a number of topics that have not previously been specifically addressed before in a single text. A chapter on Sartre and religion talks about his thought in relation to Christianity, Judaism and Buddhism, while one on Sartre and children discusses his work in relation to the issues of freedom, pregnancy and autism. Beyond this, there are an additional seven chapters covering a wide variety of topics by leading scholars in the fields of philosophy, literature psychology, history and political thought. While prior publications on Sartre have generally divided his work into two periods, pre-and post-Marxist, this volume deliberately stresses a middle and final period as w...
The Blank-Verse Tradition from Milton to Stevens
Blank verse has been central to English poetry since the Renaissance, most famously in Shakespeare's plays and in Paradise Lost. Henry Weinfield's detailed readings of the masterpieces of English blank verse focus on Milton, Wordsworth, Shelley, Keats, Tennyson and Stevens, tracing what lies behind their choice of form.
Romantic Poetry and the Fragmentary Imperative
Romantic Poetry and the Fragmentary Imperative locates Byron (and, to a lesser extent, Joyce) within a genealogy of romantic poetry understood not so much as imaginative self-expression or ideological case study but rather as what the German romantics call "romantische poesie"—an experimental form of poetry loosely based on the fragmentary flexibility and acute critical self-consciousness of Socratic dialogue. The book is therefore less an attempt to present yet another theory of romanticism than it is an effort to recover a more precise sense of the relationship between Byron's fragmentary or "workless" poetic and romantic poetry generally, and to articulate connections between romantic poetry and modern literature and literary theory. The book also argues that the "exigency" or "imperative" of the fragmentary works of Schlegel, Byron, Joyce, and Blanchot is not so much the expression of a style as it is an acknowledgment of what remains unthought in thinking.
French Encounters with the Ottomans, 1510-1560
Focusing on early Renaissance Franco-Ottoman relations, this book fills a gap in studies of Ottoman representations by early modern European powers by addressing the Franco-Ottoman bond. In French Encounters with the Ottomans, Pascale Barthe examines the birth of the Franco-Ottoman rapprochement and the enthusiasm with which, before the age of absolutism, French kings and their subjects pursued exchanges-real or imagined-with those they referred to as the 'Turks.' Barthe calls into question the existence of an Orientalist discourse in the Renaissance, and examines early cross-cultural relations through the lenses of sixteenth-century French literary and cultural production. Informed by insig...
Incriminations
Maintaining that women's storytelling is a telling activity, Karen McPherson "reads for guilt" in novels by five twentieth-century writers--Simone de Beauvoir (L'Invitée), Marguerite Duras (Le ravissement de Lol V. Stein), Anne Hébert (Kamouraska), Virginia Woolf (Mrs. Dalloway), and Nicole Brossard (Le désert mauve). She finds in the vocabulary and atmosphere of these novels a linking of female protagonists to crime and culpability. The guilt, however, is not clearly imputed or assumed; it tends to trouble the conscience of the entire narrative. Through critical close readings and an inquiry into the interrelations among narration, transgression, and gender, McPherson explores how the wo...
Victims and Victimization in French and Francophone Literature
Preliminary Material /Buford Norman -- Crimes collectifs, transmission et médias: la représentation des victimes dans l'espace public français /Vincent Lowy -- The Metaphors of Victimization in Céline's Bagatelles pour un massacre /Scott M. Powers -- Monstre-victime: La Deuxième existence du camp de Tatenberg /Agnieszka Tworek -- Mourir est-il vraiment beau? L'"écritorture" de Gérard Étienne /Corinne Beauquis -- "Une humanité qui ne cesse de crucifier le Christ": Réécriture du sacrifice christique dans Sitt Marie Rose de Étel Adnan /Élisabeth Karnoub -- Good and Bad Bread: Sacrificing the Sacred and Abject Other in Jean-Pierre Camus /Anne E. Duggan -- Théodicées victimales au ...
Music, Encounter, Togetherness
In today's technological and globalised world, music remains a basic dimension of society. Music, Encounter, Togetherness outlines a relational approach to music that creates space for both human agency and social relationship. Throughout the book, author Nicholas Cook puts Euro-American musical traditions into dialogue with other world music cultures, complementing theory-driven approaches with comprehensive case studies ranging from late eighteenth-century India to contemporary China, and from Debussy's encounter with Javanese music and dance to cross-cultural musicking in Australia and in cyberspace. Through these examples, Cook examines how music affords interpersonal relationship and so...
Forged Genealogies
According to Carol Rigolot, reading the work of Nobel Prize-winning poet Saint-John Perse (1887-1975) is not unlike eavesdropping on a telephone conversation in which only one side is audible. His poems are antiphonal, and even polyphonic, works where int
