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This Reader collects in a single volume some of the most influential essays written by Barbara Johnson over the course of her thirty-year career as a pioneering literary theorist and cultural critic. Johnson achieved renown early in her career, both as a brilliant student of the Yale School of literary criticism and as the translator of Jacques Derrida's Dissemination. She went on to lead the way in extending the insights of structuralism and poststructuralism into newly emerging fields now central to literary studies, fields such as gender studies, African American studies, queer theory, and law and literature. Stunning models of critical reading and writing, her essays cultivate rigorous q...
Moving effortlessly between symbolist poetry and Barbie dolls, artificial intelligence and Kleist, Kant, and Winnicott, Barbara Johnson not only clarifies psychological and social dynamics; she also re-dramatizes the work of important tropes—without ever losing sight of the ethical imperative with which she begins: the need to treat persons as persons. In Persons and Things, Johnson turns deconstruction around to make a fundamental contribution to the new aesthetics. She begins with the most elementary thing we know: deconstruction calls attention to gaps and reveals that their claims upon us are fraudulent. Johnson revolutionizes the method by showing that the inanimate thing exposed as a...
Barbara Johnson investigates the significant and illuminating ways in which both literature and criticism ate "critically different" from what they purport to be. Her subtle and provocative studies of Balzac, Mallarme, Baudelaire, Apollinaire, Melville, Poe, Bathes, Lacan, Austin, and Derrida take a refreshing new approach to the fundamental questions of meaning, interpretation, and the relationship between literature and criticism. In each of seven essays, a clear, precise, and detailed reading of the rhetoric of one of more literary or critical works reveals the text's fundamental discrepancies, ambuquities, and contradictions. If rhetoric is seen as language's capacity to differ from literal statement, and if "to differ" can also mean "to disagree," then the reading of the rhetoric of literature and theory here is an attempt to capture the logic of a text's own disagreement with itself.
Boomerang blessings. That's what Barbara Johnson calls the encouraging feedback she has received over the years from readers whose lives have been impacted by the message of this million-copy bestseller. If you need a fresh breath of joy in your life, this book is just the prescription for you. With the wit of an Erma Bombeck, Barbara Johnson helps you to look for "life's little sparkles," even in the midst of your most crippling sorrows. No stranger to suffering herself, Barbara's experiences have equipped her with the credentials to help others work through their own suffering. In spite of her difficulties, Barbara has learned that while pain is inevitable to us all, we can choose to pick the flowers instead of the weeds. Barbara will teach you how to release that bubble of joy within you?to claim God's promise to "fill your mouth with laughter and your lips with shouts of joy." ?Job 8:21 (TLB)
Employing surprising juxtapositions, THE FEMINIST DIFFERENCE looks at fiction by black writers from a feminist/psychoanalytic perspective, at poetry, and at feminism and law. The author presents an unfailingly close reading of moments at which feminism seems to founder in its own contradictions--and moments that reemerge as sources of a revitalized critical awareness. Copyright © Libri GmbH. All rights reserved.
New to the paperback edition is a preface that readdresses the question of the politics of deconstruction in the context of current discussion about the life and works of Paul de Man.
Syd Barrett was an English composer and purveyor of some of the most intriguing music ever written. Famous before his twentieth birthday, Barrett led the charge of psychedelia onstage at London's famed UFO club. With a Fender Telecaster and a primitive Binson echo unit, Barrett liberated the guitar from being, in critic Simon Reynolds' words, 'a riff machine, and turned it into a texture and timbre generator.' His inspired celestial flights of improvisation, and his more structured and whimsical short songs indicated a mind of unusual inventiveness. Chief in Barrett's mind was a Zen-like insistence on spontaneity; each performance had to be unique, and Barrett strived to push his music farth...
In 1980, deconstructive and psychoanalytic literary theorist Barbara Johnson wrote an essay on Mary Shelley for a colloquium on the writings of Jacques Derrida. The essay marked the beginning of Johnson's lifelong interest in Shelley as well as her first foray into the field of "women's studies," one of whose commitments was the rediscovery and analysis of works by women writers previously excluded from the academic canon. Indeed, the last book Johnson completed before her death was Mary Shelley and Her Circle, published here for the first time. Shelley was thus the subject for Johnson's beginning in feminist criticism and also for her end. It is surprising to recall that when Johnson wrote ...
With the extraordinary investigative acumen and sensitive narrative skills that informed her best-selling Little Gloria . . . Happy at Last, Barbara Goldsmith now gives us the most sensational case of a contested will in American history—weaving a hypnotic tale of vast wealth and moral corruption. When J. Seward Johnson, the pharmaceutical heir, died in 1983 at the age of eighty-seven, his six children (each of whom was already in possession of an immense fortune) were outraged to learn that he had willed his entire $500-million estate to their stepmother Basia—a woman forty-two years Seward’s junior, a Polish refugee who had once worked as a chambermaid in his household. They came to ...
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