- Table View
- List View
Certainty and Ambiguity in Global Mystery Fiction: Essays on the Moral Imagination
by John J. Han, C. Clark Triplett, and Matthew BardowellMystery fiction as a genre renders moral judgments not only about detectives and criminals but also concerning the cultural structures within which these mysteries unfold.In contrast to other volumes which examine morality in crime fiction through the lenses of personal guilt and personal justice, Certainty and Ambiguity in Global Mystery Fiction analyzes the effect of moral imagination on the moral structures implicit in the genre. In recent years, public awareness has attended to the relationship between social structures and justice, and this collection centers on how personal ethics and social ethics are bound together amidst the shifting moral landscapes of mystery fiction.Contributors discuss the interplay between personal guilt and social guilt – considering morality and justice on an individual level and at a societal level – using frameworks of certainty and ambiguity. They show how individual characters in works by Agatha Christie, Gabriel García Márquez, Natsuo Kirino, F.H. Batacan, and Stephen King, among others, may view their moral standing with certainty but clash with the established mores of their culture. Featuring essays on Japanese, Filipino, Indian, and Colombian mystery fiction, as well as American and British fiction, this volume analyzes social guilt and justice across cultures, showing how individuals grapple with the certainty, and, at times, the moral ambiguity, of their respective cultures.
Certainty and Ambiguity in Global Mystery Fiction: Essays on the Moral Imagination
Mystery fiction as a genre renders moral judgments not only about detectives and criminals but also concerning the cultural structures within which these mysteries unfold.In contrast to other volumes which examine morality in crime fiction through the lenses of personal guilt and personal justice, Certainty and Ambiguity in Global Mystery Fiction analyzes the effect of moral imagination on the moral structures implicit in the genre. In recent years, public awareness has attended to the relationship between social structures and justice, and this collection centers on how personal ethics and social ethics are bound together amidst the shifting moral landscapes of mystery fiction.Contributors discuss the interplay between personal guilt and social guilt – considering morality and justice on an individual level and at a societal level – using frameworks of certainty and ambiguity. They show how individual characters in works by Agatha Christie, Gabriel García Márquez, Natsuo Kirino, F.H. Batacan, and Stephen King, among others, may view their moral standing with certainty but clash with the established mores of their culture. Featuring essays on Japanese, Filipino, Indian, and Colombian mystery fiction, as well as American and British fiction, this volume analyzes social guilt and justice across cultures, showing how individuals grapple with the certainty, and, at times, the moral ambiguity, of their respective cultures.
The Oneiric in the Films of David Lynch: A Phenomenological Approach
by Raphael MorschettThe Oneiric in the Films of David Lynch is the first systematic book-length study to explore the nature and function of dreams in David Lynch's different phases and audio-visual formats. There is hardly a contemporary film director whose name is as closely linked to the dream(-like) as that of David Lynch. Both popular and academic discourse frequently identify Lynch's films by their dreamlike qualities. However, in the existing literature on Lynch, these qualities tend to remain underspecified in terms of their experiential dimension. Departing from an interest in the phenomenon of dream experience, this is the first systematic book-length study exploring the nature and function of the oneiric in the director's different phases and audio-visual formats. It shows that, over the course of 50 years, Lynch has developed a cinematic aesthetics of the oneiric ? an ensemble of four dream-related dimensions that unfolds its full potential in the dynamic interplay between sensory address and reflective medialization. On the one hand, the Lynchian oneiric presents a markedly sensory-perceptual mode of experience – both characters and viewers are challenged in their perceptual patterns, while at the same time being immersed in the material dream scenario. On the other hand, the Lynchian oneiric provides a mode of both psychological and medial reflection. Not only the characters, but the films themselves are inclined to 'turn back' on themselves in a dream, exploring the preconditions, possibilities, and limitations of their own existence and ability to know the world. The oneiric in Lynch's films is thus of phenomenological, media-theoretical, and philosophical interest.
The Oneiric in the Films of David Lynch: A Phenomenological Approach
by Raphael MorschettThe Oneiric in the Films of David Lynch is the first systematic book-length study to explore the nature and function of dreams in David Lynch's different phases and audio-visual formats. There is hardly a contemporary film director whose name is as closely linked to the dream(-like) as that of David Lynch. Both popular and academic discourse frequently identify Lynch's films by their dreamlike qualities. However, in the existing literature on Lynch, these qualities tend to remain underspecified in terms of their experiential dimension. Departing from an interest in the phenomenon of dream experience, this is the first systematic book-length study exploring the nature and function of the oneiric in the director's different phases and audio-visual formats. It shows that, over the course of 50 years, Lynch has developed a cinematic aesthetics of the oneiric ? an ensemble of four dream-related dimensions that unfolds its full potential in the dynamic interplay between sensory address and reflective medialization. On the one hand, the Lynchian oneiric presents a markedly sensory-perceptual mode of experience – both characters and viewers are challenged in their perceptual patterns, while at the same time being immersed in the material dream scenario. On the other hand, the Lynchian oneiric provides a mode of both psychological and medial reflection. Not only the characters, but the films themselves are inclined to 'turn back' on themselves in a dream, exploring the preconditions, possibilities, and limitations of their own existence and ability to know the world. The oneiric in Lynch's films is thus of phenomenological, media-theoretical, and philosophical interest.
The Ethics of Immediacy: Dangerous Experience in Freud, Woolf, and Merleau-Ponty (Psychoanalytic Horizons)
by Dr. Jeffrey McCurryDrawing connections between Freudian psychoanalysis, Virginia Woolf's criticism and fiction, and Maurice Merleau-Ponty's phenomenology, The Ethics of Immediacy recounts the far-reaching consequences of the modern turn towards a new ethics of immediacy. During the first half of the 20th century, a profound transformation – an existential revolution – took place in European culture in how human beings conceived of themselves. Inspired by Freud's psychoanalysis, a newfound appreciation for the realm of immediate experience in human life emerged. With Freud himself making a signal contribution to this existential revolution, and with Woolf and Merleau-Ponty taking up Freud's ideas in their own unique ways, all three figures began to regard first-order, spontaneous, direct, unselfconscious, concrete experience of self and world as standing at the heart of what it means to be human.Jeffrey McCurry describes how this new state of affairs stood in contrast to how immediate experience had been historically dismissed, devalued, repressed, and even negated in the fields of psychology, literature, and philosophy. This experience posed dangers to psychological stability, social order, and philosophical certainty. McCurry examines how Freud's psychoanalytic theory, Woolf's modernist criticism and fiction, and Merleau-Ponty's phenomenology, psychology, literature, and philosophy in turns embraced the risks and dangers of putting immediate experience as the center of humanity, of respecting, understanding, appreciating, and following the lead of immediate, spontaneous, pre-reflective, pre-evaluative, concrete experience in human life.
The Ethics of Immediacy: Dangerous Experience in Freud, Woolf, and Merleau-Ponty (Psychoanalytic Horizons)
by Dr. Jeffrey McCurryDrawing connections between Freudian psychoanalysis, Virginia Woolf's criticism and fiction, and Maurice Merleau-Ponty's phenomenology, The Ethics of Immediacy recounts the far-reaching consequences of the modern turn towards a new ethics of immediacy. During the first half of the 20th century, a profound transformation – an existential revolution – took place in European culture in how human beings conceived of themselves. Inspired by Freud's psychoanalysis, a newfound appreciation for the realm of immediate experience in human life emerged. With Freud himself making a signal contribution to this existential revolution, and with Woolf and Merleau-Ponty taking up Freud's ideas in their own unique ways, all three figures began to regard first-order, spontaneous, direct, unselfconscious, concrete experience of self and world as standing at the heart of what it means to be human.Jeffrey McCurry describes how this new state of affairs stood in contrast to how immediate experience had been historically dismissed, devalued, repressed, and even negated in the fields of psychology, literature, and philosophy. This experience posed dangers to psychological stability, social order, and philosophical certainty. McCurry examines how Freud's psychoanalytic theory, Woolf's modernist criticism and fiction, and Merleau-Ponty's phenomenology, psychology, literature, and philosophy in turns embraced the risks and dangers of putting immediate experience as the center of humanity, of respecting, understanding, appreciating, and following the lead of immediate, spontaneous, pre-reflective, pre-evaluative, concrete experience in human life.
A Sound Word Almanac
by Bernd HerzogenrathThis almanac of sound words important to artists and scholars highlights words that expand the way we speak (and write) about sonic experiences.Why write about sound, and how? If sonic philosophy is the attempt "to think about sound by philosophical means," then a metaphilosophical debate appears almost immediately on the horizon: What is called for is an understanding about sound and language, but also about the preconditions of musical understanding. What is at stake is the question of language and sound, as well as expanding how we speak about sonic experience.This almanac tackles these questions from artistic, experimental and personal perspectives. An assemblage of nearly 70 practitioners and theoreticians, artists and scholars offer their favorite 'sound word.' These sound words are onomatopoetical, mythological, practical; words of personal importance to the artists and their craft; words from their memory, related to sound. Many entries are not in English – some are untranslatable – and all are accompanied by a personal, explanatory, poetic entry. These are words that have the potential to change our perspective on listening-musicking-thinking.
A Sound Word Almanac
This almanac of sound words important to artists and scholars highlights words that expand the way we speak (and write) about sonic experiences.Why write about sound, and how? If sonic philosophy is the attempt "to think about sound by philosophical means," then a metaphilosophical debate appears almost immediately on the horizon: What is called for is an understanding about sound and language, but also about the preconditions of musical understanding. What is at stake is the question of language and sound, as well as expanding how we speak about sonic experience.This almanac tackles these questions from artistic, experimental and personal perspectives. An assemblage of nearly 70 practitioners and theoreticians, artists and scholars offer their favorite 'sound word.' These sound words are onomatopoetical, mythological, practical; words of personal importance to the artists and their craft; words from their memory, related to sound. Many entries are not in English – some are untranslatable – and all are accompanied by a personal, explanatory, poetic entry. These are words that have the potential to change our perspective on listening-musicking-thinking.
Thought as Experience in Bataille, Cioran, and Rosset
by Professor Joseph AcquistoExamines how postwar French writers constitute the thinking subject and reshape its relation to the external social world.Joseph Acquisto analyzes the writings of three thinkers during and shortly after the Second World War who address the question of what it means to think, and what it means to constitute oneself as a thinking subject – at a time that seems to come "after everything"; with the ruins of attacked cities echoing the remains of a philosophical tradition that was confident in its establishment of human beings as rational, of reason leading to progress, and of both the self and the world as knowable. What Georges Bataille calls "inner experience" and Emil Cioran labels "thinking against oneself" is something akin to a drama; not a mere representation of the self in relation to the world, but a process of remapping the relation of subject to object of thought dialectically. Acquisto argues that both writers adopt an anti-systematic approach to thinking that implicates fragmentary writing as a way of turning answers about subject-object relations into questions. Acquisto contends that this stands in contrast to the approach of Clément Rosset, whose affirmation of the inaccessibility of the real leads to an anti-intellectual, grace-filled affirmation of life as it is given, under the guise of what he calls the "tragic."Bringing together thinkers that have seldom been discussed in a comparative light, Thought as Experience in Bataille, Cioran, and Rosset examines the affective dimensions of thought as experience and considers the political stakes of postwar thought as "out of order" with the world from which it springs.
Thought as Experience in Bataille, Cioran, and Rosset
by Professor Joseph AcquistoExamines how postwar French writers constitute the thinking subject and reshape its relation to the external social world.Joseph Acquisto analyzes the writings of three thinkers during and shortly after the Second World War who address the question of what it means to think, and what it means to constitute oneself as a thinking subject – at a time that seems to come "after everything"; with the ruins of attacked cities echoing the remains of a philosophical tradition that was confident in its establishment of human beings as rational, of reason leading to progress, and of both the self and the world as knowable. What Georges Bataille calls "inner experience" and Emil Cioran labels "thinking against oneself" is something akin to a drama; not a mere representation of the self in relation to the world, but a process of remapping the relation of subject to object of thought dialectically. Acquisto argues that both writers adopt an anti-systematic approach to thinking that implicates fragmentary writing as a way of turning answers about subject-object relations into questions. Acquisto contends that this stands in contrast to the approach of Clément Rosset, whose affirmation of the inaccessibility of the real leads to an anti-intellectual, grace-filled affirmation of life as it is given, under the guise of what he calls the "tragic."Bringing together thinkers that have seldom been discussed in a comparative light, Thought as Experience in Bataille, Cioran, and Rosset examines the affective dimensions of thought as experience and considers the political stakes of postwar thought as "out of order" with the world from which it springs.