We are living in a time of inflationary media. While technological change has periodically altered and advanced the ways humans process and transmit knowledge, for the last 100 years the media with which we produce, transmit, and record ideas have multiplied in kind, speed, and power. Saturation in media is provoking a crisis in how we perceive and understand reality. Media become inflationary when the scope of their representation of the world outgrows the confines of their culture’s prior grasp of reality. We call the resulting concept of reality that emerges the culture’s medialogy.
Medialogies offers a highly innovative approach to the contemporary construction of reality in cultural, political, and economic domains. Castillo and Egginton, both luminary scholars, combine a very accessible style with profound theoretical analysis, relying not only on works of philosophy and political theory but also on novels, Hollywood films, and mass media phenomena. The book invites us to reconsider the way reality is constructed, and how truth, sovereignty, agency, and authority are understood from the everyday, philosophical, and political points of view. A powerful analysis of actuality, with its roots in early modernity, this work is crucial to understanding reality in the information age.
In the early 17th century, a crippled, graying, almost toothless veteran of Spain’s wars against the Ottoman Empire published a book. It was the story of a poor nobleman, his brain addled from reading too many books of chivalry, who deludes himself that he is a knight errant and sets off on hilarious adventures. That book, Don Quixote, went on to sell more copies than any other book beside the Bible, making its author, Miguel de Cervantes, the single most-read author in human history. Cervantes did more than just publish a bestseller, though. He invented a way of writing. This book is about how Cervantes came to create what we now call fiction, and how fiction changed the world.
The Man Who Invented Fiction: How Cervantes Ushered in the Modern World explores Cervantes’s life and the world he lived in, showing how his influences converged in his work, and how his work—especially Don Quixote—radically changed the nature of literature and created a new way of viewing the world. Finally, it explains how that worldview went on to infiltrate art, politics, and science, and how the world today would be unthinkable without it.
Four hundred years after Cervantes’s death, William Egginton has brought thrilling new meaning to an immortal novel.
“Machiavellian”―used to describe the ruthless cunning of the power-obsessed and the pitiless―is never meant as a compliment. But the man whose name became shorthand for all that is ugly in politics was more engaging and nuanced than his reputation suggests. Christopher S. Celenza’s Machiavelli: A Portrait removes the varnish of centuries to reveal not only the hardnosed political philosopher but the skilled diplomat, learned commentator on ancient history, comic playwright, tireless letter writer, and thwarted lover.
Machiavelli’s hometown was the epicenter of the Italian Renaissance in the fifteenth century, a place of unparalleled artistic and intellectual attainments. But Florence was also riven by extraordinary violence. War and public executions were commonplace―Machiavelli himself was imprisoned and brutally tortured at the behest of his own government. These experiences left a deep impression on this keen observer of power politics, whose two masterpieces―The Prince and The Discourses―draw everywhere on the hard-won wisdom gained from navigating a treacherous world. But like many of Machiavelli’s fellow Florentines, he also immersed himself in the Latin language and wisdom of authors from the classical past. And for all of Machiavelli’s indifference to religion, vestiges of Christianity remained in his thought, especially the hope for a redeemer―a prince who would provide the stability so rare in Machiavelli’s worldly experience.
L’ensemble de La Comédie Humaine est le résultat d’un immense travail de révisions et de transformations s’étalant de 1829 à 1855. De façon nouvelle et diversifiée, cet ouvrage aborde ce travail.
Les études qui y sont réunies abordent des questions jusqu’alors peu étudiées : le rôle de la correspondance de Balzac pour une compréhension plus complète du projet et du travail de l’auteur, l’importance de l’archive manuscrite pour la compréhension de l’entreprise balzacienne, le jeu infiniment complexe et riche du travail sur les manuscrits de théâtre, les déplacements d’œuvres d’édition à édition.
Enfin, l’étude précise de la genèse d’œuvres singulières, particulièrement significatives, permet de suivre l’invention d’une forme moderne de représentation du monde social, ainsi que d’un style narratif particulièrement fécond pour l’avenir du roman.
Borges cites innumerable authors in the pages making up his life’s work, and innumerable authors have cited and continue to cite him. More than a figure, then, the quotation is an integral part of the fabric of his writing, a fabric made anew by each reading and each re-citation it undergoes, in the never-ending throes of a work-in-progress. Block de Behar makes of this reading a plea for the very art of communication; a practice that takes community not in the totalized and totalizable soil of pre-established definitions or essences, but on the ineluctable repetitions that constitute language as such, and that guarantee the expansiveness—through etymological coincidences of meaning, through historical contagions, through translinguistic sharings of particular experiences-of a certain index of universality.
In a groundbreaking book, Neta Stahl examines the attitudes adopted by modern Jewish writers toward the figure of Jesus. Stahl argues that 20th-century Jewish writers reconsidered Jesus’ traditional status as the Christian Other and looked to him instead as a fellow Jew, a “brother,” and even as a model for the “New Jew.”
Other and Brother analyzes the work of a wide array of modern Jewish writers, beginning in the early 20th century and ending with contemporary Israeli literature. Stahl takes the reader through dramatic changes in Jewish life from the Haskalah (or Jewish Enlightenment) and Emancipation, to Zionism, the Holocaust, and the formation of the state of Israel. She shows, for example, how the emergence of quasi-messianic Zionist ideas about returning to the land of Israel, where the actual Jesus was born, helped make the figure of Jesus a source of attraction and identification for Hebrew and Yiddish writers in the first half of the 20th century, and how the fateful events of that century brought about a major transformation in the Jewish attitude toward Jesus.
Stahl’s nuanced and insightful historiography of modern Hebrew and Jewish literature will be a valuable resource for anyone interested in the role of Jesus in Jewish culture.
If the gaze can be understood to mark the disjuncture between how we see ourselves and how we want to be seen by others, the cosmetic gaze—in Bernadette Wegenstein’s groundbreaking formulation—is one through which the act of looking at our bodies and those of others is already informed by the techniques, expectations, and strategies (often surgical) of bodily modification. It is, Wegenstein says, also a moralizing gaze, a way of looking at bodies as awaiting both physical and spiritual improvement. In The Cosmetic Gaze, Wegenstein charts this synthesis of outer and inner transformation. Wegenstein shows how the cosmetic gaze underlies the “rebirth” celebrated in today’s makeover culture and how it builds upon a body concept that has collapsed into its mediality. In today’s beauty discourse—on reality TV and websites that collect “bad plastic surgery”—we yearn to experience a bettered self that has been reborn from its own flesh and is now itself, like a digitally remastered character in a classic Hollywood movie, immortal. Wegenstein traces the cosmetic gaze from 18th-century ideas about physiognomy through television makeover shows and facial-recognition software to cinema—which, like our other screens, never ceases to show us our bodies as they could be, drawing life from the very cosmetic gaze it transmits.
Intervening in the multidisciplinary debate on emotion, Tropes of Transport offers a fresh analysis of Hegel’s work that becomes an important resource for Pahl’s cutting-edge theory of emotionality. If it is usually assumed that the sincerity of emotions and the force of affects depend on their immediacy, Pahl explores to what extent mediation—and therefore a certain degree of manipulation but also of sympathy—is constitutive of emotionality. Hegel serves as a particularly helpful interlocutor not only because he offers a sophisticated analysis of mediation, but also because, rather than locating emotion in the heart, he introduces impersonal tropes of transport, such as trembling, release, and shattering.
For almost two thousand years, various images of Jesus accompanied Jewish thought and imagination: a flesh-and-blood Jew, a demon, a spoiled student, an idol, a brother, a (failed) Messiah, a nationalist rebel, a Greek god in Jewish garb, and more.
This volume charts for the first time the different ways that Jesus has been represented and understood in Jewish culture and thought. Chapters from many of the leading scholars in the field cover the topic from a variety of disciplinary perspectives—Talmud, Midrash, Rabbinics, Kabbalah, Jewish Magic, Messianism, Hagiography, Modern Jewish Literature, Thought, Philosophy, and Art—to address the ways in which representations of Jesus contribute to and change Jewish self-understanding throughout the last two millennia. Beginning with the question of how we know that Jesus was a Jew, the book then moves through meticulous analyses of Jewish and Christian scripture and literature to provide a rounded and comprehensive analysis of Jesus in Jewish Culture.
This multidisciplinary study will be of great interest not only to students of Jewish history and philosophy, but also to scholars of religious studies, Christianity, intellectual history, literature and cultural studies.
The works by Jakob Michael Reinhold Lenz (1751–1792) emerge in relations: they are published as Observations on the Theatre, along with an attached translated play by Shakespeare, thus connecting a poetics of theatre with a literary translation. They are entitled The Tutor, or, the Advantages of Private Education. A comedy and situate themselves in the discursive network of literature and pedagogy. Or, they bear the title of The Forest Hermit. A Pendant to Werther’s sufferings and refer explicitly to Goethe’s pretext. This book explores the specificity of Lenz’ writing ‘in relations’ from a methodological perspective: it pursues the question of how Lenz’ fleeting textual objects can become a subject of literary studies without losing their elusive productivity. In this context, the term constellation designates a problem of reading: constellation as a methodological concept captures the complex existence of an observable object at the same time as it describes its epistemic constitution as a distinct object of literary studies. Constellation as a practice of reading draws attention to the preconditions of the reading process and it transforms them into a way of reflecting representation in academic discourse.