A Companion to Latin American Literature and Culture reflects the changes that have taken place in cultural theory and literary criticism since the latter part of the 20th century. Written by more than 30 experts in cultural theory, literary history, and literary criticism, this authoritative and up-to-date reference places major authors in the complex cultural and historical contexts that have compelled their distinctive fiction, essays, and poetry. This text provides the historical background to help the reader understand the people and culture that have defined Latin American literature and its reception. Each chapter also includes short selected bibliographic guides and recommendations for further reading.
How much can we know about sensory experience in the Middle Ages? While few would question that the human senses encountered a profoundly different environment in the medieval world, two distinct and opposite interpretations of that encounter have emerged—one of high sensual intensity and one of extreme sensual starvation.
Presenting original, cutting-edge scholarship, Stephen G. Nichols, Andreas Kablitz, Alison Calhoun, and their team of distinguished colleagues transport us to the center of this lively debate. Organized within historical, thematic, and contextual frameworks, these essays examine the psychological, rhetorical, and philological complexities of sensory perception from the classical period to the late Middle Ages.
Die Studie nimmt die Frage nach dem Performativen in doppelter Hinsicht auf. Zum einen analysiert sie Performativa ausgehend von zwei Feldern sprachlichen Handelns, die Austins Theorie der Sprechakte marginalisiert bzw. explizit ausschließt: Literatur und Rhetorik; zum anderen arbeitet sie Performanz als methodische Kategorie einer kulturwissenschaftlichen Literaturwissenschaft heraus. Ausgehend von Shoshana Felmans Austin-Lektüre wird der performative Akt als Akt des sprechenden Körpers akzentuiert, wobei der Körper nicht als ein Mittel sprachlicher Äußerung, sondern als Überschuss des Äußerungsaktes über die Aussage konzipiert wird. Wie – so wird weitergehend gefragt – macht sich die Körperlichkeit bzw. Materialität der Schrift in Akten des Lesens und Erzählens geltend? An Austins metaphorischer Charakterisierung literarischer Sprechakte als eines infektiösen Geschehens anknüpfend, untersucht die Studie zudem den performanztheoretischen Einsatz von Ansteckung in Texten des Realismus und der Moderne. Die damit formulierte Poetik der Ansteckung wird zugleich als analytisches Instrumentarium profiliert, das es erlaubt, moderne literarische Darstellungsverfahren in spezifischer Weise zu untersuchen.
This book is about interpretation as it pertains to literature, philosophy, and psychoanalysis. It argues against certain trends of thought that claim we should do without interpretation by demonstrating that interpretation, as described by psychoanalysis, is already a fundamental aspect of all human experience. Egginton examines the idea of interpretation developed by Freud; how that notion was in turn changed by Lacan; the debate around psychoanalytic interpretation staged by philosophers like Deleuze and Derrida; and finally how a psychoanalytic notion of interpretation is necessary for even the most basic experience of consciousness.
Few filmmakers have taken the principle of the “talking picture” so far as Eric Rohmer, the internationally renowned director of the Moral Tales, Comedies and Proverbs, and Tales of the Four Seasons cycles. Occasionally dismissed as precious or overly literary, Rohmer’s features may leave the impression that there is more to listen to than to look at. Yet as the secretive director (b. Maurice Schérer in 1920) points out, dialogue is no less engaging than the best gunfights, and if his characters prefer discussing love to making it, they are no less the “heroes” of the stories they tell.
Charges of political conservatism aside, the author of My Night at Maud’s, Summer and such period films as Perceval and the all-digital The Lady and the Duke emerges —like Hitchcock before him—as a singular inventor of cinematic forms. This critical overview, which contains an extensive bibliography and a filmography, will appeal to students of film studies, French studies, and enthusiasts.
The application paradigm of literary studies, in which one spices up a text with fashionable theory, represents the bankrupt extreme of theoretical tendencies, while the denigration of theory in the name of historical accuracy at times covers for a simple and lamentable lack of anything interesting to say. To paraphrase (if not to bastardize) Kant, theory without history is blind, and history without theory is stupid.
Paul Celan has long been regarded as the most important European poet after 1945 but also the most difficult owing to the numerous references in his work to his personal history and to a cultural heritage spanning many disciplines, centuries, and languages. In this insightful study, Rochelle Tobias goes a long way to dispelling the obscurity that has surrounded the poet and his work. She shows that the enigmatic images in his poetry have a common source. They are drawn from the disciplines of geology, astrology, and physiology or what could be called the sciences of the earth, the heavens, and the human being. Celan’s poetry borrows from each of these disciplines to create a poetic universe—a universe that attests to what is no longer and projects what is not yet.
This is the unnatural world of Celan’s poetry. It is a world in which time itself takes physical form or is made plastic. Through a series of close readings and philosophical explorations, Tobias reflects on the experience of time encoded and embodied in Celan’s work. She demonstrates that the physical world in his poetry ultimately serves as a showcase for time, which is the most elusive aspect of human experience because it is based nowhere but in the mind. Tobias’s probing interpretations present a new model for understanding Celan’s work from the early elegiac poems to the later cryptic texts.
An interdisciplinary project, the study combines readings of Celan’s poetry with discussions of ancient and modern science, mystical cosmology, and twentieth-century literature and thought. Tobias’s original approach to Celan illuminates his complex verse and contributes significantly to the theory of metaphor as it applies to modern verse.
In an analysis of Cuban literature inside and outside the country’s borders, Eduardo Gonzalez looks closely at the work of three of the most important contemporary Cuban authors to write in the post-1959 diaspora: Guillermo Cabrera Infante (1929-2005), who left Cuba for good in 1965 and established himself in London; Antonio Benitez-Rojo (1931-2005), who settled in the United States; and Leonardo Padura Fuentes (b. 1955), who still lives and writes in Cuba. Gonzalez places the three Cuban writers in conversation with artists and thinkers from British and American literature, anthropology, philosophy, psychoanalysis, and cinema, highlighting the positive experiences of exile and wandering that appear in their work.
The body as an object of critical study dominates disciplines across the humanities to such an extent that a new discipline has emerged: body criticism. In Getting Under the Skin, Bernadette Wegenstein traces contemporary body discourse in philosophy and cultural studies to its roots in 20th-century thought—showing how psychoanalysis, phenomenology, cognitive science, and feminist theory contributed to a new body concept—and studies the millennial body in performance art, popular culture, new media arts, and architecture. Wegenstein shows how the concept of bodily fragmentation has been in circulation since the 16th century’s investigation of anatomy. The history of the body-in-pieces, she argues, is a history of a struggling relationship between two concepts of the body—as fragmented and as holistic. Wegenstein shows that by the 20th century these two apparently contradictory movements were integrated; both fragmentation and holism, she argues, are indispensable modes of imagining and configuring the body. The history of the body, therefore, is a history of mediation; but it was not until the turn of the 21st century and the digital revolution that the body was best able to show its mediality.
After examining key concepts in body criticism, Wegenstein looks at the body as “raw material” in 20th-century performance art, medical techniques for visualizing the human body, and strategies in popular culture for “getting under the skin” with images of freely floating body parts. Her analysis of current trends in architecture and new media art demonstrates the deep connection of body criticism to media criticism. In this approach to body criticism, the body no longer stands in for something else—the medium has become the body.
This volume comprises original contributions from 17 scholars whose work and careers Ronald Witt has touched in myriad ways. Intellectual, social, and political historians, a historian of philosophy and an art historian: specialists in various temporal and geographical regions of the Renaissance world here address specific topics reflecting some of the major themes that have woven their way through Ronald Witt’s intellectual cursus. While some essays offer fresh readings of canonical texts and explore previously unnoticed lines of filiation among them, others present “discoveries,” including a hitherto “lost” text and overlooked manuscripts that are here edited for the first time. Engagement with little-known material reflects another of Witt’s distinguishing characteristics: a passion for original sources. The essays are gathered under three rubrics: “Politics and the Revival of Antiquity”; “Humanism, Religion, and Moral Philosophy”; and “Erudition and Innovation.”