In Jackie Kay's award-winning novel, Trumpet (1998), the main character Joss Moody, a celebrated jazz trumpet player, is discovered upon his death to be anatomically female. The essay traces both postmodern and humanist affirmations of constructions of self-hood. Situating Virginia Woolf's version of a metaphysical and escapist androgyny as one kind of aesthetic against the material politics of the transgendered subject, the essay argues that Kay's novel can be seen as part of a 20th century tradition of literature (...) and film which satirizes, parodies and painfully exposes the discontinuities of dominant sex–gender systems. The essay ends by arguing that Kay also develops these systems by imbricating sex and gender within a series of dislocated familial, sexual and racial identities, beginning with the arrival of Joss's African father in Scotland at the beginning of the 20th century. (shrink)

Purpose of the article is to highlight the peculiarities of the androgyny presentation in current visual culture, in particular in fashion and its philosophical and culturological comprehension. Determination of the leading trends associated with the offset of gender stereotypes and denial of the established separation into the feminine and masculine beginnings is due to the attention to the latest theories, such as transfeminism. Theoretical basis is the works of contemporary authors who develop such concepts as "gender", "gender identity", "androgyne" (...) and move within the limits of the theories of transfeminism and transgenderism. The leading French thinker J. Baudrillard outlines philosophical measurements related to the justification of fashion. The interaction issues of the feminist theory, aesthetics of gender and androgyny, which are manifested in visual images, are presented in the writings of P. Auslander, R. Crepax. Transformation of the androgyny idea is considered in the works of B. Řiháková, F. J. Galarte. S. Stryker, T. Bettcher and J. Halberstam also address the problem of transgenderism and transfeminism in their writings. Originality is to highlight the main aspects associated with actualization of androgyny, its visual presentations in fashion, and the connections with contemporary theoretical discourse. A number of concepts related to the transformation of gender stereotypes have been identified. It was revealed that the logical continuation of changes in society, science and technical development is the actualization of androgyny as an individual’s freedom in self-presentation and self-identification. It was emphasized that during the last century androgyny also serves as the basis for forming new trends in theoretical discourse, in particular, transfeminism, as well as it finds many visual manifestations in fashion and fashion industry. Conclusions contain the results of the study that describes the role of androgyny in the context of today’s culture as a measurement of personal freedom, aimed at avoiding gender stereotypes and the usual dichotomy of masculinity and femininity, which manifests itself in contemporary visual practices. (shrink)

Jewish mysticism, in its classical period, is replete with images and theories that employ a mythic view of gender. This article will review a motif that has not been the subject of particular scholarly attention, that of the nesirah. The motif of the nesirah clearly has its origins in the most ancient understandings on the proclivities of the feminine aspects of Divinity. That a mythic motif that encompassed such a brazen sexuality was retained and worked into the core of classical (...) Kabbalah is indicative of the resonance of the myth, and the reluctance of the creators of the mystical canon to relinquish a tradition that they clearly viewed as essential, notwithstanding its challenges to the monotheistic ideal of classical, exoteric Judaism. (shrink)

How does literature illuminate the way we live? Maurice Natanson, a prominent champion of phenomenology, draws upon this method's unique power to show how fiction can highlight aspects of experience that are normally left unexamined. By exploring the structure of the everyday world, Natanson reveals the "uncanny" that lies at the core of the ordinary. Phenomenology--which involves the questioning of that which we usually take for granted--is for Natanson the essence of philosophy. Drawing upon his philosophical predecessors Edmund Husserl, (...) Alfred Schutz, and Jean-Paul Sartre, Natanson paves his own way with stories and examples that themselves bear witness to how phenomenology occurs in literature. In considering such works as Samuel Beckett's Waiting for Godot, Thomas Mann's The Magic Mountain, and Franz Kafka's The Metamorphosis, Natanson shows how literature opens us to the domain of possibility and how metaphor offers philosophical power when we think about freedom and change. This book, written by one of the twentieth century's leading phenomenologists, will interest students in philosophy and in literature. They will value the work particularly for its clarification of concepts and terms that frequently emerge in the contemporary intellectual climate. (shrink)

Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable (...) - in case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

Relationalität und Selbstdiskursivierung in den lebens -- und Sozialwissenschaften -- Selbstreflexion und Relationalität in der literatur.

Chapter 14. Andrea Timár engages with literary representations of the experience of perpetrators of dehumanization. Her chapter focuses on perpetrators of dehumanization who do not violate laws of their society (i.e., they are not criminals) but exemplify what Simona Forti, inspired by Hannah Arendt, calls “the normality of evil.” Through the parallel examples of Dezső Kosztolányi’s Anna Édes (1926) and Doris Lessing’s The Grass is Singing (1950), Timár first explores a possible clash between criminals and perpetrators of dehumanization, showing (...) class='Hi'>literature’s exceptional ability to reveal the gap between ethics and law. Second, she examines novels focalized through perpetrators and the difficult narrative empathy they provoke, arguing that only the critical reading of these novels can make one engage with the potential perpetrator in oneself. As case studies, Timár examines Daniel Defoe’s Robinson Crusoe (1719), which may potentially turn its reader into an accomplice in the process of dehumanization, and J.M. Coetzee’s Foe (1986), which puts on critical display the dehumanizing potentials of both aesthetic representation and sympathy as imaginative violence. Third, she reads Jonathan Littell’s The Kindly Ones [Les Bienveillantes, 2006], which can make the reader question, through the polyphony of the voice of its protagonist, the notions of narrative voice and readerly empathy, only to reveal that the difficulty involved in empathizing with perpetrator characters lies not so much in the characters’ being perpetrators, but rather in their being literary characters. Eventually, Timár briefly touches upon the problem of the aesthetic and the comic via Nabokov’s Lolita (1955) to ask whether one can avoid some necessarily dehumanizing aspects of humor. (shrink)

Poetry of life in literature and through literature, and the vast territory in between - as vast as human life itself - where they interact and influence each other, is the nerve of human existence. Whether we are aware of it or not, we are profoundly dissatisfied with the stark reality of life's swift progress onward, and the enigmatic and irretrievable meaning of the past. And so we dramatise our existence, probing deeply for a lyrical and heartfelt yet (...) universally valid sense of our experience. It is in great works of literature that we seek those hidden springs that so move us. It is in honour of this search that this collection focuses on the creative imagination at work in literature and aesthetics. (shrink)

In art and literature, animals appear not only as an allegoric representation but as a reference which troubles the border between humanity and animality. The aim of this book is to challenge traditional ways of confronting animality with humanity and to consider how the Darwinian turn has modified this relationship in postmodern narratives. The subject of animality in culture, ethics, philosophy, art and literature is explored and reevaluated, and a host of questions regarding the conditions of co-existence of (...) humans and animals is asked: Should discourse ethics now include entities that initially seemed mute and were excluded from discussions? Does the modern animal rights movement need a theology, and vice versa, is there a theology that needs animals? Are animals in literature just metaphors of human characters, or do they reveal something more profound, a direction of human desires, or a fantasy of transgressing humanity? This book provides answers and thus gives a new impetus to a so far largely overlooked field. (shrink)

The question of what is philosophy, leads, it would seem, inevitably to diverse and conflicting, if not at times contradictory, answers. It is not only a matter of different philosophic perspectives, but also of fundamentally opposed conceptions of philosophy. Varying philosophic intentions and aims underlie what is taken to be the nature of philosophy and disagreement abounds. Philosophies then tend to differ not so much in terms of what they disagree about but what they consider philosophically sound and important. Phenomenology (...) may share some concerns about basic philosophic problems, like intentionality, with ordinary language philosophy. But they diverge again sharply about the question of what philosophy should accomplish for, and what difference it makes to, human knowledge and understanding. The one sees intentionality as the pervasive structure of human consciousness and reality, and the other sees it as simply part of the various ways in which the uses of language can explain, and thus do away with, philosophical questions on perplexity. This difference about what philosophy should accomplish, its purpose, is not resolvable. It is what on each approach must be considered the very nature of philosophy and its primary task. (shrink)

This is a theoretical and methodological statement of what isn’t and what is Cognitive poetics. It is focused on Peter Stockwell’s discussion of deixis; but, I claim, much of what I have to say on Stockwell’s work would apply to some degree to the work of many other critics. I argue that Stockwell translates traditional critical terms into a “cognitive” language, but does not rely on cognitive processes to account for issues related to the texts discussed; and that he uses (...) these terms to label or classify poetic expressions rather than point out their interaction in generating poetic effects. The present paper does not presume to tell what is the “correct” way to handle those terms, but attempts to give examples of how the same terms could be used with reference to cognitive processes, so as to account for poetic effects. (shrink)

The semiotic model that disregards the normative context represented by the protagonist examines how we can distinguish the three conceptions of heroism, namely hero, semi-hero, and anti-hero. What are the methodological criteria whereby we can follow the protagonist in the text from beginning to end? To answer them, this article tries to present a model made up of five stages/criteria which constitute a semiotic model by means of which the connection to heroism can be determined. These are: (1) motivation, (2) (...) will, (3) ability, (4) execution, and (5) outcome. These stages can be logically classified into three categories: 1) Pre-action (the first three stages), 2) Action (the fourth stage), 3) Post-action (the fifth stage). The model proposed here suits all types of narrative and drama and all performance and film production arts. (shrink)

The unprecedented power of China and its cultural expansion are increasing the need to examine its hegemonic impact in the field of literature. The new concept of ‘sinophone’, inspired by postcolonial criticism, reveals vigorous protests against Mainland’s centrality by advocating Chinese Diaspora literature, which has been too long relegated to a peripheral status. This study seeks to reconsider such debates through investigations of historical reasons, ideological issues, and perspectives they have widened. The sinophone literature is thus set (...) up as a creative space, denationalized as well as transnationalized. Denying both the weight of the matrix and the chimerical archipelago, it follows the poetics of relation, the intermixture, and the Open. (shrink)

This collection emphasizes a cross-disciplinary approach to the problem of scale, with essays ranging in subject matter from literature to film, architecture, the plastic arts, philosophy, and scientific and political writing. Its contributors consider a variety of issues provoked by the sudden and pressing shifts in scale brought on by globalization and the era of the Anthropocene, including: the difficulties of defining the concept of scale; the challenges that shifts in scale pose to knowledge formation; the role of scale (...) in mediating individual subjectivity and agency; the barriers to understanding objects existing in scalar realms different from our own; the role of scale in mediating the relationship between humans and the environment; and the nature of power, authority, and democracy at different social scales. (shrink)

Numinous spaces in British literature from William Wordsworth to Samuel Beckett -- Jesus figures in American literature from Ralph Waldo Emerson to Edward Albee -- Using Bakhtin's definitions to discover ethical voices in Solzhenitsyn and Tolstoy -- René Girard's categories of scapegoats in literature of the American South -- Hopkins's metaphysics of nature as sacred disclosure -- The book of job as mirrored in Hopkins's metaphysics -- Beckett's mythos of the absence of God.

This is a theoretical and methodological statement of what isn't and what is Cognitive poetics. It is focused on Peter Stockwell's discussion of deixis; but, I claim, much of what I have to say on Stockwell's work would apply to some degree to the work of many other critics. I argue that Stockwell translates traditional critical terms into a "cognitive" language, but does not rely on cognitive processes to account for issues related to the texts discussed; and that he uses (...) these terms to label or classify poetic expressions rather than point out their interaction in generating poetic effects. The present paper does not presume to tell what is the "correct" way to handle those terms, but attempts to give examples of how the same terms could be used with reference to cognitive processes, so as to account for poetic effects. (shrink)

This article undertakes a comparative study of Ingarden and Derrida in regards to literature. It is being shown that the former’s concepts of ‘spots of indeterminacy’ and ‘empty spots’ resemble the latter’s notions of ‘spacing’ and ‘blanks’. Yet, although they both share a background in Husserlian phenomenology, it is argued that their ideas can hardly be equated to one another. Moreover, Derrida seemed to have avoided any association with Ingarden. This is due to their fundamentally different take on the (...) literary work. Whereas Ingarden mainly considered the ontological nature of literature, Derrida took into account the broader context of the world in which literature takes place. For Ingarden, Derrida would have strayed too far from the subject matter. For Derrida, Ingarden hardly understood its complexity and only examined a small fragment of the issue: the question what makes us grasp literature as such. To Ingarden, those aspects were essential. To Derrida, they were merely objective rules. (shrink)

As evidenced in literature, physicians vary in their emotional devotion to patients. John Steinbeck's physicians are aloof. The doctors of William Carlos Williams and Richard Selzer form strong, complicated, emotional attachments to their patients. These attachments allow them to live fuller, more sensuous lives, without interfering with their proper functioning as healthcare providers. F. Scott Fitzgerald's Dr. Diver overly commits himself to a patient and suffers the consequences. The present-day physician can help modulate his own emotional connections to patients (...) by examining these literary models. (shrink)

This volume aimed to highlight narrative identities of European cities or city neighbourhoods that have been overlooked, such as mid-sized cities. These cities are neither small towns nor metropolises, cities that are now unveiling their appeal or specificity. The present special issue thus covers a range of representations of cities. The articles investigate more systematically how different texts deal with various cities from different experiential and fictional perspectives. The issue covers the geographical scope across Europe, from east to west or (...) vice versa, as well as a range of different works of national literature(s), but with a clear emphasis on mid-sized European cities that have until now been deemed as lesser-known, secondary, peripheral, ‘other’ cities that are in the focus of the research of the COST project Writing Urban Places. New Narratives of the European City, within which this journal issue is being published. (shrink)

This article examines the controversial issue of blasphemy in literature from the viewpoint of reception inside and outside the academia. The thesis of the article is that blasphemy in literature, though inherently related to religion and language, has a plurality of connotations and interpretations (dissidence, intertextuality, critique of colonialism, discursive strategy, alterity/Otherness, ethnicity, subversive text). Consequently, blasphemy in literature is an incentive for fruitful discussions regarding tolerance, freedom of expression, and the re-situation of the (post)modern self in (...) today’s world, dominated by an uncanny admixture of secular and religious values. (shrink)

Objective Apeiron was founded in 1966 and has developed into one of the oldest and most distinguished journals dedicated to the study of ancient philosophy, ancient science, and, in particular, of problems that concern both fields. Apeiron is committed to publishing high-quality research papers in these areas of ancient Greco-Roman intellectual history; it also welcomes submission of articles dealing with the reception of ancient philosophical and scientific ideas in the later western tradition. The journal appears quarterly. Articles are peer-reviewed on (...) a double-blind basis. Topics ancient philosophy ancient science reception of ancient philosophical and scientific ideas in the later western tradition Article formats Original Articles. (shrink)

This book is a philosophical reflection on the experience of time from within exile. Its focus on temporality is unique, as most literature on exile focuses on the experience of space, as exile involves dislocation, and moods of nostalgia and utopia. Marcia Sá Cavalcante Schuback proposes that in exile, time is experienced neither as longing back to the lost past nor as wanting a future to come but rather as a present without anchors or supports. She articulates this present (...) as a "gerundive" mode, in which the one who is in exile discovers herself simply being, exposed to the uncanny experience of having lost the past and not having a future. To explore this, she establishes a conversation among three authors whose work has exemplified this sense of gerundive time: the German philosopher Martin Heidegger, the French writer and essayist Maurice Blanchot, and the Brazilian writer Clarice Lispector. The book does not aim to discuss how these authors understand the relation between time and exile, but presents a conversation with them in relation to this question that reflects new aspects in their work. Attempting to think and express this difficult sense of time from within exile, Time in Exile engages with the relation between thought and language, and between philosophy and literature. Departing from concrete existential questions, Sá Cavalcante Schuback reveals new philosophical and theoretical modes to understand what it means to be present in times of exile. (shrink)

This article considers Beauvoir’s gesture towards fraternité at the end of The Second Sex (1949) by focusing on her fleeting characterisation of this future as ‘an androgynous world’. Generally, either Beauvoir’s call for fraternité is dismissed as an erasure of sexual difference and is thus seen to be politically bankrupt, or fraternité is understood to realise sexual difference. This latter reading suggests that androgyny plays no role in Beauvoir’s solution to women’s oppression, while the other view often sees it (...) as one effect of fraternité. This article takes a different position by arguing that Beauvoir affirms sexual difference and commits to an androgynous future. The article argues that androgyny is an affective mood that is constitutive of an openness in the field of possibility for living sexual difference. Consequently, androgyny plays not only a central role in fraternité, but also gestures to a future beyond dimorphic sexual difference. (shrink)