How does modern writing in French grapple with the present absence and absent presence of lost loved ones? How might it challenge and critique the relegation of certain deaths to the realm of the unmournable? What might this reveal about the role of the literary in the French and francophone world and shifting conceptions of the nation state? Essays from the Revolution to the present day explore these questions from a variety of perspectives, bringing out the ways in which (...) class='Hi'>mourning blurs the boundaries between the personal and the historical, the aesthetic and the ethical, the self and the other, and ultimately reasserting its truly critical resonance as a concept. (shrink)

L’enjeu de cet article est de s’intéresser à la question de la transformation de soi que l’expérience de deuil engage, et ce, à partir de l’initiative littéraire. À partir de l’étonnement que produisent certains récits de deuil – Une mort très douce de Simone de Beauvoirou Le malheur indifférent de Peter Handke notamment –, nous interrogerons le besoin d’écrire comme initiative tendant à approcher l’expérience du deuil, à la comprendre. Sous cet angle, l’écriture de deuil, singulière, tout à fait spécifique, (...) s’envisage sous le registre de l’action, possédant ses modalités, ses dynamiques propres et entraînant ses effets biographiques : quelles sont les ressources propres à la littérature permettant de rendre compte de la dynamique à l’œuvre dans l’entreprise de « reconstruction » du sujet? Mais sous l’angle de l’action, nous montrerons également que l’écriture du deuil répond à une forme d’engagement public et d’interpellation dont les enjeux normatifs sont larges. Loin de considérer la démarche d’écriture de deuil comme réservée à la sphère intime, nous tenterons de montrer en quoi l’expérience du deuil, par la médiation de l’écriture, est d’emblée collective, publique, voire politique. (shrink)

A philosophical exploration of aesthetic experience during bereavement. In Aesthetics of Grief and Mourning, philosopher Kathleen Marie Higgins reflects on the ways that aesthetics aids people experiencing loss. Some practices related to bereavement, such as funerals, are scripted, but many others are recursive, improvisational, mundane—telling stories, listening to music, and reflecting on art or literature. Higgins shows how these grounding, aesthetic practices can ease the disorienting effects of loss, shedding new light on the importance of aesthetics for personal (...) and communal flourishing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mourning and SubjectivityFrom Bersani to Proust, Klein, and FreudL. Scott Lerner (bio)Near the end of his recent essay “Psychoanalysis and the Aesthetic Subject,” Leo Bersani makes an unexpected conceptual turn, briefly adopting a vocabulary of “human destiny” [174]. Jacques Derrida made a similar move in 2003 when he dropped his guard, abandoning the language of critical exposition to point out, with uncharacteristic bluntness (“de façon plus crue” [18]), (...) the relevance of autobiography—his experience as a Jewish boy in Algeria—to the development of deconstruction.1 In both instances, one senses a desire for intellectual self-exposure,2 to discover the relation of real-world experience and intellectual—critical, aesthetic, psychic—practices. For Bersani, not only the phrase but the essay as a whole signals the culmination of a decades-long inquiry into the relation of human subjectivity and a “solidarity of being” both among subjects and with the world [“Psychoanalysis” 161].If there is an affirmation of a universal human condition in Bersani’s work—and his reference to human destiny indicates that there is—then it is perhaps best defined as the inclination of human subjects to seek the annihilation of others as a prerequisite for subjectivity. In this state of affairs, where subjectivity encounters the external realm of human and nonhuman objects, Bersani has long been concerned with two chief protagonists: psychoanalysis and art. He has repeatedly shown, ever by new means, that both can be complicitous with the worst inclinations of human subjectivity, just as both can also uniquely provide the means by which human subjects may exceed their own subjectivity [161]. Psychoanalysis, in Bersani’s view, provides the language and conceptual framework to describe how and why subjects go about appropriating and annihilating objects. Psychoanalysis has been misdirected, however, toward two areas of relatively limited value: depth psychology and object relations [“Psychoanalysis” 161, 163; “Sociality” 647], while the main contribution of psychoanalysis, the discovery of the unconscious, has not been adequately exploited as a means of reconceptualizing subjects in solidarity, rather than antagonism, with objects [“Psychoanalysis” 161–64].By the same token, much of great art, literature especially, has served what Bersani calls the “culture of redemption,” promoting the misconception that experience is damaged or worthless and must be repaired via the work of art [Culture of Redemption 1]. [End Page 41] In psychoanalysis, the counterpart of the culture of redemption is located not, in fact, in the areas that Bersani devalorizes (depth psychology, object relations), but rather with the core exploration of unconscious subjectivity. The literary achievement that is paradigmatic of the culture of redemption is Marcel Proust’s À la recherche du temps perdu (In Search of Lost Time), whose theorizing narrator depicts experience, history, the real, as lost to us, damaged, fallen, and in need of repair—redemption—through art.3 The best illustration of the counterpart in psychoanalysis is the work of Melanie Klein. By portraying our relations with others as repetitions of dynamics already played out in unconscious fantasy, Kleinian theory, in Bersani’s view, similarly casts real relations as subordinate to and determined by the (unconscious) imagination. No sooner has Bersani exposed these dominant tendencies in Proust and Klein, however, than he redeems both from the sins of redemptiveness. At the periphery of each writer’s work he uncovers a radically alternative—and, implicitly, ethically superior—representation of the subject in the world. Bersani devoted a seminal essay to these two writers: “The Culture of Redemption: Marcel Proust and Melanie Klein,” reprinted as the first chapter of The Culture of Redemption (1990). In subsequent essays in this volume, he applied this same bifocal approach—consisting in condemnation of a dominant tendency and affirmation of a seemingly marginal one—to Freud, Flaubert, Melville, and others.If The Culture of Redemption thus aimed not only to expose the distortions created by the culture of redemption but also to promote an alternative vision, then the title assigned to the collection told only half the story. Three years later, Bersani and Ulysse Dutoit set out, as it were, to tell the other half. They brought together the work of three artists—a novelist and playwright, a painter, and a filmmaker... (shrink)

This article presents a reading of mourning in Marcel Proust’s À la recherche du temps perdu from the philosophical perspective of Jacques Derrida to imagine a relationship between death and literature. When he writes mourning, Proust works over an irreconcilable abyss – he writes the possibility of mourning, but never writes its completion. In fact, he dies before writing any completion; he dies in deferring it, opening up a mourning for his signature that he had (...) already begun. This, I argue, underlines the aporia that Proust contends with in writing a subjectivity of mourning and death. Death in literature dissects the arresting spectral quality of literature itself – the disability to irrevocably absent its transversal representations, or the interminable coming-back of its ghosts. In composing a literary mourning, Proust dies into a work in which the separation of signatories blurs into an indistinguishable synecdoche. As such, the article resolves upon the consideration that Proust seemingly left his novel – when we create a fictive image of death, how can we imagine anything other than life? The literary dissemination of the signature, of every past self, presents, or imagines, absence as a dream of nothingness. (shrink)

Solon's cryptic injunction : "Call no man happy until dead" -- A mourning happiness : the Athenian funeral oration -- Difficult happiness : the case of tragedy -- Aristotle's hermeneutic of happiness : the first forgetting -- The trial narrative in Richardson's Pamela : suspending the hermeneutic of happiness -- Effects of the trial narrative on the concept of happiness -- Marriage plot -- The tragedies of sentimentalism -- Kantian ethics and the discourses of modernity -- Happiness in revolution (...) : erasing the political concept of happiness. (shrink)

The characters Apollodorus and Alcibiades represent the melancholic and manic poles of what Freud calls the "cyclic disease" in "Mourning and Melancholia." Plato conceives of erôs as entrapped within cycles of pleasure and pain, filling and emptying, until the self recognizes its overfullness — that is, its pregnancy. Socrates embodies the "out-of-placeness" (atopia) that overfullness signifies in a world characterized by emptying and filling, the "whole tragedy and comedy of life" as the Philebus puts it. As a lure for (...) erôs, Socrates points beyond himself; for Apollodorus and Alicibiades, however, he catalyzes their melancholic and manic positions. The reader of the dialogue is thereby cautioned not to relate to the text as containing the fullness of Socratic speech, but to see it as the occasion for the recognition of his or her own out-of-placeness in the "tragedy and comedy of life.". (shrink)

: The characters Apollodorus and Alcibiades represent the melancholic and manic poles of what Freud calls the "cyclic disease" in "Mourning and Melancholia." Plato conceives of erôs as entrapped within cycles of pleasure and pain, filling and emptying, until the self recognizes its overfullness — that is, its pregnancy. Socrates embodies the "out-of-placeness" (atopia) that overfullness signifies in a world characterized by emptying and filling, the "whole tragedy and comedy of life" as the Philebus puts it. As a lure (...) for erôs, Socrates points beyond himself; for Apollodorus and Alicibiades, however, he catalyzes their melancholic and manic positions. The reader of the dialogue is thereby cautioned not to relate to the text as containing the fullness of Socratic speech, but to see it as the occasion for the recognition of his or her own out-of-placeness in the "tragedy and comedy of life.". (shrink)

This essay considers the relationship between literature and film through a reading of Isabel Coixet's film My Life Without Me. The first half of the essay explores how two recent theorisations of the term incorporation allow us to read, on the one hand, the film's relationship to Nanci Kincaid's short story 'Pretending the Bed is a Raft' in particular and to literature in general and, on the other, the narrative consequences of the protagonist Ann's decision to keep her (...) terminal illness a secret. In the first instance, Jay David Bolter and Richard Grusin's definition of incorporation in Remediation helps explain how the film does not adapt the short story upon which it is supposedly based, but in fact only repurposes it. Literary aspects of the film's mise-en-scène, plot and imagery, however, signal My Life Without Me' s incorporation of literature. In the second instance, the essay explores how Jacques Derrida's theory of incorporation's role in mourning helps the viewer understand the film's plot development out of Ann's secret. In the second half of the paper, Leo Bersani's idea of impersonal intimacy is developed into a theory of literature. The conclusion posits that impersonal intimacy defines the literary in contrast to cinema's tendency to full disclosure. (shrink)

The year 1492 is only the last in a series of “ends” that inform the representation of medieval Spain in modern Jewish historical and literary discourses. These ends simultaneously mirror the traumas of history and shed light on the discursive process by which hermetic boundaries are set between periods, communities, and texts. This book addresses the representation of the twelfth and thirteenth centuries as the end of al-Andalus (Islamic Spain). Here, the end works to locate and separate Muslim from Christian (...) Spain, Jews from Arabs, philosophy from Kabbalah, Kabbalah from literature, and texts from contexts. The book offers a reading of texts that emerge from its Andalusi, Jewish, and Arabic cultural sphere: Maimonides’ Guide of the Perplexed; the major text of Kabbalah, the Zohar; and the Arabic rhymed prose narrative of Ibn al-Astarkuwi. The author argues that these texts are written in a language that disrupts the possibility of locating it in a pre-existing cultural situation, a recognizable literary tradition, or a particular genre. At stake are issues – texts and contexts – that have gained particular urgency in the writings of such recent thinkers as Walter Benjamin, Jacques Derrida, Giorgio Agamben, Jean-Luc Nancy, and Avital Ronell. The book reads the place and taking place of language, interrogating the notion of disappearing contexts and the view that language is derivative of its true place, the context that, having ended, is mourned as silent and lost. (shrink)

Our current society seems to require a sharp separation between what can be tolerated in public and what must remain hidden. There is explicit and implicit censorship of both the subject of death and of the crying and suffering of surviving relatives and friends. Medieval literature and literary studies, however, show how the experience of dying and its appropriate manifestations of grief seemed to be more integrated into everyday life, as opposed to the apparent “disintegration” of nowadays. It is (...) possible to begin to detect this evolution already in medieval Hispanic literature itself, from an apparently more public, visible and integrated death in 13th-century Hispanic literature to a more private, concealed and disintegrated death in 15th-century Hispanic literature. This process will continue its journey to the present society of eternal springs and summers from which we have eradicated autumns and winters, seasons as necessary for the cycle of life – for personal, psychological and social balance – as the first two. Keywords: death; mourning; crying; medieval literature. Resumen Nuestra sociedad actual parece presentar una tajante separación entre lo que puede ser tolerado en público y lo que debe permanecer oculto. Hay una censura explícita e implícita tanto del tema de la muerte como del llanto y el sufrimiento de los familiares y amigos supervivientes. Sin embargo, la literatura medieval y los estudios literarios sobre la misma muestran cómo la experiencia del morir y sus apropiadas manifestaciones de dolor parecían estar más integradas en la vida cotidiana en contraposición a la aparente “desintegración” actual. Es posible comenzar a detectar esta evolución ya en la propia literatura hispánica medieval, desde una muerte aparentemente más pública, visible e integrada en la literatura hispánica del siglo XIII hasta una muerte más privada, oculta y desintegrada en la literatura hispánica del siglo XV. Este proceso continuará su recorrido hasta una sociedad actual de eternas primaveras y veranos de la que hemos erradicado los otoños e inviernos, estaciones tan necesarias para el ciclo de la vida —para el equilibrio personal, psicológico y social— como las dos primeras. Palabras clave: muerte; duelo; llanto; literatura medieval. (shrink)

Cover -- Copyright -- Dedication -- Contents -- Acknowledgments -- Introduction -- Chapter One: Writing against Theodicy: Secularization in Baudelaire's Poetry and Critical Essays -- Chapter Two: The Mourning of God and the Ironies of Secularization in Baudelaire's Le Spleen de Paris -- Chapter Three: Sublimation and Conversion in Zola and Huysmans -- Chapter Four: The Staging of Doubt: Zola and Huysmans on Lourdes -- Chapter Five: Religious and Secular Conversions: Transformations in Céline's Medical Perspective on Evil -- Conclusion (...) -- Notes -- Bibliography -- Index -- About the Book. (shrink)

What does one do when the death of a parent demands reentry into an abandoned religious formalism? Raised in an orthodox Jewish home, schooled in the intricate discourse of rabbinic texts and yet long estranged from the ritualism of Jewish law, the prospect is maddening. Filial love compels a yearlong daily synagogue attendance where one recites a mourning prayer laden with myth and superstition. Kaddish is an exquisitely maneuvered headlong plunge into Judaism's expansive intellectual tradition. Thereby the current literary (...) editor of the New Republic fulfils his duty both as a Jew and a son, while never turning his back on another imperative he so cherishes "the moral obligation to be intelligent.". (shrink)

Lament, mourning, and the transmissibility of a tradition in the aftermath of destruction are prominent themes in Jewish thought. The corpus of lament literature, building upon and transforming the biblical Book of Lamentations, provides a unique lens for thinking about the relationships between destruction and renewal, mourning and remembrance, loss and redemption, expression and the inexpressible. This anthology features four texts by Gershom Scholem on lament, translated here for the first time into English. The volume also includes (...) original essays by leading scholars, which interpret Scholem's texts and situate them in relation to other Weimar-era Jewish thinkers, including Walter Benjamin, Franz Rosenzweig, Franz Kafka, and Paul Celan, who drew on the textual traditions of lament to respond to the destruction and upheavals of the early twentieth century. Also included are studies on the textual tradition of lament in Judaism, from biblical, rabbinic, and medieval lamentations to contemporary Yemenite women's laments. This collection, unified by its strong thematic focus on lament, shows the fruitfulness of studying contemporary and modern texts alongside the traditional textual sources that informed them. (shrink)

This essay is a philosophical reading of Don DeLillo’s novel, The Body Artist, and his essay, “In the Ruins of the Future.” Focusing on the issues of loss, mourning, and terror after the attacks of September the 11th, I argue that DeLillo gives a picture of mourning as something that occurs through a loss of language. This loss does not end language; instead, it occurs through language.

"All life upon the stage"; the Theatrum Mundi. In this volume, a seventeenth century metaphor is revisited and is seen as applying to all art in all times. In the "magic mirror of art" the human being discerns the hidden spheres of human life and commemorates and celebrates its glorious victories and mourns its ignominious defeats. Let us rediscover Art as a witness to the human predicament as well as a celebrant of humanity's most sublime moments. This is the invitation (...) of this collection of studies by A-T. Tymieniecka, Hanna Scolnicov, Muella Erkilic, Matt Landrus, Patricia Trutty-Coohill, Monika Bakke, David Brubaker, Tammy Knipp, Howard Pearce, Ellen J. Burns, G. Backhaus, Ethan J. Leib, Lawrence Kimmel, Ingrid Scheibler, Gottfried Scholz, L.F. Werth, A. Carillo, M. Statkiewicz, K. O'Rourke, B. Meyler, H. Meltzer, Jiuan Heng, W.V. Davies. Art as mirror of life, human life as participating in a stage play, corresponds to the fervent search human being of the causes, reasons, puzzles of our existence which elude us in the concrete life. This XVII c. conception of Theatrum Mundi opens as this volume shows a fascinating field of investigation for our times. (shrink)

American cultural technologies of the early nineteenth century shaped Nature and the synonymous "native" in contradictory ways: celebrating the wilderness but then transforming it by cultivation, mourning lost "natives" (both people and species) while also naturalizing the succession of new Euro-American settlers. Settler colonial geopolitics understood its own territorial claims in association with the retreats, migrations, and expansions of select species populations: cattle replacing American bison or Euro-Americans replacing Indians on the western frontier. In this way, Euro-American descendants of (...) settlers who then considered themselves "natives" could be the natural stewards to "preserve" or "reform" wild remnants of nature while also identifying against the encroachment of the Old World. Technological arts as varied as moving panoramas and picturesque sketches depicted and enacted civilization overtaking the wild frontier through visual tours. This chapter explores how the sketch fits into technologies of seeing accompanying American settler colonialism and points to moments when it suggests ecological processes of ongoing passage rather than terminal extinction or succession. (shrink)

Differences in Common engages in the ongoing debate on ‘community’ focusing on its philosophical and political aspects through a gendered perspective. It explores the subversive and enriching potential of the concept of community, as seen from the perspective of heterogeneity and distance, and not from homogeneity and fused adhesions. This theoretical reflection is, in most of the essays included here, based on the analysis of literary and filmic texts, which, due to their irreducible singularity, teach us to think without being (...) tied, or needing to resort, to commonplaces. Philosophers such as Arendt, Blanchot, Foucault, Agamben or Derrida have made seminal reflections on community, often inspired by contemporary historical events and sometimes questioning the term itself. More recently, thinkers like Judith Butler, Gayatri Spivak or Rada Ivekovic—included in this volume are essays by all three—have emphasized the gender bias in the debate, also problematizing the notion of community. Most of the essays gathered in Differences in Common conceive community not as the affirmation of several properties which would unite us to other similar individuals, but as the “expropriation” of ourselves (Esposito), in an intimate diaspora. Community does not fill the gap between subjects but places itself in this gap or void. This conception stresses the subject’s vulnerability, a topic which is also central to this volume. The body of community is thus opened by a “wound” (Cixous) which exposes us to the contagion of otherness. The essays collected here reflect on different topics related to these issues, such as: gender and nation; nationalism, internationalism, transnationalism; nationalism’s naturalization of citizenship and the exclusion of women from citizenship; the violent consequences of a gendered nation on women’s bodies; gendering community; preservation of difference(s) within the community; bodily vulnerability and new politics; community and mourning; community and the politics of memory; fiction, historical truth and (fake) documentary; love, relationality and community; interpretive communities and virtual communities on the Web, among others. Joana Sabadell-Nieto is Professor of Contemporary Spanish Literature (Gender and Feminist Studies) at Hamilton College (USA) and Researcher at the Center for Women and Literature at the University of Barcelona. Marta Segarra is Professor of French and Francophone literature and Gender Studies at the University of Barcelona (Spain), Director of the UNESCO Chair Women, Development and Cultures and co-founder and director of the Center for Women and Literature (2003-2012). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theory in the “Post” Era: A Vocabulary for the 21st-Century Conceptual Commons ed. by Alexandru Matei, Christian Moraru and Andrei TerianLaura Elena Savu WalkerMatei, Alexandru, Christian Moraru, and Andrei Terian, editors. Theory in the “Post” Era: A Vocabulary for the 21st-Century Conceptual Commons. Bloomsbury, 2021. 376pp.Far from “mourning” the demise of theory, this timely and thoughtfully curated essay collection testifies to its “renewed vitality,” its compelling presence (...) “across fields, domains of life, and geocultural boundaries,” and its power to build an ever-expanding world community of practioners who are forming what has come to be known as a “theory commons” (ix). As the collection’s editors point out, theory’s new lease on life hinges on ensuring both the democratic workings of this “world discourse formation” (1) and on the responsible theorizing of the very notion of community in “a world threatened by all kinds of anti-communal actions and reactions, from runaway globalization to exacerbated tribalism and tunnel-vision politics” (x). Working on the margins, specifically, out of a Romanian “lab” called The Critical Theory Institute (CTI), which opened its doors in early 2000, the contributors seek to revise the “standard history of theory,” one whose “Western origins, authority, and cultural compass ” strike them as “exceedingly reductive” (3). This project of geotheoretical repositioning and recalibration aims to recast theory as a “quintessentially cross-linguistic, cross-cultural, trans- and intercontinental undertaking” (4). As such, it carries on the project, launched in a previous volume, Romanian Literature as World Literature (2018), of fashioning an alternative to the nation-state paradigm that has long shaped literary and intellectual histories. In both of these works, Romanian critics and theorists have tuned into a wide range of voices, and tapped into a shared conceptual and methodological apparatus—itself the product of “an ethno-linguistic medley of traditions” (8). This approach informs what editors see as the “epoch-making” (17) discursive paradigm that has taken shape in globally networked post-Cold War societies (17), a viral model of cultural influence that fosters an ontology of “contact, contagion, of infection, dissemination, and horizontal accumulation” (15).To give us a sense of theory’s complex genealogy and evolution, the editors reference the Bulgarian critic Galin Tihanov, who has attributed [End Page 122] important developments in contemporary theory to the achievements of theorists (Nikolai Trubetskoi, Roman Jakobson, Vladimir Propp, and Georg Lukács) and schools of thought (Russian Formalism and the Prague Linguistic Circle). In “Traveling Theory” (1983) and “Traveling Theory Reconsidered” (2000), Edward Said called attention to the migratory nature of contributions made, for instance, by Georg Lukács, whose theories moved across different European locales in this period. Since then, contemporary theory has branched out to integrate the travels and travails of scholars affiliated with theory labs located in Bulgaria, Hungary, Slovakia, and last, but not least, Romania (10).Theory in the “Post” Era highlights five characteristics that distinguish theory in the “post” era from earlier forms: 1) It has a “reluctantly epoch-alist” thrust (19; original italics), which assumes that the “post” lexicon entails “rupture, discontinuity, and opposition” (19), radical departures, tentative claims, provisional conclusions, and ex-centric perspectives; 2) it adopts a “self-reflexive and experimental” (20; original italics) stance in which theorists invoke inherited approaches or invent new ones; 3) it introduces a “transdisciplinary” (21; original italics) scope that allows authors to interrogate the foundations, aims, and methods of theoretical discourse and practice across several knowledge domains, from which they “borrow whole vocabularies and toolkits” (21); 4) it is “nationally, transnationally, and ecologically affiliative” (20) in ways that allow theorists to “think with others at a distance” (21) about global issues; and 5) it is programmatic, placing critical and theoretical concerns in the service of “the ethical, the political, and the communal” (22). Organized around three main themes (“Aesthetics,” “Temporalities,” and “Critical Modes”), the essays juxtapose discussions of pivotal historical events and cultural phenomena with literary analyses of Romantic era “classics,” modernist experiments, and postmodern works of the post-Communist era, a corpus that includes, but is not limited to, landmark works of national culture that are now part of a fast-expanding planetary... (shrink)

This interesting book has a double project: One is to show that Kant’s third Critique, the Critique of Judgment, contains the solution to a deep difficulty apparently posed by the previous Critiques: how can the self-sufficient, autonomous Kantian subject have any relation to an Other, that is, transcend itself? The second project is to show that several twentieth-century philosophers and psychoanalysts, Freud as well as more recent continental and American writers, fall within the “explanatory range” of the third Critique, that (...) Kant is their precursor. This second project, set out in the introduction, suffers a little from the brevity of the exposition, since a reader not familiar with the psychoanalytic literature must rely on summary references to “work of mourning,” “mimetic identification,” “mouthwork,” and such to follow what is probably an excellent way to display the pervasive importance of Kantian thought. (shrink)

The article challenges conventional assumptions regarding the question of incest survival within contemporary discourses. A textual analysis of Kathryn Harrison's autobiographical novel tracing her consensual sexual relationship with her father is used to address the issue of failed or unresolved mourning as a prototypically ‘modern’ cultural phenomenon. Psychoanalytically informed feminist literary criticism is used to explore the parallels between the cultural construction of femininity and failed or postponed mourning in western historical and philosophical traditions. Following the work of (...) Juliana Schiesari and Kathleen Woodward, the article contends that melancholia is a gendered discourse that has historically privileged male theorists and film-makers, such as Barthes and Fassbinder. The article suggests that contemporary women writers, such as Harrison, are engaged in a revisionary approach to the construction of loss within their writing. By situating themselves at the heart of the contemporary family narrative, instead of the ‘melancholic’ margins, they are able to produce a counter-discourse that dispels the conventional dynamics of the traditional family romance. By using the ‘writing cure’ to overcome ideological loss, the desiring daughter is able to challenge misogynist constructions of femininity within contemporary literature. (shrink)

Engaging existentialism: transformative possibilities and local agendas -- The Mexican existentialist ethos -- The seminal Mexican existentialism of Rodolfo Usigli's theater -- Excavating Comala: the existentialist Juan Rulfo, the Grupo Hiperión, and lo mexicano in Pedro Páramo -- "Christs for all passions": José Revuelta's El luto humano [Human mourning] -- Rosario Castellanos's freedom.

** Named a Best Book of 2007 by Ready Steady Book, an independent book review website, working in association with The Book Depository, which is devoted to reviewing the best books in literary fiction, poetry, history and philosophy. "An invaluable guide to new literary territory, Taylor is equally good in discussing writers whom the reader already knows." -- Raphael Rubenstein, Rain Taxi "The paths that John Taylor invites us to walk in this book are inviting ones: fifty-five luminous essays devoted (...) to the broad avenues and the seductive byways of contemporary writing in France. John Taylor is opinionated but his opinions are rigorously argued ones. He strikes a canny and productive balance among a variety of competing concerns: the will to instruct his readers, the desire to share with them some very real pleasures, the imperative to interpret critically, and so forth. What emerges here is the image of a rare reader, one who is always willing to engage literature on its own terms, and that of a literature that is mobile, ambitious, provocative and deeply invested in the process of becoming. -- Warren Motte, Review of Contemporary Fiction "In this great introduction to some 50 French writers and poets little known outside of France, Taylor (The Presence of Things Past; The World As It Is), winner of the Three Oaks Prize for Fiction, invites his readers on an interesting journey."--Library Journal "Here it is under one cover: a deeply informed, delightful, and provocative stroll' through the literature of postwar France. From the chroniques of Cingria to the mythologies of Barthes, John Taylor introduces us to the prose and poetry of dozens of French authors, many of them regrettably never translated into English. Taylor is a skillful and witty guide, able to locate a writer between the traditions of Catullus and Pavese or to identify a style borrowing equally from Hlderlin and Hemingway. Working across every genre from autobiography to poetry to fiction to travelogue to the essay, these French authors, well known and obscure, have plumbed the quintessential French problem' of subjectivity. Tired of the culture wars? The language-lyric debate? The post-game analysis of post-structuralism? I suggest you dive into any one of John Taylor's Paths' for a reminder of the astonishing breadth and depth and complexity of which literature is capable."--Erica Funkhouser, author, Pursuit "Here we have vast erudition revealed in graceful, arresting sentences, writing that provides confidence and pleasure. John Taylor's writing strongly evokes Henry James' writing about French literature in his own day. Like James, Taylor is both generous and astute, never relinquishing admiration for the intricate process of analysis, analysis that he does so penetratingly and eloquently. However brilliant Taylor's observations, behind them rests a deep esteem for the writer, for his or her work, and for the tradition from which it comes. This is critical writing that is satisfying at every single level."--Richard Goodman, author, French Dirt: The Story of a Garden in the South of France "As they stroll through forgotten quartiers of Paris, wander in memory through the fields of a Norman childhood, reflect on a poem's resemblance to the salt marshes of the Breton coast, mourn the death of a beloved young wife, or look for answers in questions to which the only answers are more questions--France's most celebrated and, in some cases, still uncelebrated contemporary writers are exquisitely captured by John Taylor in a prose both limpid and lapidary and through a host of finely wrought essays, each a small jewel of critical insight, poetic sensitivity, and meticulous interpretation. Like a message in a bottle cast up on the shore, this work offers the English-speaking reader an original and poetic way to understand, appreciate, and love French. (shrink)

_The Widening Scope of Self Psychology_ is a watershed in the self-psychological literature, being a contemporary reprise on several major clinical themes through which self psychology, from its inception, has articulated its challenge to traditional psychoanalytic thinking. The volume opens with original papers on interpretation by eminent theorists in the self-psychological tradition, followed by a series of case studies and clinically grounded commentaries bearing on issues of sex and gender as they enter into analysis. Two thoughtful reexaminations of the (...) meaning and treatment challenges of chronic rage are followed by clinical papers that focus, respectively, on mourning, alter ego transferences, resistance to change, and pathological identification. Applied analytic contributions and a review of Goldberg's _The_ _Prisonhouse of Psychoanalysis_ round out a collection that testifies not only to the widening scope of self psychology, but to its deepening insights as well. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Home Is Somewhere Else: Autobiography in Two VoicesPatrick HenryHome Is Somewhere Else: Autobiography in Two Voices, by Desider Furst and Lilian R. Furst; xv & 235 pp. Albany: SUNY Press, 1994, $14.95 paper.Published in the “Margins of Literature” series, Home Is Somewhere Else follows a family of three who, on the margins of the Holocaust, live for nine months in Nazi occupied Vienna before escaping illegally in (...) early 1939 into Brussels and then legally to England. The narration goes on to relate both the life of that family in England until the mother’s death in 1969 ended “the symbiotic threesome” (p. 203) and the subsequent emigration of the father and daughter to the United States where, with her retired father, the daughter pursues her career as professor of comparative literature. The final chapter, “As My Father Used to Say,” records the wisdom and witticisms of her father who died in 1985 leaving her alone, in mourning and still deracinated, having become “more [herself] and thereby more other” (p. 217). “My geographical roots are shallow; only those created by the brand mark of the red ‘J’ [meaning “Jew” and stamped on the family passport in Vienna in 1938] run deep into my being” (p. 217).The technical interest of the book resides in its dual autobiographies. Desider, the father, wrote his (entitled A Superfluous Man) in the early 1970s after his retirement and emigration to the United States. Lilian, the daughter, read it in 1983 and found it organized into chapters around places where they had lived. Without rereading it, she began her autobiography in 1991, deciding to write alternative chapters that would be centered on the same places her father had written about: Vienna, Cologne, Brussels, London, Bedford, and Manchester. In addition, he writes a chapter on the Isle of Man where he was interned for four months in 1941 and she on Chertsey where she spent a year alone. She also writes a chapter about her mother’s life and one on her life with her father in America. [End Page 156]Although both autobiographies are completely retrospective accounts composed, without diaries or notes of any kind, decades after the initial events they narrate, each reflects the preoccupations of the narrator at the time of the events being narrated. Thus Lilian’s, composed as “a tribute of [her parents] for bringing [her] through to safety” (p. xiv), contains the child’s impressions of family, friends, home, relatives, and nanny as well as her fear and terror as she experiences the Nazi entry into Vienna in 1938, Crystal Night, the train ride to Cologne, and the flight to Brussels. From Desider’s, on the other hand, emanates the broader vision of the responsible adult, parent and husband, conscious of the historical scope within which his particular drama unravels. He paints in vivid colors the happy decade in Vienna (1928–38), the descent into the hell of Nazism, the struggle to escape “this gigantic prison” (p. 47), and his appreciation and admiration for the British. He underscores the complexity of the situation by populating his account with scores of individuals—unfortunate Jews, sadistic Nazis, good Austrians, profiteers of all kinds—and by frequent conflicting references to Providence, destiny, luck, and the totally gratuitous nature of survival. Written as a memorial to his wife by a man who claims never to have wanted anything more than a normal life for himself and his family, his narration fittingly ends with her death in Manchester in 1969.The power of the book, however, springs as much from what unites the narratives, as from what divides them. I am not speaking of the similarity of events but rather of the deeply held human values (responsibility, courage, sacrifice, family union, interdependence, and love) that resonate powerfully throughout both accounts. Indeed, the intertwining of the two voices is poetically and umbilically linked to the hands of father and daughter that grip each other throughout the narrative. We find a father who risks everything to keep his family together, a mother who gives up her medical career for the same reason, and a daughter, full of gratitude, love, and an intense sense... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Alcaics In Exile: W. H. Auden’s “In Memory Of Sigmund Freud”Rosanna WarrenOn September 23, 1939, Sigmund Freud died in exile in London, a refugee from Nazi Austria. Within a month, Auden, who had been living in the United States since January of that year, wrote a friend in England that he was working on an elegy for Freud. 1 The poem appeared in The Kenyon Review early in 1940. (...) A stately public ode, the poem mourns not only the death of a publicly significant individual, but the collapse of a world. Hitler had overrun Austria, Czechoslovakia, Poland; assaults on Jews had intensified; England and France had just declared war on Germany. There would be, indeed, many who would have to be mourned:When there are so many we shall have to mourn, when grief has been made so public, and exposed to the critique of whole epoch the frailty of our conscience and anguish,of whom shall we speak?...Someone encountering this poem for the first time, on the page or in the ear, might be pardoned for puzzling over its form. It sounds prosy. It seems to have some recognizable English cadences, pentameters (“[inline-graphic 01]”), tetrameters (“ ”), and even trimeters (“ ”). But the pattern seems unruly, with some [End Page 111] lines stretching out beyond five traditional beats, and ignoring any iambic order: “turned elsewhere with their disappointment as he.” Groping for a more satisfactory principle of organization, a reader with some knowledge of versification may be moved to count syllables. Such a reader will discover that the poem is indeed organized syllabically in lines of 11, 11, 9, and 10 syllables. “Aha,” says the reader, alert to Auden’s intimacy with Classical civilization: “A Horatian ode. Not inappropriate for a formal elegy.” Reflecting further, and leafing through the pages of Horace, that reader will find, or remember, that two thirds of Horace’s odes are in these quatrains, the alcaic stanza. Auden, it appears, has composed his elegy in some version of the meter of Alcaeus, the 7th century b.c.e. Greek poet whose stanza became second nature to Horace. And we cannot enter the world of Auden’s poem without asking, why alcaics? And how do they work here?“In Memory of Sigmund Freud” is sometimes said to be Auden’s first syllabic poem. 2 Others demur, proposing both earlier and later examples. 3 Whatever the spats about dating Auden’s early syllabic practice, scholars conventionally agree that his turn toward syllabic composition reflects his evolving interest in a discursive poetry; in the poet as a private intelligence with a public voice; and in the work, respectively, of Horace and Marianne Moore. Having identified the poem as syllabic, many critics move on to heftier topics like psychoanalysis versus Marxism, Auden more than most poets having laid himself open to an overridingly thematic criticism of Big Ideas. But if, having acknowledged the influence of Horace and Moore in Auden’s refusal of English iambic lyricism here, we stay with the question of meter, we are led back to the older progenitor, Alcaeus, a great poet of exile, whose stanza Auden adopts and adapts. I shall ask how it affects our reading to observe that the stanza itself has a genealogy, and brings its expressive burden to bear on Auden’s poem.“In Memory of Sigmund Freud” relies on a counterpoint of two metrical systems, the largely iambic accentual/syllabic system, traditional in English since Wyatt, and a flattened version of Greek quantitative meter, which was a musical notation of syllable length. For Auden, whose great prosodic facility was almost a handicap, the problem was, “not how to write in iambics but how not to write in them from automatic habit.” 4 Throughout his poetic life, he reached for cadences to interrupt the “natural” iambics, sometimes recalling the Old English alliterative beat, and often turning to ballads and popular tunes for rhythmical variation. By the late thirties, he was not only disillusioned [End Page 112] with the Spanish Civil War and his role as quasi-Socialist bard, but was seeking new compositional principles as well. Free verse was not an alternative: his ear required an evident... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 475-477 [Access article in PDF] A Small Treatise on the Great Virtues: The Uses of Philosophy in Everyday Life, by André Comte-Sponville, trans. Catherine Temerson; x & 352 pp. New York: Metropolitan Books, 2001. Of two minds, I mirror the two sorts of audience this book's twenty-four translations have sought: "students" and "readers" (p. 5), those for whom the scholarly content and apparatus (...) may be of interest and those hopefully many more who wish to become better, to become virtuous. Although "students" will not find sustained engagement with this book rewarding, its bright virtues will raise "readerly" smiles among them.Reasons for Small's great popularity since its 1995 PUF release derive not from essaying eighteen virtues in its eighteen chapters. Its allure is its dance with love's piquant absences, a dance with virtues as "feeble approximations of love" (p. 98). Indeed, chapter 1 teaches that politeness "is not a virtue but a simulacrum that imitates virtue (in adults) and paves the way for it (in children)" (p. 13). And since love, "the alpha and omega of all virtue" (p. 226), is not itself clearly a virtue, then perhaps at most fifteen virtues are treated. For as all readers will pleasurably discover, purity (chapter 14) is really refractions of love's qualities.The virtues are multiply interconnected, not unified as Socrates thought. This idea finds graceful expression, among other places, at the conclusion of "Generosity" (chapter 7). "Combined with courage, it turns out to be heroism. Joined by justice, it becomes equity. Coupled with compassion, it becomes benevolence. In league with mercy, it becomes leniency" (p. 102). And chap-ter 9's mercy? "Because hatred is a sadness, mercy (like the process of mourning, which it resembles and might even require, since to forgive is to bid farewell to our hatred) is on the side of joy. When it is not yet joyous, it is forgiveness; when it already is, it is love" (p. 131). Simone Weil's meditations on God's absence, or "withdrawal," occasion insights into authentic parental love. [End Page 475] God does not fill the world since "were he to do so, there would be only God and no world"; similarly, "more often than one might think, parents withdraw, step back, cede their space to their children, and refrain from exercising all the power at their disposal. Why? Because they love them" (p. 274).Unfortunately, love's flowers, potted in this garden of Adonis (Phaedrus 276b), must contend with "student" scrutiny from without and a suffocating lack of concision from within. This "student's" efforts failed to disentangle ambivalences about the loving ego in the long, concluding love chapter. Organized into three sections—eros, philia, agape—the first has no patience for subtleties of the Symposium's eros. "Have I begged the question?... So be it," since Plato confuses "love—in all its forms—with [ego's] want" (p. 243). Philia "is a different way of [ego's] possessing, of enjoying" (p. 277). Finally, agape, universal and disinterested love, is simply one's genuine conatus, one's true power of existing (pp. 270f). So ego loves three ways—desire, possession, power—but each is about ego. Eros "usually" (p. 262) intermixes with philia: "we are forever hesitating, oscillating, fluctuating between the two affects [desire and joy] and the two truths (Plato's and Spinoza's), between want and capacity, hope and gratitude, passion and action, religion and wisdom, between the love that desires only what it does not have and wants to possess (ero \ s), and the love [philia] that, since it desires only what is, has everything it desires and finds pleasure and joy in it" (p. 253). Nevertheless, philia without excess Platonic eros is about and for ego, not alter. For the friend per se gives ego joy: ego's joy is the definiens of philia (pp. 249ff). Disconcertingly, there are a few contrary formulations of philia as loving "the other for the other's benefit" (p. 262). If "metaphysics is the... (shrink)

The essay examines the relation between the explicit aesthetic ideology of Proust’s Recherche and the structure of the “involuntary memory” that is supposed to serve as that ideology’s empirical basis. I challenge the apparent solipsism and idealism of the narrator’s aesthetics by focusing on the one experience of involuntary memory that he omits from his final reflections, in Time Regained, on the relation between memory and art: this is the involuntary memory, in the earlier volume Sodom and Gomorrah, of his (...) dead grandmother, a memory that he describes there as an experience of true otherness. Through a close reading of this passage, I argue that Proust’s interest in involuntary memory implies a concept of literary art as above all ethical in nature, in so far as it is the only means by which individuals can emerge from the solitude to which they are otherwise existentially condemned. In both the Sodom and Gomorrah passage and a later passage from Time Regained this emergence is cast in terms of a rhetoric of multiplicity that emphasizes both the disturbing and the productive dimensions connecting literature with life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Sacred Game: The Role of the Sacred in the Genesis of Modern Literary FictionAndrew J. McKennaThe Sacred Game: The Role of the Sacred in the Genesis of Modern Literary Fiction, by Cesareo Bandera; 318 pp. University Park: Pennsylvania State University Press, 1994, $16.50.When we consider the early relations of philosophy and literature, we most often think of Republic X and about degrees of separation between reality (...) and its image. That is a mistake, according to Cesareo Bandera, who shows in his deft reading of Laws that Plato expelled the poets chiefly because of their threat to the difference between sacred and profane: their mournful harmoniae polluted sacred rites. In this Plato is closer to the religious world examined by Durkheim, where the absolute difference between sacred and profane alone guarantees all other differences. Aristotle is shown to be starkly misleading here, since his Poetics discuss tragedy as if it had nothing to do with the ritual practices in which it originates. His vaunted realism can only save poetry—and ontological appearances—by ignoring, by virtually expelling the sacred from its purview.This expulsion of the sacred from the horizon of our rationality is the thematic core of Bandera’s argument about modern literary fiction as it [End Page 189] emerges in the Renaissance. He does not bring the religious back to our attention to enthrall us with it anew, but to explain via formidable literary and historical scholarship how we stand with respect to it, and how we misunderstand our enlightened disrespect for it. Our modern scientific spirit, our really amazing freedom of inquiry, has a different genealogy than we commonly suppose.It is not primarily philosophy which grounds our humanist irreverence, but our Western religious tradition, which Bandera reads, along with René Girard, Roberto Calasso, and Marcel Gauchet, as a uniquely desacralizing agency in culture. His book’s central endeavor is to expand the implications of Girard’s sacrificial theory of social formation across close readings of ancient and Renaissance literature and criticism in order to show the constraints on rationality within a culture where the sacred veiled human violence. According to this view, that veil is rent irreparably with the revelation of the innocent victim as the vantage point from which to interpret the murderous fury of the crowd, however ritualized as awe for the god(s), or as art. A stunning analysis of Virgil (with an assist from Michel Serres’s reading of Lucretius) reveals a writer holding back from his appalled understanding of violent foundations. With the Renaissance, art is cannily deritualized; not pious Aeneas, born of a goddess, but Don Quixote, born in prison, sets the course for modern fiction.Bandera’s astute readings of Renaissance literature and criticism shed decisively new light on the significance of this axial period, poised at the fulcrum of his argument. His vast and probing research reminds us how modern literary fiction nourished its self-consciousness and freedom amidst lavish and vehement debate over mixing the human and divine. Stripped of the taboos limiting classical thought, the sacred’s monopoly on violence had eroded to reveal individual culpability—but also vast, new possibilities for thought and action. A clear ethical impulse accompanies these readings, in which Calderon and Cervantes are shown to deprive us of a sacred alibi for human violence, which is now a matter for me to resolve with my neighbor. Organically cultural imperatives lose ground to a sense of individual responsibility, which Bandera traces back to the historically documented ascendancy of devotio moderna in late medieval Europe.Despite and because of debates over its cultural role, Renaissance literature’s very marginality freed it to explore every dimension of human error. And we learn how those who unwittingly conspire to resacralize it, from Tasso and Shelley through Arnold and Frye, only continue to play the sacred game that caused shudders in Plato and inspires just plain silliness among our own critical anarchs and demystifyers.Bandera’s net is cast wide and deep, including a bracing debate with Milbank and Blumenberg, whose sweep he emulates successfully, and whose powerful analyses he corrects. Witty and adroit scrutiny of our “sacred allergy” extends... (shrink)

There are many possible approaches to describing the effects and uses of music in a particular society. It would be a mistake to assume that music in the Bible is not the cement of social life and has no liturgical significance. The present study seeks to explore how people in ancient times employed music using the harp and the ram's horn , to cope with roles that were open or never-ending in their demands. In particular, it focuses upon the role (...) played by music in secular life as well as religious rituals, as described in the Bible. The method used was an extensive literature study of the Old and New Testament, textbooks and relevant peer reviewed journals, with a focus on both secular and religious reasons for singing, dancing and playing instruments. It was found that the Bible described the use of the harp and the ram's horn associated with singing and dancing during celebrations, for military use, as well as mourning or lamentation. It was concluded that music using different instruments, including the harp and shofar, helped people to cope with the demands of everyday life and thus played an important role in both secular life and religious rituals in biblical times. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Why Fantasy Matters Too MuchJack Zipes (bio)In September 1997 a fairy-tale princess and a holy saint, Princess Diana and Mother Teresa, died within a few days of each other. Millions of people openly and dramatically expressed their grief and mourning. Their pictures along with many different images of Diana and Mother Teresa were beamed all over the world through television and the Internet. The mass media carried all (...) sorts of stories and acclaimed the two of them as the fairy-tale princess and the saint, so that little was left to the imagination. Fantastic spectacle was all that mattered.We speculate with the fantastic. Fantasy is a celebrity and money-making machine. As a module in our brains, it has the capacity to transform plain junk into gold that glitters. Fantasy mobilizes and instrumentalizes the fantastic to form and celebrate spectacles that exist and have always existed—illusions of social relations of exploitation based on power. Spectacles violate and drain our imaginations by glorifying social relations of power that are made spectacular and involve the magic of fetishism. Generally, the results bring about delusion and acclamation of particular sets of social relations that are commodified, sold, and consumed. We acclaim commodities that we don’t know, products that are not of our own making and that we consume mentally and physically. We reproduce images consciously and unconsciously that are not of our own making. The media and the corporate world occupy our psyches and manipulate our fantasies even when we [End Page 77] dream. Our relations are mediated through fantastic spectacle and through fetish abetted by the latest technology that connects us to each other while also disconnecting us from our minds and feelings. Simultaneously, we seek to project our desires in the form of fantasies onto reality and endeavor to occupy a space in which our most profound wishes and desires can be realized. We seek cognition and recognition. In each instance—in the tension between corporate determination of the fantastic and individual projection of desire—we seem to anchor our understanding of reality in artworks dependent on the fantastic, such as the Bible and fairy tales. Hence, Mother Teresa the saint. Diana the fairy-tale princess.It is through fantasy that we have always sought to make sense of the world, not through reason. Reason matters, but fantasy matters more. Perhaps it has mattered too much, and our reliance on fantasy may wear thin and betray us even while it nourishes us and gives us hope that the world can be a better place. We have imagined gods, the kingdom of a single god, the miraculous feats of divine and semidivine characters, and the commandments that have been established to lead us to the good life, if not paradise. It is through the fictive projections of our imaginations based on personal experience that we have sought to grasp, explain, alter, and comment on reality. This is again why such staples as the Bible and the Grimms fairy tales have become canonical texts: unlike reality, they allegedly open the mysteries of life and reveal ways in which we can maintain ourselves and our integrity in a conflict-ridden world. They compensate for the constant violation of nature and life itself and for the everyday violation of our lives engendered through spectacle. They contest reality and also become conflated with reality.But our fantasy and the fantasies that we conceive have become desperate because they are outstripped by real existing conditions that instrumentalize them at every waking second of our day, and even when we slumber. It is a commonplace today that fiction, especially science fiction and what we label fantasy in the world of art, cannot keep pace with the devastating and disturbing fantastic of real occurrences, or what I call the incredible credibility of the real. When the normal is so fantastically abnormal, what role can fantastic artworks play in our lives? Is the violence that we encounter in our everyday lives so much more fantastic than in literature, film, and the arts that we seek to consume the fantastic like harmless junk food as quick fixes and consolation? Can our joys really and realistically... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:For the Love of All Creatures: The Story of Grace in Genesis by William GreenwayRyan JuskusFor the Love of All Creatures: The Story of Grace in Genesis William Greenway GRAND RAPIDS, MI: EERDMANS, 2015. 178 PP. $18.00The morning I started reading William Greenway's For the Love of All Creatures, my toddler stumbled into my bedroom holding an injured cockroach. After my startled response caused him to drop it, (...) I trapped and threw the cockroach outside. Had no children been present, I probably would have killed it. Later, I read Greenway's injunction to "love the cockroach," for "we reflect the image of God when we are wholly and without qualification seized by love for the cockroach and for every creature" (102). Did I love that injured cockroach, I wondered; was I seized in a "transcendent moment," my love "absolute and unqualified" (102)? Unpreoccupied by such quotidian dilemmas, Greenway instead proposes a spirituality of grace, of awakening to having been seized by love for all creatures. The moral and spiritual genius of "the primeval history" of Genesis 1–11, he argues, is its holding together the "knowing, insightful idealism" of the seven-day Creation narrative with the "hyperrealism" of the Flood narrative (140). Together they proclaim the "decisive, life-affirming asymmetry" that gracious love is more primordial and ultimate than evil (144). Greenway's book joins a growing body of literature reclaiming biblical texts from overly anthropocentric readings. Asserting the priority of moral sensibility to ethical reasoning, Greenway does not help me know whether I loved that cockroach—beyond mourning that in a fallen world, we "choose the lesser of two evils" (103)—but his Creation spirituality contributes a distinctive approach to animal ethics.Greenway contrasts his creature-loving reading with both materialist and anthropocentric interpretations, against which he argues that the redactors skillfully wove together the Genesis 1–11 narratives to bear a "spiritual truth" that awakens readers to love for all creatures (4). Contrasting this spiritual wisdom to two other influential Creation narratives—the Babylonian Enuma Elish and Thomas Hobbes's Leviathan, the latter carried to completion by Charles Darwin—Greenway draws out the interconnections between politics, cosmology, anthropology, God, and evil that each narrative renders.A provocative but carefully developed reading of the Flood as the "birth of the God of grace" and an interpretation of the seven-day Creation through the lens of exiled, suffering Israel, follow (67). The latter, Greenway argues, cultivates a life-affirming spirituality with an "infinite sensitivity to every other [End Page 205] being" (105). The both/and character of the primeval history's spirituality is summed up in Greenway's oft-repeated phrases "seized by love for all creatures" (i.e., idealism) yet "with eyes wide open to injustice and suffering" (i.e., realism). For a criterion to evaluate Creation narratives, Greenway distinguishes between a "logic of domination" and a "logic of dominion." He concludes that whereas the Hobbesian-Darwinian narrative recognizes fallenness and the Enuma Elish promotes realism, both fail to testify to the asymmetry between good and evil that Greenway thinks essential to a creature-loving spirituality of dominion. Gracious love is the most primordial and ultimate reality. The ethic of daily life, lived along the continuum between domination and dominion, is to "maximize dominion" (121).Regardless of whether one accepts Greenway's premises regarding authority, epistemology, and biblical interpretation, his argument is insightful and thought provoking. Engaging the oppressed communities highlighted by feminist, womanist, and postcolonial thinkers would have complicated his story of "the modern West" and his assessments of sacrifice, hierarchy, sin, and imago Dei. Also, a number of ambiguities—such as claiming to value multiple religious traditions while arguing for the superiority of Genesis—beg for further clarity. However, Greenway's contribution to a life-affirming spirituality in harmony with biblical testimony is laudatory. He may not help me know how to love a cockroach, but he successfully accounts for why such an ethical dilemma coheres with a Genesis-cultivated spirituality. The book would have wide appeal in undergraduate, seminary, or ecclesial contexts. [End Page 206]Ryan JuskusDuke UniversityCopyright © 2017 Society of Christian Ethics... (shrink)

Mourning in Late Imperial China. Filial Piety and the State. Norman Kutcher. Cambridge University Press, Cambridge 1999. xiv, 210 pp. £40.00, US $64.95. ISBN 0-521-62439-8.

Gravestones and inscription stones, which are among the oldest indicators of the phenomenon of death engraved in the public memory with images and rituals, are the ancient interpreters of the consciousness of death, which is the redemption of human beings as conscious beings. The phenomenon of death or dying, which was domesticated through a natural spirituality in antiquity, and a monotheistic religiosity in the Middle Ages, loses its spirituality by becoming profaned in the hands of consumer culture and is brutalized (...) today in terms of lifestyle by being cut off from existence in positivist paradigm in epistemological terms. The study deals with the secular perception of death and the individual and social crises caused by this perception in the context of tradition and modernity. The purpose of the study is to draw attention to the spread of natural and materialist assumptions in the perception of death and the strengthening of the profane elements in mourning ceremonies and to make sense of the traces left by this process in the individual and society. It is seen in the study that the efforts to cover up and intimidate the deceased and the subject of loss bring existential crises, alienation, and violence against oneself or others. On the other hand, it is also understood that it is not a coincidence that the traces of the culture of reconciliation built between death and life by the traditional perception of death in the countryside as an alternative perception faced. The study has been conducted with the document analysis design method, which is a qualitative research type. The approaches to the phenomenon of death have been subjected to a chronological literature reading in the study, and the diagnoses of the 21st century attitudes of the death perception, which were reached by going back to early days, were tested in historical and semiotics terms with the films Making Ships from Watermelon Shell (2004) and Shattered (2021), which were chosen to represent two different paradigms as documentary data. The study is important in that it examined the changing perception of death and the culture of mourning in detail and created a current topography and contributes to the studies of the sociology of death, which is still a fresh field. (shrink)

_This study investigates how domestic violence and abuse have been portrayed in Bina Shah’s Slum Child. The study analyzes how women’s portrayal construes domestic violence, abuse, marginalization, and victimization. The study employs Thematic Roles given by Andrew and Radford, as cited in Saeed to explore the linguistic choices which are significant in reflecting the underlying ideology of the author. Research shows that the beats, mourns, screams, and shouts of the female characters as portrayed in the novel represent the distress, restraint, (...) and implicit horrendous recollections. This study has contended that the selected novel features the complex relationship of females with space and researched how the female characters swaying among private and public spaces find the metropolitan space afraid for them. This study suggests that the academia through literature must commend voice following the troubles of the declined women whosoever are tragically collided together by the perpetrators._. (shrink)

This article discusses the representation of AIDS in Guibert's posthumously published novel Le Paradis. The novel is situated in relation to Guibert's better known previous AIDS writings. The article proposes that Guibert's AIDS works fall in to three related categories: writings about other peoples' AIDS; autobiographical writings about AIDS, and, in the third, terminal stage in which Le Paradis fits, writing AIDS. As such the article suggests that Le Paradis manages to reflect and communicate some of the trauma of living (...) with AIDS by specifically trying not to write about it. The article raises issues related to constructions of sexualized and AIDS identities in fiction, and presents the novel as a form which represents a loss of self. The novel, it is argued, becomes a self-mourning for a healthy past which is memorialized in a fictional present, itself always-already haunted by the nostalgia for a lost future. (shrink)

_The Decision Between Us _combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an ethical (...) construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of “unbecoming community” in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, _The Decision Between Us _opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published _Writing Degree Zero_, then moves to 1980 and the “neutral mourning” of Barthes’ _Camera Lucida_, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, _The Decision Between Us_ is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning. (shrink)

In the vast expanse of classical Arabic literature, the works of Abū Dhu’ayb al-Hudhalī stand out, particularly his elegies, which provide a pro-found glimpse into the sociocultural dynamics of his era. The research presented in this article delves deep into the life and artistry of Abū Dhu’ayb, meticulously examining how his personal experiences and surroundings shaped his poetic expressions. Elegies, often characterized by their mournful tone and reflective nature, become especially significant in Abū Dhu’ayb’s repertoire as they offer poetic (...) lamentations and provide insight into the world in which he lived. The subject of this research focuses on Abū Dhu’ayb’s elegies, providing an in-depth literary analysis, and aiming to discern the intricate interplay between his life’s events and his poetic manifestations. By situating Abū Dhu’ayb’s elegies within the broader canvas of classical Arabic poetry, this research seeks to shed light on their distinct characteristics, thematic concerns, and stylistic nuances. Within the scope of this article, special attention is given to his deeply moving elegy dedicated to his sons. Drawing from a wide spectrum of his poems, we ensure a comprehensive understanding of Abū Dhu’ayb’s unique approach to the art of elegy. The rationale for this inquiry becomes particularly salient when we position Abū Dhu’ayb within the milieu of his literary peers. Although numerous poets of his era ventured into the domain of elegy, Abū Dhu’ayb’s compositions stand apart, characterized by their intimate resonance and the intricate threads of narrative woven seamlessly into his poetic tapestry. Engaging with overarching themes of fate, destiny, honor, and the human condition, his works do more than just lament the loss of loved ones or ponder the transient nature of life. Through this research, we aim to elevate the understanding of Abū Dhu’ayb’s contribution to Arabic literature and underscore the importance of his elegies as both literary mas-terpieces and historical documents. The primary purpose of this study is twofold. Firstly, it seeks to explore the artistic depth and breadth of Abū Dhu’ayb’s elegies, understanding their thematic richness and linguistic excellence. Secondly, the study aims to draw connections between the poet’s life—a life replete with its share of joys, sorrows, triumphs, and tribulations—and the elegies he crafted. By doing so, the research offers a holistic view of the poet, not just as a literary figure but also as a person deeply affected by the world around him. The methodological framework employed in this research is rooted in both literary analysis and historical contextualization. By closely reading Abū Dhu’ayb’s elegies, the research deciphers their symbolic and metaphorical elements, laying bare the poet’s craft. Concurrently, by positioning these elegies within their historical context, the study provides a broader understanding of the socio-political and cultural milieu of Abū Dhu’ayb’s era. This dual approach ensures a well-rounded exploration, enabling readers to appreciate the elegies both as individual pieces of art and as part of a larger poetic tradition. The research methodology used in this study involves a combination of literary analysis and historical contextualization. (shrink)

The rise of world literature is the most noticeable phenomenon in literary studies in the twenty-first century. However, truly well-known and globally circulating works are all canonical works of European or Western literature, while non-European and even "minor" European literatures remain largely unknown beyond their culture of origin. World Literature as Discovery: Expanding the World Literary Canon argues that world literature for our time must go beyond Eurocentrism and expand the canon to include great works from (...) non-European and "minor" European literatures. As much of the world's literature remains untranslated and unknown, the expansion will be an exciting process of discovery. By discussing fundamental questions around canon, circulation, aesthetic values, translation, cosmopolitanism and the literary universal, Zhang Longxi proposes a new and liberating concept of world literature that will shape world literature worthy of its name. This book speaks for a more inclusive idea of world literature, and shows students and scholars alike that all the literary traditions, particularly non-European traditions, will be able to make important contributions and expand the canon of world literature. (shrink)

In Insister, Hlne Cixous brings a unique mixture of theoretical speculation, breath-taking textual explication and scholarly erudition to an extremely close reading of Derrida's work, always attentive to the details of his thinking. At the same time, Insister is an extraordinarily poetic meditation, a work of literature and of mourning for Jacques Derrida the person, who was a close friend and accomplice of Cixous's from the beginning of their careers.

This article adds to previous accounts in the scholarship on Confucius's treatments of grief, mourning, death, and dying. Valuing Confucius’s remark that one must understand life to understand death, it is argued that through Confucius’s example in the Analects, we are guided in our quest for such understanding.

Astory is an instruction manual of sorts, containing rules for the manufacture of fictional objects. Consider the opening sentence from E. F. Benson's Mapp and Lucia: "Though it was nearly a year since her husband's death, Emmeline Lucas still wore the deepest and most uncompromising mourning."1 As the sentence does not describe someone who exists, it does not press a truth claim that could be substantiated by observing the person in question. Instead, it is an invitation to construction: the (...) reader is presented with guidelines for what he or she is to imagine. These guidelines do not fully determine what is imagined, since the exact shape and constitution of what a... (shrink)

In Paradise Wild, David Oates addresses this and many other provocative questions as he explores the persistent myth of Eden from several different angles. As a lifelong mountaineer and reader of nature literature, as a scholar, as a descendant of naturalist William Bartram, and as a gay ex-Baptist who took to the mountains to test his masculinity, Oates has thought deeply about how nature and culture interact in our lives and about the contemporary debate over wilderness and environment. Paradise (...) Wild brings all these elements together in a lively, genre-hopping book that will move readers emotionally and intellectually, at the same time that it contributes to the ongoing debate in scholarly and environmental circles over the meaning of "nature" and "wilderness." Paradise Wild tells stories, explores major scholarship and literature of nature, and analyzes how the misapplied myth of Eden has mired Americans in a hopeless "Paradise Lost" mentality that belies the true, ever-present wildness in our lives. Oates argues that mourning for a lost paradise is a dead end that cannot help us combat the real damage we're doing to ourselves and the rest of the world. He proposes a healthy re-mythologizing of the Eden story as a way of celebrating "wildness" -- the Eden in each moment and in each cell, that cannot be lost. His book is about welcoming that wildness into the midst of daily life. This bold and original work will appeal to general readers as well as to scholars and students with an interest in environmental literature and philosophy, nature writing, cultural studies, and queer studies. (shrink)

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

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 402-414 [Access article in PDF] Past's Weight, Future's Promise:Reading Electra William Junker I SOPHOCLES' Electrapresents as its main character a woman who is tortured by the remembrance of things past: Even my pitiful bed remembers, there in that dreadful house, my long night-watches grieving my unlucky father who found no foreign resting place in war but died when my mother and Aegisthus, her (...) lover, took an axe to his head as a woodman does a tree. (85-95) 1The story she tells is a familiar one. Her father, Agamemnon, having returned from the Trojan War, is murdered by Clytemnestra and her lover Aegisthus. Clytemnestra's motives are complex and unclear, for Agamemnon had previously sacrificed their daughter, Iphigenia, in order to ensure military success, and it is an open question as to what extent maternal vengeance as opposed to romantic intrigue motivated [End Page 402] her action. After the murder, Electra rescues her brother Orestes from probable death by sending him abroad (Aegisthus fearing revenge would have killed the child) while she grows and lives as an outcast in her own home, awaiting the day when the grown Orestes will return and bring their father's murderers to justice.The story, and its ensuing consequences, had already been handled masterfully in Aeschylus' Oresteia; but in Sophocles' play there is considerably more interest shown in Electra herself. 2 This focus results in a magnification of Electra's mourning for her father along with a sustained meditation upon how this mourning results in her inability to live, in any full sense, with the knowledge of his death. She cannot escape the memory of the injustice done him, and this memory fuels her hopes for Orestes' return even as it renders her, for all practical purposes, incapacitated.Her character thus described draws continual attention during the course of the play, and in their first appearance the Chorus admonishes her: "When you go on too far with grief, / you come to endless anguish, and destroy yourself. / There is no salvation from your troubles here, / so why should you persist in suffering" (136-39). Electra herself views her persistent suffering as necessary and noble, a show of allegiance to her murdered father and a refusal to compromise with his killers. The Chorus and Chrysothemis, however, argue that by so carrying on Electra is in reality causing more damage to herself than her situation warrants. Her ragged appearance, quite noticeable stench, and public outcries do nothing to help redress her father's honor; they rather highlight her mania and point toward insanity. At one point Chrysothemis implies as much. To Electra's accusation that her position of political compromise is dishonorable, she rebuts: "There's honor in not letting madness defeat you" (395)—suggesting both a different conception of honor and a veiled appraisal of her sister's mental health. In the service of life and sanity, the Chorus and Chrysothemis seem to say, leave off your suffering. In the service of honor and the dead, Electra rejoins, I cannot. The movement of the play in fact continually juxtaposes the position of Electra with that of her critics, and this juxtaposition is one that calls for interpretive elucidation. 3An especially fertile way of adjudicating these issues in Electra is afforded us by Nietzsche, and, specifically, by his On the Advantage and Disadvantage of History for Life. This is the case because, as I want to suggest, Nietzsche's essay provides a framework which reconstructs, and in a unique way, the central problem of Electra. That problem is [End Page 403] essentially one of reconciling the conflicting claims of familial honor and memory with the claims of life. Through Nietzsche's exposition of history and its relation to life, this problem is both illumined and given greater subtlety—illumined, in that the potential agôn between history and life, while present in Sophocles' Electra, is not just obvious; and made subtle, in that Nietzsche's proposed solution to this agôn allows for a reading of the... (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)