16 found
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  1.  36
    The Tears of Things: Melancholy and Physical Objects.Peter Schwenger - 2006 - Univ of Minnesota Press.
    Concerned in part with the act of collecting, The Tears of Things is itself a collection of exemplary art objects—literary and cultural attempts to control and possess things—including paintings by Georgia O’Keeffe and René Magritte; ...
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  2.  17
    Corpsing the Image.Peter Schwenger - 2000 - Critical Inquiry 26 (3):395-413.
  3.  9
    The Draw of the Mark.Peter Schwenger - 2024 - Critical Inquiry 50 (2):335-351.
    The mark is the present moment of writing. It follows that if we give some thought to marks, we will also learn something about writing. The mark takes place in a certain space, from which it distinguishes itself. In George Spencer-Brown’s Laws of Form, a right-angle mark becomes the founding gesture for a study of distinction, space, and the relations between them. The Spencer-Brown mark is presented as the elegant minimum needed to convey the idea of “continence” or spatial enclosure. (...)
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  4.  16
    10. Books of Critical Interest Books of Critical Interest (pp. 622-631).Nancy Fraser, Peter Schwenger, Robert Morris, Bruce Holsinger, Garrett Stewart, Kate McLoughlin, Fredric Jameson, Ian Hunter & W. J. T. Mitchell - 2008 - Critical Inquiry 34 (3):543-562.
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  5.  12
    Philosophy and Kafka.Paul Alberts, Ronald Bogue, Chris Danta, Paul Haacke, Rainer Nagele, Brian O'Connor, Andrew R. Russ, Peter Schwenger, Kevin W. Sweeney, Dimitris Vardoulakis & Isak Winkel Holm - 2013 - Lexington Books.
    Philosophy and Kafka is a collection of original essays interrogating the relationship of literature and philosophy. The essays either discuss specific philosophical commentaries on Kafka’s work, consider the possible relevance of certain philosophical outlooks for examining Kafka’s writings, or examine Kafka’s writings in terms of a specific philosophical theme, such as communication and subjectivity, language and meaning, knowledge and truth, the human/animal divide, justice, and freedom.
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  6. Beneath the skin of the book : thinking with Peter Greenaway.Peter Schwenger - 2010 - In Henk Oosterling & Ewa Płonowska Ziarek (eds.), Intermedialities: Philosophy, Arts, Politics. Lexington Books.
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  7.  11
    Fabienne Verdier and the Force between Words.Peter Schwenger - 2022 - Critical Inquiry 49 (1):102-116.
    The fiftieth anniversary edition of the Petit Robert dictionary has an unusual feature: color inserts of paintings that attempt to depict the force fields shared by twenty-two pairs of words. This interposition is the result of a two-year collaboration between the dictionary’s editor, Alain Rey, and the artist Fabienne Verdier. Together, they are perversely resisting the usual project of dictionaries: to separate words from each other through precise definitions. Verdier’s work combines the practices of Eastern calligraphy, which she studied for (...)
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  8.  33
    Phenomenology of the Scream.Peter Schwenger - 2014 - Critical Inquiry 40 (2):382-395.
  9.  5
    Reading's Residue.Peter Schwenger - 2022 - Substance 51 (2):61-72.
    Abstract:Though we forget most of the fiction that we read, something remains. This essay asks what forms that "something" might take in readers' memories, a question that recurs in the work of the Australian writer Gerald Murnane. When a novel's plot lines and visualized incidents have faded away, there may still linger an atmosphere peculiar to it, which is evoked by its title.
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  10.  27
    The Dream Narratives of Debris.Peter Schwenger - 2003 - Substance 32 (1):75-89.
  11.  16
    The Masculine Mode.Peter Schwenger - 1979 - Critical Inquiry 5 (4):621-633.
    Is there really such a thing as a masculine style of writing? What are its characteristics and why just these characteristics? Can we distinguish the masculine style from the explicit masculine content? The writers I will examine in this context are necessarily a selection from the number of those who might be included. They are all twentieth-century authors. Perhaps, as Woolf suggests in A Room of One's Own, it is because of the beginnings of the women's movement in the preceding (...)
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  12.  14
    Words and the Murder of the Thing.Peter Schwenger - 2001 - Critical Inquiry 28 (1):99-113.
  13.  11
    Writing Hypnagogia.Peter Schwenger - 2008 - Critical Inquiry 34 (3):423-439.
  14.  30
    Writing the Unthinkable.Peter Schwenger - 1986 - Critical Inquiry 13 (1):33-48.
    It was a novel, among other things, which originated the atomic bomb. H. G. Wells dedicated The World Set Free, published in 1913, to Frederick Soddy, a pioneer in the exploration of radioactivity. Using Soddy’s research as a base, Wells predicted the advent of artificial radioactivity in 1933, the year in which it actually took place; and he foresaw its use for what he named the “atomic bomb.” In Wells’ novel these bombs are used in a world war that erupts (...)
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  15. Intermedialities: Philosophy, Arts, Politics.Hugh J. Silverman, Louise Burchill, Jean-Luc Nancy, Laurens ten Kate, Luce Irigaray, Elaine P. Miller, George Smith, Peter Schwenger, Bernadette Wegenstein, Rosi Braidotti, Rosalyn Diprose, Dorota Glowacka, Heinz Kimmerle, Purushottama Bilimoria, Sally Percival Wood & Slavoj Z.¡ iz¡ek (eds.) - 2010 - Lanham, Md.: Lexington Books.
    As an alternative to universalism and particularism, Intermedialities: Philosophy, Arts, Politics proposes "intermedialities" as a new model of social relations and intercultural dialogue. The concept of "intermedialities" stresses the necessity of situating debates concerning social relations in the divergent contexts of new media and avant-garde artistic practices as well as feminist, political, and philosophical analyses.
     
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  16.  11
    Marjorie Perloff. Infrathin: An Experiment in Micropoetics. Chicago: University of Chicago Press, 2021. 240 pp. [REVIEW]Peter Schwenger - 2023 - Critical Inquiry 49 (2):297-298.
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