A critical account of the key connections between twentieth-century French philosopher Gilles Deleuze and nineteenth-century German idealist G. W. F. Hegel.
Hegel, Deleuze, and the Critique of Representation provides a critical account of the key connections between twentieth-century French philosopher Gilles Deleuze and nineteenth-century German idealist
This book presents a powerful analysis of contemporary social, cultural and political issues in the representation and embodied experience of masculinities and disabilities as imagined and lived. Thro
Geoffrey Chaucer aimed his ethical critique and social satire at human failures to acknowledge guilt and their self-defensive use of shame. Shame and Guilt in Chaucer explores Chaucer's representation
Violence: most of us would be happy if we never had to experience it, and many are driven by the belief that nonviolent spaces exist. In Violent Affect, however, Marco Abel starts from a different, po
This book is a study of the second-edition version of the 'Transcendental Deduction' (the so-called 'B-Deduction'), which is one of the most important and obscure sections of Kant's Critique of Pure Reason. By way of a close analysis of the B-Deduction, Adam Dickerson makes the distinctive claim that the Deduction is crucially concerned with the problem of making intelligible the unity possessed by complex representations - a problem that is the representationalist parallel of the semantic problem of the unity of the proposition. Along the way he discusses most of the key themes in Kant's theory of knowledge, including the nature of thought and representation, the notion of objectivity, and the way in which the mind structures our experience of the world.
This examination of the relation between law and drama in Renaissance England establishes the diversity of their dialogue, encompassing critique and complicity, comment and analogy, but argues that the way in which drama addresses legal problems and dilemmas is nevertheless distinctive. As the resemblance between law and theatre concerns their formal structures rather than their methods and aims, an interdisciplinary approach must be alive to distinctions as well as affinities. Alert to issues of representation without losing sight of a lived culture of litigation, this study primarily focuses on early modern implications of the connection between legal and dramatic evidence, but expands to address a wider range of issues which stretch the representational capacities of both courtroom and theatre. The book does not shy away from drama's composite vision of legal realities but engages with the fictionality itself as significant, and negotiates the methodological challenges it posits.
From a Nation Torn provides a powerful critique of art history's understanding of French modernism and the historical circumstances that shaped its production and reception. Within art history, the ae
From a Nation Torn provides a powerful critique of art history's understanding of French modernism and the historical circumstances that shaped its production and reception. Within art history, the ae
In the Spanish Golden Age, the new literary mode of vernacular prose fiction was deplored by many authorities for setting bad examples, undermining reality by deceiving with lies, and persuading in the face of rational disbelief. Dr Ife here examines the connection between the objections posed to this fiction and those raised two thousand years earlier by Plato. This book shows how the aims and results of 'picaresque' novel writing in fact counter such objections. In a study of three sixteenth- and early seventeenth-century Spanish novels Dr Ife demonstrates that the authors consciously exploited their readers' response to a narrative in order to bring them to a clearer understanding of their own experience. In this way the very process of representation deplored by the Platonist critics may be regarded as having a moral validity of its own. Additional English translations are provided of all the key extracts studied.
Kant made a number of highly original discoveries about the mind - about its ability to synthesise a single, coherent representation of self and world, about the unity it must have to do so, and about the mind's awareness of itself and the semantic apparatus it uses to achieve this awareness. The past fifty years have seen intense activity in research on human cognition. Even so, Kant's discoveries have not been superseded, and some of them have not even been assimilated into current thinking. That is particularly true of his work on unity and on the semantic apparatus of self-awareness. The first four chapters of this book present a comprehensive overview of Kant's model for non-specialists, an overview largely unencumbered by detailed exegesis. The work then offers a close study of five major discussions of the mind in the Critique of Pure Reason and Anthropology.
This book examines Wordworth's critique of systematic knowing and lays out an alternative model through analyzing his representation, rhetoric, and composition. Sullivan (English, Florida Gulf Coast
At the end of the Thebaid, Statius enjoins his epic 'not to compete with the divine Aeneid but rather to follow at a distance and always revere its footprints'. The nature of the Thebaid's interaction with the Aeneid is, however, a matter of debate. This 2007 book argues that the Thebaid reworks themes, scenes, and ideas from Virgil in order to show that the Aeneid's representation of monarchy is inadequate. It also demonstrates how the Thebaid's fascination with horror, spectacle, and unspeakable violence is tied to Statius' critique of the moral and political virtues at the heart of the Aeneid. Professor Ganiban offers both a way to interpret the Thebaid and a largely sequential reading of the poem.
At the end of the Thebaid, Statius enjoins his epic 'not to compete with the divine Aeneid but rather to follow at a distance and always revere its footprints'. The nature of the Thebaid's interaction with the Aeneid is, however, a matter of debate. This 2007 book argues that the Thebaid reworks themes, scenes, and ideas from Virgil in order to show that the Aeneid's representation of monarchy is inadequate. It also demonstrates how the Thebaid's fascination with horror, spectacle, and unspeakable violence is tied to Statius' critique of the moral and political virtues at the heart of the Aeneid. Professor Ganiban offers both a way to interpret the Thebaid and a largely sequential reading of the poem.
Red, White & Black is a provocative critique of socially engaged films and related critical discourse. Offering an unflinching account of race and representation, Frank B. Wilderson III asks wheth
Red, White & Black is a provocative critique of socially engaged films and related critical discourse. Offering an unflinching account of race and representation, Frank B. Wilderson III asks wheth
This study explores the problems faced by writers of the Enlightenment, who attempted to demystify all previous forms of knowledge by applying rationalist critiques that can in turn be applied to examine their own critical work. It focuses on the works of one of the best-known writers of eighteenth-century France, Denis Diderot, analysing his experimentation with presenting critical knowledge. Paying close attention to the formal-poetic nature of Diderot's writing, his 'art', it examines the interplay between critical knowledge and its representation, between epistemology and aesthetics. Professor Brewer shows how Diderot's work in the areas of philosophy, science, the fine arts and literature pushed Enlightenment critique to its limits, and points to its remarkable similarity to aspects of modern critical theory.
This book explores the intersections between Victorian literature, painting and photography. Taking as a starting point mid-nineteenth-century developments in the understanding of visual perception, Lindsay Smith examines the representation of a pervasive desire for a literal understanding of the process of seeing and perceiving. This is played out in the aesthetic theory of John Ruskin, the early poetry of William Morris, paintings of the Pre-Raphaelites, and in the photographic technique of combination printing. She demonstrates how the novel presence of the camera in nineteenth-century culture not only transforms acts of looking, but also affects major social, aesthetic and philosophical categories. By exploring the intricacies of photographic discourse she shows how Ruskin and Morris produce a critique of the earlier Cartesian perspectival model of vision.
This book offers a comprehensive critique of the historical debate on the referendum and electoral reform in British politics from the nineteenth century to 1981. The book falls into two parts. First, the role of the referendum in political debate since the beginning of the century is discussed and a detailed analysis of the referendums of the 1970s is presented. Vernon Bogdanor then clarifies both the benefits and the difficulties involved in the wider use of the referendum. In the second part of the book, he examines proposals for electoral reform since 1830 and considers the attitudes of the parties towards it today. The different forms of proportional representation are discussed and the consequences of adopting them in Britain assessed. The People and the Party System is written in clear, non-technical language and is intended for the general reader. It makes an important contribution to a vital debate and will be of interest to all those concerned with British politics.
Family and the Law in Eighteenth-Century Fiction offers challenging interpretations of the public and private faces of individualism in the eighteenth-century English novel. John P. Zomchick begins by surveying the social, historical and ideological functions of law and the family in England's developing market economy. He goes on to examine in detail their part in the fortunes and misfortunes of the protagonists in Defoe's Roxana, Richardson's Clarissa, Smollett's Roderick Random, Goldsmith's The Vicar of Wakefield and Godwin's Caleb Williams. Zomchick reveals in these novels an attempt to produce a 'juridical subject': a representation of the individual identified with the principles and aims of the law, and motivated by an inherent need for affection and community fulfilled by the family. Their ambivalence towards that formulation indicates a nostalgia for less competitive social relations, and an emergent liberal critique of the law's operation in the service of society's elites.
