The key to A Theater of Envy is Rene Girard's novel reinterpretation ofmimesis. For Girard, people desire objects not for their intrinsic value, but because they are desired by someone else--we mime or imitate their desires. This envy--or mimetic desire--he sees as one of the foundations of the human condition. Bringing such provocative and iconoclastic insights to bear on Shakespeare, Girard reveals the previously overlooked coherence of problem plays like Troilus and Cressida, and makes a convincing argument for elevating A Midsummer Night's Dream from the status of a chaotic comedy to amasterpiece. The book abounds with novel and provocative interpretations: Shakespeare becomes a prophet of modern advertising, and the threat of nuclear disaster is read in the light of Hamlet. Most intriguing of all, perhaps, is a brief, but brilliant aside in which an entirely new perspectiveis brought to the chapter in Joyce's Ulysses in which Stephen Dedalus gives a lecture on Shakespeare. In Girard's view only Joyce, perhaps the greatest of twentieth-century novelists, comes close to understanding the greatest of Renaissance playwrights. Throughout this impressively sustained reading of Shakespeare Girard's prose is sophisticated, but contemporary, and accessible to the general reader. Anyone interested in literature, anthropology, or psychoanalysis will want to read this challenging book. And all those involved in theatricalproduction and performance will find A Theater of Envy full of suggestive new ideas.

    From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present.   As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America’s most widely read and admired writer on art.  In this book:  nearly a hundred of his finest essays on the subject.   For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists.  He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel’s “work is to painting what Stallone’s is to acting”; he calls John Constable’s Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.”  He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic).   Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded.  His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture.  There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate.  And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s.   A meteor of a book that enlightens, startles, stimulates and entertains.

    As such, this is a critical survey of modern Western philosophy, focusing in particular on the complex relations between aesthetics, ethics & politics. Eagleton provides a brilliant & challenging introduction to these concerns, as characterized in the work of Kant, Schiller, Schopenhauer, Kierkegaard, Marx, Nietzsche, Freud, Heidegger, Lukacs, Adorno, Habermas & others. Wide in span, as well as morally & politically committed, this is his major work to date. It forms both an original enquiry & an exemplary introduction.

    The papers, many of them previously inaccessible to non-specialist readers, deal with such fundamental issues as the relationship between style and content in the exploration of ethical issues; the nature of ethical attention and ethical knowledge and their relationship to written forms and styles; and the role of the emotions in deliberation and self-knowledge. Nussbaum investigates and defends a conception of ethical understanding which involves emotional as well as intellectual activity, and which gives a certain type of priority to the perception of particular people and situations rather than to abstract rules. She argues that this ethical conception cannot be completely and appropriately stated without turning to forms of writing usually considered literary rather than philosophical. It is consequently necessary to broaden our conception of moral philosophy in order to include these forms. Featuring two new essays and revised versions of several previously published essays, this collection attempts to articulate the relationship, within such a broader ethical inquiry, between literary and more abstractly theoretical elements.

    "Anyone, whether knowledgeable or not, will profit by reading it..." - Opera Quarterly

    

    Starting from an inquiry that grows out of the specific context of a society that is experiencing uncertainty as to its ways of living and being, its goals, its values, and its knowledge, one that has been incapable, so far, of adequately understanding the crisis it is undergoing, Castoriadis sets as his task the elucidation of this crisis and its conditions.The book is in four parts: Koinonia, Polis, Psyche, Logos. The opening section begins with a general introduction to the author’s views on being, time, creation, and the imaginary institution of society and continues with reflections on the role of the individual psyche in racist thinking and acting and on the retreat from autonomy to generalized conformity in postmodernism. The second part is a critique of those who now belittle and distort the meaning of May ‘68 and other movements of the sixties as well as the French Revolution. The fate of the “project of autonomy” is considered here in the light of the Greek and the modern “political imaginary,” the “pulverization of Marxism-Leninism,” and a recent alleged “return of ethics” (Habermas, Rawls, McIntyre, Solzhenitsyn, Havel).In part three, Castoriadis shows how psychoanalysis, like politics, can contribute to the project of individual and collective autonomy and challenges Lacan, Foucault, Derrida, and others in his report on “The State of the Subject Today.” This section also presents his most current lines of psychoanalytic research and thought on the “human nonconscious” in the body and on the problem of the psychoanalysis of psychotic subjects, where an alternative coherence on the level of meaning offers a constant challenge to the task of psychoanalytic interpretation.Castoriadis’s highly original investigations of the unruly place of the imagination in Western philosophy round out the book. He examines how Aristotle’s original aporetic discovery and cover-up of the imagination were repeated by Kant, Freud, Heidegger, and Merleau-Ponty.

    Frye identifies four key elements found in the Bible-the mountain, the garden, the cave, and the furnace-and describes how they recur in later secular writings. Indices.

    Topics range from the religious rites of the Aztecs to modern american painting, from Eastern art and religion to love and eroticism. Translated by Helen Lane.

    Offering a perspective on modern society and intellectual life, they are concerned with the crisis of modern culture as it manifests itself in science and mathematics, capitalism and nationalism, the changing roles of women and writers, and more. Writing to find his way in a world where moral systems everywhere were seemingly in decay, Musil strives to reconcile the ongoing conflict between functional relativism and the passionate search for ethical values. Robert Musil was born in 1880 and died in 1942. His first novel, Young Törless, is available in English. A new two-volume translation by Burton Pike and Sophie Wilkins of The Man without Qualities is forthcoming from Alfred A. Knopf."Now we have these thirty-one invaluable and entertaining pieces, from an article on 'The Obscene and Pathological in Art' to the equally provocative talk 'On Stupidity,' which, with a new translation of The Man without Qualities forthcoming . . . amount to a literary event for the reader of English comparable to Constance Garnett's massive translation of Chekhov's stories."—Joseph Coates, Chicago Tribune"Musil is one of the few great moderns, one of the handful who ventured to confront the issues that shape and define our time. . . . He has a range and a striking capacity every bit as great as that of Mann, Joyce, or Beckett."—Boston Review"These essays are crucial in understanding a writer and critic whose lifelong task was an attempt to resolve the dichotomy between the precision of scientific form and the soul—the matter of life and art."—Choice

    This cautionary statement is especially applicable to Mikhail Bakhtin, whose intellectual development displays a diversity of insights that cannot be easily integrated or accurately described in terms of a single overriding concern. Indeed, in a career spanning some sixty years, he experienced both dramatic and gradual changes in his thinking, returned to abandoned insights that he then developed in unexpected ways, and worked through new ideas only loosely related to his earlier concernsSmall wonder, then, that Bakhtin should have speculated on the relations among received notions of biography, unity, innovation, and the creative process. Unity—with respect not only to individuals but also to art, culture, and the world generally—is usually understood as conformity to an underlying structure or an overarching scheme. Bakhtin believed that this idea of unity contradicts the possibility of true creativity. For if everything conforms to a preexisting pattern, then genuine development is reduced to mere discovery, to a mere uncovering of something that, in a strong sense, is already there. And yet Bakhtin accepted that some concept of unity was essential. Without it, the world ceases to make sense and creativity again disappears, this time replaced by the purely aleatory. There would again be no possibility of anything meaningfully new. The grim truth of these two extremes was expressed well by Borges: an inescapable labyrinth could consist of an infinite number of turns or of no turns at all.Bakhtin attempted to rethink the concept of unity in order to allow for the possibility of genuine creativity. The goal, in his words, was a "nonmonologic unity," in which real change (or "surprisingness") is an essential component of the creative process. As it happens, such change was characteristic of Bakhtin's own thought, which seems to have developed by continually diverging from his initial intentions. Although it would not necessarily follow that the development of Bakhtin's thought corresponded to his ideas about unity and creativity, we believe that in this case his ideas on nonmonologic unity are useful in understanding his own thought—as well as that of other thinkers whose careers are comparably varied and productive.

    In one essay, the wanton assassination of a musk rat provokes a meticulous meditation on the nature of survival that manages to be both a lucid scientific exposition and a concealed allegory on Central European politics.

    James, and H.P. Lovecraft. The result is a thorough study of the art, craft, philosophy, and aesthetics of an enduring genre of fantastic literature.

    Demonstrating a comprehensive knowledge, both of the history of science fiction narrative from its earliest origins, and of cultural theory and philosophy, Bukatman redefines the nature of human identity in the Information Age. Drawing on a wide range of contemporary theories of the postmodern—including Fredric Jameson, Donna Haraway, and Jean Baudrillard—Bukatman begins with the proposition that Western culture is suffering a crisis brought on by advanced electronic technologies. Then in a series of chapters richly supported by analyses of literary texts, visual arts, film, video, television, comics, computer games, and graphics, Bukatman takes the reader on an odyssey that traces the postmodern subject from its current crisis, through its close encounters with technology, and finally to new self-recognition. This new "virtual subject," as Bukatman defines it, situates the human and the technological as coexistent, codependent, and mutally defining.Synthesizing the most provocative theories of postmodern culture with a truly encyclopedic treatment of the relevant media, this volume sets a new standard in the study of science fiction—a category that itself may be redefined in light of this work. Bukatman not only offers the most detailed map to date of the intellectual terrain of postmodern technology studies—he arrives at new frontiers, providing a propitious launching point for further inquiries into the relationship of electronic technology and culture.

    The author refutes such easy categorizations of Milosz as "the poet of Poland," "the poet of history," "the poet of the Holocaust." He examines instead such crucial problems as Milosz's search for the essence of human nature, irreducible to historical, social, and biological categories; Milosz's reflection on the erosion of the Christian imagination, which has resulted in a fundamental gap between the individual's inner life and the image of humanity formed by scientific theories; his efforts to rebuild the anthropocentric vision of the world, while acknowledging the elements that have undermined it; and finally, his attempt to recreate in his poetry a language that is both poetic and philosophical.The Eternal Moment originally appeared in Polish in 1987. This version, which quotes extensively from Milosz's Collected Poems, is the first thorough introduction for English-speaking readers to this major poet.

    This collection of twenty-four of Northrop Frye's essays, nine of which have never been published and several of which have appeared only in obscure sources, focuses on the fundamental themes that have dominated Frye's career and made him one of the world's most influential critics.

    It traces the evolution of the conception and the depiction of space in European and American painting and the ways in which this evolution reflects ideological changes in society over 2000 years.

    Widely acknowledged as an exceptional guide to Bakhtin and dialogics, this book now includes a new introduction, concluding chapter and a fully updated bibliography.He argues that Bakhtin's work gains coherence through his commitment to the concept of dialogue, examining Bakhtin's dialogues with theorists such as Saussure, Freud, Marx and Lukacs, as well as other thinkers whose connection with Bakhtin has previously been ignored.Dialogism also includes dialogic readings of major literary texts, Mary Shelley's Frankenstein, Gogol's The Notes of a Madman and Fitzgerald's The Great Gatsby, which provide another dimension of dialogue with dialogue.

    It allows us to reconstruct the keen eye, the commitment to perception, the gift of rapt concentration, the conviction that great paintings are not necessarily understood easily, and the further conviction that a great painter deserves to get from us as good as he gives. By drawing on these qualities, Fried achieves something out of reach for all but a handful of his colleagues. In his writing, art history takes on some of the character of art itself. It is driven by the same stubborn resolve to open our eyes."—Richard Wollheim, San Francisco Review of BooksCourbet's Realism is clearly a major contribution to the highly active field of Courbet studies. . . . But to contribute here and now is necessarily also to contribute to central debates about art history itself, and so the book is also—I hesitate to say 'more importantly,' because of the way object and method are woven together in it—a major contribution to current attempts to rethink the foundations and objects of art history. . . . It will not be an easy book to come to terms with; for all its engagement with contemporary literary theory and related developments, it is not an application of anything, and its deeply thought-through arguments will not fall easily in line with the emerging shapes of the various 'new art histories' that tap many of the same theoretical resources. At this moment, there may be nothing more valuable than such a work."—Stephen Melville, Art History

    In work often compounded by the populist urbanity of city lives, the Objectivists explored the social statements poetry can make. Because Oppen wrote only one essay and one essay-review, his correspondence, in effect, constitutes his essays. Oppen is emerging as one of the major poets of the postwar era; he was the recipient of an American Academy and Institute of Arts and Letters Award, the PEN/West Rediscovery Award, and a Senior Fellowship from the National Endowment for the Arts. His collection Of Being Numerous received the 1969 Pulitzer Prize for Poetry.These working papers include a rich correspondence, letters which provide access to the sustained, perceptive body of critical and aesthetic thinking of Oppen’s poetic career. Provocative and witty comments on poetry and poetics, especially interesting for the development of an Objectivist aesthetics, and shrewd, deeply felt assessments about the politics of the twentieth century and its moral dilemmas are some of the issues attended to. This edition offers primary documentation about an influential poetics, a little-known movement, and its active figures. Given the aggressive studies of the politics of canon-formation, the interest in describing a historical context for individual literary achievement, and current debates about mainstream poetry, the rethinking of the Objectivist movement, and the collection of documents contributing to its poetics, is an important achievement in literary scholarship.

    Only recently have film scholars and historians begun to study these early years of cinema in their own right and not simply as first steps towards the classical narrative cinema we now associate with Hollywood.The essays in this collection trace the fascinating history of how the cinema developed its forms of storytelling and representation and how it evolved into a complex industry with Hollywood rapidly acquiring a dominant role. These issues can be seen to arise from new readings of the so-called pioneers--Melies, Lumiere, Porter, and Griffith--while also suggesting new perspectives on major European filmmakers of the 1910s and 20s.Editor Thomas Elsaesser complements the contributions from leading British, American, and European scholars with introductory essays of his own that provide a comprehensive overview of the field. The volume is the most authoritative survey to date of a key area of contemporary film research, invaluable to historians as well as to students of cinema.

    To understand the origins of the novel as a species and to read individual novels well, we must know several pasts and traditions—even non-fictional and non-narrative traditions, even non-“artistic” and non-written pasts—that at first might seem far removed from the pleasures readers find in modern novels.

    In ninety essays by leading international critics and scholars, the volume covers both traditional topics such as literature and history, poetry, drama and the novel, and also newer topics such as the production and reception of literature. Current critical ideas are clearly and provocatively discussed, while the volume's arrangement reflects in a dynamic way the rich diversity of contemporary thinking about literature.Each essay seeks to provide the reader with a clear sense of the full significance of its subject as well as guidance on further reading.An essential work of reference, The Encyclopedia of Literature and Criticism is a stimulating guide to the central preoccupations of contemporary critical thinking about literature.Special Features* Clearly written by scholars and critics of international standing for readers at all levels in many disciplines* In-depth essays covering all aspects, traditional and new, of literary studies past and present* Useful cross-references within the text, with full bibliographical references and suggestions for further reading* Single index of authors, terms, topics

    Here, in addition to these, is a selection of Housman's writings, both scholarly and general, gathered from periodicals and other out-of-the-way sources, which decisively confirms his reputation as a prose stylist. The prefaces, the adversaria, and the reviews, in particular, give even the layman an idea of the precision and the penetration of exact scholarship. Housman's comments and judgments on other men illuminate his own nature: withdrawn, austere, even crusty, yet gentle with the unassuming; ruthless in exposure of arrogance and pretension.

    An invaluable record of a stunningly original and consistently idealistic American mind. Foreword by Michael Walzer.

    

    His revisionist writings, especially in American diplomatic history, forced historians and others to abandon old clich�s and confront disturbing questions about America's behavior in the world. Williams defined America's social, moral, constitutional, and economic development in uncompromising, iconoclastic, and original terms. He saw history as "a way of learning;" and applied the principle brilliantly in books and essays which have altered our vision of the American past and present. In this rich collection, Henry Berger has drawn from Williams's most important writings--including "The Tragedy of American Diplomacy," "The Contours of American History," and "The Roots of the Modern American Empire" to present his key arguments. There are twenty-one selections in all, from books, essays, and articles, including two never before published. Mr. Berger has added notes to the selections and an enlightening introduction which explores Williams's career and ideas. This is an exceptionally valuable book.

    Gowra, N.M. Horsfall, R.O.A.M. Lyne, D.A. West and R.D. Williams, constitute a broad range of twentieth-century and classic criticism on Vergil's Aeneid. Intended as a supplement to standard reading for undergraduate courses in ancient epic poetry, the essays are all in English and include several documents gathered from rare, out of print, or previously inaccessible sources. In addition, Harrison offers a general survey of literature on the Aeneid since 1900, containing much additional bibliographical material, and brief mention of the work in other languages.

    A variety of literary topics are addressed in forty-three lively, often humorous, and wonderfully informative essays.With his trenchant, famously entertaining touch, Kenner explores the role of counting in literature (Joyce and St. Augustine shared a preference for the number eleven); the extravagant efforts through the ages to preserve the Iliad and the Odyssey (focusing on Ezra Pound's contributions); and Tom Wolfe's prose through the purple decades (Kenner calls him "the nonchalant master of the neon-piped sentence"). Other writers who fall under Kenner's appraising gaze include Flann O'Brien, H.D., Ernest Hemingway, Sylvia Plath, Dante, Leslie Fiedler, Wallace Stevens, Saul Bellow, William Carlos Williams, Samuel Beckett, and Vladimir Nabokov.

    

    

    and British feminist film scholars. The twenty-seven essays represent some of the most influential work on Hollywood film, women's cinema, and documentary filmmaking to appear during the past decade and beyond.Contributors include Lucie Arbuthnot, Linda Artel, Pam Cook, Teresa de Lauretis, Mary Ann Doane, Elizabeth Ellsworth, Lucy Fischer, Jane Gaines, Mary C. Gentile, Bette Gordon, Florence Jacobowitz, Claire Johnston, E. Ann Kaplan, Annette Kuhn, Julia Lesage, Judith Mayne, Sonya Michel, Tania Modleski, Laura Mulvey, B. Ruby Rich, Gail Seneca, Kaja Silverman, Lori Spring, Jackie Stacey, Maureen Turim, Diane Waldman, Susan Wengraf, Linda Williams, and Robin Wood.

    What emerges from this reading is a view of the poem as a tense opposition between "myth" and "folktale," recognized as vehicles for contrasting ideological opinions on the world.With terms drawn from Bakhtin's concept of "dialogism," the Odyssey's two voices are characterized as "centripetal" and "centrifugal"--the one associated with dominant political power, with the conventional, the official, and the heroic; the other, with the personal, the disempowered, and the popular, with the antics of the Autolycan trickster and outlaw. As he examines the more audible, "centrifugal" voice, Peradotto shows how the poet's sense of power over his material, represented in Odysseus' ability to narrate a fictitious world, creates a "character" of infinite varietyone whose self-chosen anonymity becomes a paradigm for a subtler ideology of the self than that embodied in the Iliadic Achilles.

    Points to the Guggenheim and its developing satellites under the directorship of Thomas Krens as the model for this new industrialized museum.

    Examines the nature of poetic allusion in classical Greek poetry in every tradegy from the fifth century B.C.

    Makkreel argues against the commonly held notion that Kant's transcendental philosophy is incompatible with hermeneutics. The charge that Kant's foundational philosophy is inadequate to the task of interpretation can be rebutted, explains Makkreel, if we fully understand the role of imagination in his work. In identifying this role, Makkreel also reevaluates the relationship among Kant's discussions of the feeling of life, common sense, and the purposiveness of history.

    His emphasis is theatrical rather than literary, philosophical, or biographical, although he necessarily brings these considerations to bear when discussing certain plays.Bermel introduces a new methodology, one featuring the type of scrutiny directors, actors, and designers apply to any play before and during rehearsal. Thus he studies the dramatic implications of each scene or part of a scene by noting which characters are present, which ones are absent, and why. He analyzes each role, explores interactions among characters, traces the significance of structure, considers how much information is provided and who provides it, and examines such notable background factors as setting, season, and scenic arrangement. Using this methodology, Bermel provides new interpretations of Molière’s most celebrated plays and demonstrates that many of the less famous plays also deserve attention.Previous Molière critics have been conservative, especially in that they favor traditional stagings; Bermel, however, encourages new explorations of the plays. His main intention is to keep Molière alive and vital for present and future readers and audiences. Nowhere is this more apparent than in his attention to, and sympathy for, female characters and their points of view.

    This close study of the language and rhetorical context of the prophecies reveals that they regularly suppress discouraging material: the gods send promising messages to Aeneas and others to spur them on in their struggles, but these struggles often lead to untimely deaths or other disasters only darkly hinted at by the prophecies. O'Hara finds in these prophecies a persistent subtext that both stresses the human cost of Aeneas' mission and casts doubt on Jupiter's promise to Venus of an endless empire for the Romans. O'Hara considers the major prophecies that look confidently toward Augustus' Rome from the standpoint of Vergil's readers, who, like the characters within the poem, must struggle with the possibility that the optimism of the prophecies of Rome is undercut by darker material partially suppressed. The study shows that Vergil links the deception of his characters to the deceptiveness of Roman oratory, politics, and religion, and to the artifice of poetry itself. In response to recent debates about whether the Aeneid is optimistic or pessimistic, O'Hara argues that Vergil expresses both the Romans' hope for the peace of a Golden Age under Augustus and their fear that this hope might be illusory.Originally published in 1990.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

    Roston demonstrates that what emerges is not a fixed or monolithic pattern for each generation but a dynamic series of responses to shared challenges. The book relates leading English writers and literary modes to contemporary developments in architecture, painting, and sculpture. A sumptuous book. . . . Clearly and gracefully written and cogently argued, Roston's admirable achievement is of paramount significance to literary studies, to cultural and art history, and to aesthetics. . . . Outstanding.--ChoiceOriginally published in 1990.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

    

    Each film is examined in detail in relation to both film type and tradition and the sexual subculture in which it was made.