This week, in a series of blog takeovers, we’re looking at Modernism, Theory, and Responsible Reading with posts from the collection’s contributors. Guest post by Kathryn Carney In “Absolutely Small: Anarchism and the Aesthetics of Affirmation,” Roger Rothman draws on Immanuel Kant’s aesthetic thought and Gustav Landauer’s Weimar vein of utopian anarchism to argue for importing anarchist politics… Read More »
Kathryn Carney’s “theory-as-prosthesis” is a critical-phenomenological model constructed on the discontinuities of being in relation with another, whether that be a person, a text, or a field-level debate. The prosthesis is adopted as a metaphor in an obverse sense, not as a well-fitted supplement but rather as a figure of variability that remains “both a part of and distinct from the body, as each aspect—the body and the prosthetic, the actual and the virtual, the spatial and the temporal—interpenetrates the other without altogether integrating” (Carney #).
Fabio Akcelrud Durão’s essay “Responsible Reading of Theory” engages with a number of large and fundamental questions regarding the identity, purpose, and future of theory. The answers that it offers are so rich and complex that a responsible reading of the entirety of that essay would require a monograph. For that reason, this response will focus on just the first paragraph of the first of the essay’s three sections and consider how that paragraph defines the relationship between theory and literature.
Robert Baines starts his essay with a vivid analytical presentation of the last five decades of research in the field of Joyce Studies, emphasizing the context and stakes of the shift from (a) post-structuralist criticism to (b) a focus on “Joyce’s engagements with the history, politics, and culture of his age” (Baines xx), and later to (c) genetic criticism. Baines’ account of the last 50 years of criticism and his suggestions for extended forms of dialogue between supposedly divergent critical/ theoretical orientations can easily be transposed, mutatis mutandis, to Beckett studies.
Guest post by Mikko Tuhkanen A dual orientation in Leo Bersani’s thought never fails to make me tremble, for in it I think I recognize something indisputably true. On the one hand, Bersani repeatedly attends to the unavoidability of aggression in our encounters with the world: we are inhabited, he suggests,by an “intractable,” because constitutive, hatred of otherness. On the other, all such murderous impulses are supplemented by the logic of what Bersani, echoing Charles Baudelaire, calls “correspondence of… Read More »
Guest post by Judith Roof The below is an excerpt of the preface from Tone by Judith Roof Key Tone Tone Def: Etymology mid-14c., “musical sound or note,” from Old French ton “musical sound, speech, words” (13c.) and directly from Latin tonus “a sound, tone, accent,” literally “stretching” (in Medieval Latin, a term peculiar to … Read More »
Calvin Thomas offers two sample syllabi for incorporating Adventures in Theory: A Compact Anthology and Ten Lessons in Theory: An Introduction to Theoretical Writing into your literary theory course. I: Syllabus for a sixteen week course in Contemporary Critical Theory that would use Adventures in Theory as sole text. Introductions Editor’s Introduction: Gearing Up For… Read More »
This week we’re celebrating the publication of Critical Creative Writing: Essential Readings on the Writer’s Craft, a comprehensive introduction to the key debates in creative writing today, from the ethics of appropriation to the politics of literary evaluation. Today’s post is from Natasha Sajé, whose essay “The Politics of Literary Evaluation” is featured in the collection. I… Read More »
