Modal Subjectivities


Book Description

In this boldly innovative book, renowned musicologist Susan McClary presents an illuminating cultural interpretation of the Italian madrigal, one of the most influential repertories of the Renaissance. A genre that sought to produce simulations in sound of complex interiorities, the madrigal introduced into music a vast range of new signifying practices: musical representations of emotions, desire, gender stereotypes, reason, madness, tensions between mind and body, and much more. In doing so, it not only greatly expanded the expressive agendas of European music but also recorded certain assumptions of the time concerning selfhood, making it an invaluable resource for understanding the history of Western subjectivity. Modal Subjectivities covers the span of the sixteenth-century polyphonic madrigal, from its early manifestations in Philippe Verdelot's settings of Machiavelli in the 1520s through the tortured chromatic experiments of Carlo Gesualdo. Although McClary takes the lyrics into account in shaping her readings, she focuses particularly on the details of the music itself—the principal site of the genre's self-fashionings. In order to work effectively with musical meanings in this pretonal repertory, she also develops an analytical method that allows her to unravel the sophisticated allegorical structures characteristic of the madrigal. This pathbreaking book demonstrates how we might glean insights into a culture on the basis of its nonverbal artistic enterprises.







Subjectivity and Lifeworld in Transcendental Phenomenology


Book Description

The purpose of the text is threefold: 1] to contribute to the renaissance of Husserl interpretation around a) the continuing publication of Husserl's manuscripts and b) his unpublished manuscripts; 2] to account for the historical origins and influence of the phenomenological project by articulating Husserl's relationship to authors before and after him; 3] to argue for the viability of the phenomenological project as conceived by Husserl in his later years. In regard to the last purpose, Luft's main argument shows that Husserlian phenomenology is not exhausted in the Cartesian (early) perspective, which is indeed its weakest and most vulnerable perspective. Husserlian phenomenology is a robust and philosophically necessary perspective when taken from its hermeneutic (late) perspective. And the ultimate point Luft makes in the text is that Husserl's hermeneutic phenomenology is distinct from other hermeneutic philosophers, namely, Cassirer, Heidegger and Gadamer. Unlike them, Husserl's focus centers on the work the subject must do in order to uncover the prejudices that guide his/her unreflective relationship to the world. In making his argument, Luft also demonstrates that there is a deep consistency within Husserl's own writings-from early to late-around the guiding themes of: 1] the natural attitude; 2] the need and function of the epoché; and 3] the split between egos, where the transcendental self (distinct from the natural self) is seen as the fundamental ability we all have to inquire into the genesis of our tradition-laden attitudes toward the world.




Zizek's Ontology


Book Description

By taking this avowal seriously, Adrian Johnston finally clarifies the philosophical project underlying Žižek’s efforts.




Turning Emotion Inside Out


Book Description

In Turning Emotion Inside Out, Edward S. Casey challenges the commonplace assumption that our emotions are to be located inside our minds, brains, hearts, or bodies. Instead, he invites us to rethink our emotions as fundamentally, although not entirely, emerging from outside and around the self, redirecting our attention from felt interiority to the emotions located in the world around us, beyond the confines of subjectivity. This book begins with a brief critique of internalist views of emotion that hold that feelings are sequestered within a subject. Casey affirms that while certain emotions are felt as resonating within our subjectivity, many others are experienced as occurring outside any such subjectivity. These include intentional or expressive feelings that transpire between ourselves and others, such as an angry exchange between two people, as well as emotions or affects that come to us from beyond ourselves. Casey claims that such far‐out emotions must be recognized in a full picture of affective life. In this way, the book proposes to “turn emotion inside out.”




Traditional Subjectivities


Book Description

Why is Old English poetry so preoccupied with mental actions and perspectives, giving readers access to minds of antagonists as freely as to those of protagonists? Why are characters sometimes called into being for no apparent reason other than to embody a psychological state? Britt Mize provides the first systematic investigation into these salient questions in Traditional Subjectivities. Through close analysis of vernacular poems alongside the most informative analogues in Latin, Old English prose, and Old Saxon, this work establishes an evidence-based foundation for new thinking about the nature of Old English poetic composition, including the 'poetics of mentality' that it exhibits. Mize synthesizes two previously disconnected bodies of theory – the oral-traditional theory of poetic composition, and current linguistic work on conventional language – to advance our understanding of how traditional phraseology makes meaning, as well as illuminate the political and social dimensions of surviving texts, through attention to Old English poets' impulse to explore subjective perspectives.




Textual Subjectivity


Book Description

This book investigates how subjectivity is encoded in the texts of a wide variety of medieval narratives and lyrics - not how they express the subjectivity of individuals, but how subjectivity, escaping the bounds of individuality, is incorporated in the linguistic fabric of their texts. Most of the poems discussed are in English, and the book includes analyses of Chaucer's Troilus and Criseyde, Man of Law's Tale, and Complaint Unto Pity, the works of the Pearl poet, Havelok the Dane, the lyric sequence attributed to Charles of Orleans (the earliest such sequence in English), and many anonymous poems. It also devotes sections to Ovid's Heroides and to poems by the troubadour Bernart de Ventadorn. For the first time, it brings to bear on medieval narratives and lyrics a body of theory which denies the supposed necessity for literary texts to have narrators or 'speakers', and in doing so reveals the implausibilities into which a dogmatic assumption of this necessity has led much of the last century's criticism.




University Subjects


Book Description




New Femininities


Book Description

This collection of original essays looks at the way in which experiences and representations of femininity are changing, and explores the possibilities for producing 'new' femininities in the twenty-first century. The volume includes a Preface by leading feminist scholar Angela McRobbie.




Feeling Faint


Book Description

Feeling Faint is a book about human consciousness in its most basic sense: the awareness, at any given moment, that we live and feel. Such awareness, it argues, is distinct from the categories of selfhood to which it is often assimilated, and can only be uncovered at the margins of first-person experience. What would it mean to be conscious without being a first person—to be conscious in the absence of a self? Such a phenomenon, subsequently obscured by the Enlightenment identification of consciousness and personal identity, is what we discover in scenes of swooning from the Renaissance: consciousness without self, consciousness reconceived as what Frederic Jameson calls "a registering apparatus for transformed states of being." Where the early modern period has often been seen in terms of the rise of self-aware subjectivity, Feeling Faint argues that swoons, faints, and trances allow us to conceive of Renaissance subjectivity in a different guise: as the capacity of the senses and passions to experience, regulate, and respond to their own activity without the intervention of first-person awareness. In readings of Renaissance authors ranging from Montaigne to Shakespeare, Pertile shows how self-loss affords embodied consciousness an experience of itself in a moment of intimate vitality which precedes awareness of specific objects or thoughts—an experience with which we are all familiar, and yet which is tantalizingly difficult to pin down.