The Sum Of Uncountable Things
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The Unsignificant
The Unsignificant: Three Talks on Poetry and Pictures is a selection of lectures that poet and Griffin Award–finalist Srikanth Reddy presented for the Bagley Wright Lecture Series in 2015. True to its title, The Unsignificant is concerned with what it’s not about—not the logical proofs of philosophy but the affective flux of poetry. The lectures approach poetry from Homer to Gertrude Stein to Ronald Johnson obliquely, refracted through images such as Brueghel’s “Landscape with Fall of Icarus,” Hermann Rorschach’s inkblots, or Galileo’s drawings of the moon. Ranging from pictorial backgrounds in visual art to portraiture and similes to the poetics of wonder, The Unsignificant embarks on an unsystematic, errant, and eccentric tour of Western poetry and poetics from the ancient world to our continuous present.
Thinking the Event
Author: François Raffoul
language: en
Publisher: Indiana University Press
Release Date: 2020-05-05
The author of The Origins of Responsibility presents “a major contribution to philosophical scholarship on . . . the very idea of the event” (Edward S. Casey, author of The World on Edge). In Thinking the Event, continental philosopher François Raffoul explores the question of what constitutes an event as an event: not what happens or why it happens, but what “happening” means. If it’s true that nothing happens without a reason, as Leibniz famously posited, then does this principle of reason have a reason? Bringing together philosophical insights from Martin Heidegger, Jacques Derrida, Jean-Luc Nancy, and Jean-Luc Marion, Raffoul shows how the event, in its disruptive unpredictability, always exceeds causality, subjectivity, and reason. He then goes on to examine the inappropriability of this “pure event” and how this inappropriability may inform ethical and political considerations. In the wake of the exhaustion of traditional metaphysics, the notion of the event comes to the fore, with key implications for philosophy, ontology, ethics, and theories of selfhood. Raffoul’s Thinking the Event is essential reading on this fascinating topic.
The Way Things Go
Buffed up to a metallic shine; loose fitting, lopsided, or kludgy; getting in the way or getting lost; collapsing in an explosion of dust caught on the warehouse CCTV. Modern things are going their own ways, and this book attempts to follow them. A course of thought about their comings and goings and cascading side effects, The Way Things Go offers a thesis demonstrated via a century-long countdown of stuff. Modernist critical theory and aesthetic method, it argues, are bound up with the inhuman fate of things as novelty becoming waste. Things are seldom at rest. Far more often they are going their own ways, entering and exiting our zones of attention, interest, and affection. Aaron Jaffe is concerned less with a humanist story of such things—offering anthropomorphizing narratives about recouping the items we use—as he is with the seemingly inscrutable, inhuman capacities of things for coarticulation and coherence. He examines the tension between this inscrutability on the one hand, and the ways things seem ready-made for understanding on the other hand, by means of exposition, thing-and-word-play, conceptual art, essayism, autopoesis, and prop comedy. Among other novelties and detritus, The Way Things Go delves into books, can openers, roller skates, fat, felt, soap, joy buzzers, hobbyhorses, felt erasers, sleds, magic rabbits, and urinals. But it stands apart from the recent flood of thing-talk, rebuking the romantic tendencies caught up in the pathetic nature of debris defining the conversation. Jaffe demonstrates that literary criticism is the one mode of analysis that can unpack the many things that, at first glance, seem so nonliterary.