Originally published in 1990, _Psychoanalysis and…_ brings together essays by critics whose work demonstrates the lively interpenetration of psychoanalysis and other disciplines. Andrew Ross investigates psychoanalysis and Marxist thought; Joel Fineman reads the "sound of O" in Othello; Jane Gallop asks "Why does Freud giggle when the women leave the room?"; and Ellie Ragland-Sullivan examines Lacan’s seminars on James Joyce. This stimulating collection of work should still be required reading, especially for students of literature. But _Psychoanalysis and… _demonstrates that psychoanalysis (...) – and theoretical criticism, and feminism, and Lacanian theory, and semiotics, and Marxism, and deconstruction, and literary criticism – was, at the time, a rich and expanding terrain. (shrink)

This tribute to Jacques Derrida takes in the sweep of his orchestration of literature with philosophy, as two “counterposed moments” of his interrogation of the working of language and thought. Focusing especially on his reading of Mallarmé, which distills the philosophical resonance of discourse that identifies itself as literary, and on Specters of Marx, which displays the political resonance of deconstruction, Sussman also turns to Derrida's reading of Blanchot as a figure who resumes the tension between the literary and the (...) philosophical but who “inscribes life, in all its impossible conditions.”. (shrink)

Ambitious in scope and innovative in concept, this book offers an overview and critique of the conventions surrounding artistic creativity and intellectual endeavour since the outset of 'the broader modernity', which the author sees as beginning with the decline of feudalism and the Church. As a work of intellectual history, it suggests that art and the conventions associated with the artistic constitute a secular institution that has supplanted pre-Reformation theology. Beginning with Luther, Calvin, and Shakespeare and culminating with the Kantian (...) notion of the artist as an 'original genius,' the author reconstructs the steps by which art and creative activity were installed as the redemptive values of a modernity. In the process, the author reads passages from Plato, Proust, Donne, Locke, Berkeley, Hume, Kleist, Rousseau, Melville, Wittgenstein, Benjamin, as well as the graphic works of Holbein, Dürer, Mondrian, and Rothko. (shrink)

Today’s critic must be something of a philosopher as well as a poet. Yet her workremains above all that of the close reader, and the emergence of the valuesembodied by the close reader to stand alongside those of the philosopher andthe poet may be one of the most significant intellectual developments to emergein the post–World War II years.This book analyzes the language poets, Deleuze and Guattari, and above allBenjamin and Derrida, to trace the various dimensions of the task of the (...) critic.It concludes with a major chapter on the significance of Derrida’s recent workfor the conceptualization of religion, and with an Afterword examining therole of the Romantic discourse of the fragment in the archeology of all thesediscursive strands.The task of the critic, now invited to pass through the discourses ofphilosophy, poetry, and religion beyond that of close reading, has neverbeen harder—nor have we ever been more in need of it. (shrink)