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Lit Z Ser.: Last Things : Disastrous Form from Kant to Hujar by Jacques Khalip (2018, Trade Paperback)

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Last Things: Disastrous Form from Kant to Hujar (Lit Z) by Khalip, Jacques [Paperback]

About this product

Product Identifiers

PublisherFordham University Press

ISBN-100823279553

ISBN-139780823279555

eBay Product ID (ePID)239834368

Product Key Features

Number of Pages176 Pages

Publication NameLast Things : Disastrous Form from Kant to Hujar

LanguageEnglish

Publication Year2018

SubjectCriticism & Theory, General, Criticism, Semiotics & Theory

TypeTextbook

AuthorJacques Khalip

Subject AreaLiterary Criticism, Art, Photography

SeriesLit Z Ser.

FormatTrade Paperback

Dimensions

Item Height0.6 in

Item Weight9.7 Oz

Item Length8.9 in

Item Width6 in

Additional Product Features

Intended AudienceScholarly & Professional

ReviewsThis is a book whose intelligence and insight the academy desperately needs. It displays a conceptual beauty in bringing the contemporary 'crisis' in Romantic studies into contact with the question of 'lastness'--a question that is, in many ways, always already the crisis of Romanticism. Approaching the 'last' as what always comes after itself, Khalip thinks lastness as the persistence, in a minor, non-apocalyptic key, of what decompletes, derealizes, or dephenomenalizes the 'world.' Pursuing that thought through bravura readings, Khalip affords his readers the thrill of intellectual discovery while challenging them to ask if such discoveries themselves are the effect of our determination by lastness. ---Lee Edelman, Tufts University, A remarkable book, as unsparingly rigorous as it is elegantly written. How to think the end without ending? In Jacques Khalip's capable hands, Romantic lastness is the disaster in whose incessant wake we struggle still. ---David L. Clark, McMaster University, This is a book whose intelligence and insight the academy desperately needs. It displays a conceptual beauty in bringing the contemporary 'crisis' in Romantic studies into contact with the question of 'lastness'--a question that is, in many ways, always already the crisis of Romanticism. Approaching the 'last' as what always comes after itself, Khalip thinks lastness as the persistence, in a minor, non-apocalyptic key, of what decompletes, derealizes, or dephenomenalizes the 'world.' Pursuing that thought through bravura readings, Khalip affords his readers the thrill of intellectual discovery while challenging them to ask if such discoveries themselves are the effect of our determination by lastness.

Dewey Edition23

IllustratedYes

Dewey Decimal809/.9145

Table Of ContentList of Color Plates Has Been Introduction: Of Last Things 1. The Unfinished World 2. Life Is Gone 3. As if That Look Must Be the Last Acknowledgments Notes Index Color plates follow page

SynopsisLast Things explores lastness as a formal structure in romantic and post-romantic literature and art as something other than either a privation or a conclusion. It touches on the unthinkable dimensions of our life and world, and reads the fate of romanticism as a limit of the human., With the "arrival" of the so-called era of the Anthropocene, certain contemporary theoretical approaches have led us to think that we are only now properly beginning to speculate on an inhuman world that is not for us, as well as confronting our fears and anxieties around ecological, political, social, and philosophical extinction. Reflections on apocalypse and disaster, however, were not foreign to what we historically call romanticism, but in Last Things, Jacques Khalip begins with the "end of things" differently, treating lastness otherwise than either a privation or a conclusion. He emphasizes quieter and non-emphatic modes of thinking the end of the world of thought itself. Without fear, foreshadowing, or catastrophe, Khalip explores lastness as a form, structure, or unit that marks the limits of our life and world, and he reads the fate of romanticism (and romantic studies) within the key of the last. Although this is a reading one could never wish for, it is one, Khalip argues, that we urgently have to make today. The book is not an elegy to the human, or to romanticism; rather, it polemically argues that we should read romanticism as a negative force that exceeds theories, narratives, and figures of survival and sustainability. Each chapter explores a diverse range of romantic and contemporary materials: poetry by John Clare, Emily Dickinson, John Keats, Percy Shelley, and William Wordsworth; philosophical texts by William Godwin, David Hume, Immanuel Kant, and Jean-Jacques Rousseau; paintings by Hubert Robert, Caspar David Friedrich, and Paterson Ewen; installations by Tatsuo Miyajima and James Turrell; and photography by John Dugdale, Peter Hujar, and Joanna Kane. Shuttling between different temporalities, Last Things undertakes an original reorganization of romantic thought for contemporary culture. It examines an "archive" that is on the side of disappearance, perishing, the inhuman, and lastness., The arrival of the Anthropocene brings the suggestion that we are only now beginning to speculate on an inhuman world that is not for us, only now confronting fears and anxieties of ecological, political, social, and philosophical extinction. While pointing out that reflections on disaster were not foreign to what we historically call romanticism, Last Things pushes romantic thought toward an altogether new way of conceiving the "end of things," one that treats lastness as neither privation nor conclusion. Through quieter, non-emphatic modes of thinking the end of human thought, Khalip explores lastness as what marks the limits of our life and world. Reading the fate of romanticism--and romantic studies--within the key of the last, Khalip refuses to elegize or celebrate our ends, instead positing romanticism as a negative force that exceeds theories, narratives, and figures of survival and sustainability. Each chapter explores a range of romantic and contemporary materials: poetry by John Clare, Emily Dickinson, John Keats, Percy Shelley, and William Wordsworth; philosophical texts by William Godwin, David Hume, Immanuel Kant, and Jean-Jacques Rousseau; paintings by Hubert Robert, Caspar David Friedrich, and Paterson Ewen; installations by Tatsuo Miyajima and James Turrell; and photography by John Dugdale, Peter Hujar, and Joanna Kane. Shuttling between temporalities, Last Things undertakes an original reorganization of romantic thought for contemporary culture. It examines an archive on the side of disappearance, perishing, the inhuman, and lastness.

LC Classification NumberPN56.R7