Books in the The Wellek Library Lectures series

Liberty and freedom are frequently invoked to justify political action. Presidents as diverse as Woodrow Wilson, Franklin Delano Roosevelt, John F. Kennedy, Ronald Reagan, and George W. Bush have built their policies on some version of these noble values. Yet in practice, idealist agendas often turn sour as they confront specific circumstances on the ground. Demonstrated by incidents at Abu Ghraib and Guantanamo Bay, the pursuit of liberty and freedom can lead to violence and repression, undermining our trust in universal theories of liberalism, neoliberalism, and cosmopolitanism.Combining his passions for politics and geography, David Harvey charts a cosmopolitan order more appropriate to an emancipatory form of global governance. Political agendas tend to fail, he argues, because they ignore the complexities of geography. Incorporating geographical knowledge into the formation of social and political policy is therefore a necessary condition for genuine democracy. Harvey begins with an insightful critique of the political uses of freedom and liberty, especially during the George W. Bush administration. Then, through an ontological investigation into geography's foundational concepts space, place, and environment he radically reframes geographical knowledge as a basis for social theory and political action. As Harvey makes clear, the cosmopolitanism that emerges is rooted in human experience rather than illusory ideals and brings us closer to achieving the liberation we seek.

In Violence and Civility, Etienne Balibar boldly confronts the insidious causes of violence, racism, nationalism, and ethnic cleansing worldwide, as well as mass poverty and dispossession. Through a novel synthesis of theory and empirical studies of contemporary violence, the acclaimed thinker pushes past the limits of political philosophy to reconceive war, revolution, sovereignty, and class.Through the pathbreaking thought of Derrida, Balibar builds a topography of cruelty converted into extremism by ideology, juxtaposing its subjective forms (identity delusions, the desire for extermination, and the pursuit of vengeance) and its objective manifestations (capitalist exploitation and an institutional disregard for life). Engaging with Marx, Hegel, Hobbes, Clausewitz, Schmitt, and Luxemburg, Balibar introduces a new, productive understanding of politics as antiviolence and a fresh approach to achieving and sustaining civility. Rooted in the principles of transformation and empowerment, this theory brings hope to a world increasingly divided even as it draws closer together.

Acclaimed philosopher Catherine Malabou traces the modern metamorphoses of intelligence, seeking to understand how neurobiological and neurotechnological advances have transformed our present-day view. She emphasizes the intertwined, networked relationships among the biological, the technological, and the symbolic.

Instead of treating art as a unique creation that requires reason and refined taste to appreciate, Elizabeth Grosz argues that art-especially architecture, music, and painting-is born from the disruptive forces of sexual selection. She approaches art as a form of erotic expression connecting sensory richness with primal desire, and in doing so, finds that the meaning of art comes from the intensities and sensations it inspires, not just its intention and aesthetic.By regarding our most cultured human accomplishments as the result of the excessive, nonfunctional forces of sexual attraction and seduction, Grosz encourages us to see art as a kind of bodily enhancement or mode of sensation enabling living bodies to experience and transform the universe. Art can be understood as a way for bodies to augment themselves and their capacity for perception and affection-a way to grow and evolve through sensation. Through this framework, which knits together the theories of Charles Darwin, Henri Bergson, Gilles Deleuze, Felix Guattari, and Jakob von Uexkull, we are able to grasp art's deep animal lineage. Grosz argues that art is not tied to the predictable and known but to new futures not contained in the present. Its animal affiliations ensure that art is intensely political and charged with the creation of new worlds and new forms of living. According to Grosz, art is the way in which life experiments with materiality, or nature, in order to bring about change.

Wendy Brown explains the hard-right turn in Western politics. She argues that neoliberalism's intensification of nihilism coupled with its accidental wounding of white-male supremacy generates an apocalyptic populism willing to destroy the world rather than endure a future in which this supremacy disappears.

Aren't we actually sick of sex, of difference, of emancipation, of culture? With this provocative taunt, the indomitable sociologist Jean Baudrillard challenges us to face up to our deadly, technologically empowered renunciation of mortality and subjectivity as he grapples with the complex issues that define our postmillennial world. What does the advent and proliferation of cloning mean for our sense of ourselves as human beings? What does the turn of the millennium say about our relation to time and history? What does the instantaneous, virtual realm of cyberspace do to reality? In The Vital Illusion-as always-Baudrillard leads his readers to some surprising conclusions.Baudrillard considers how human cloning-as well as the "e;cloning"e; of ideas and social identities-heralds an end to sex and death and the divagations of living by instituting a realm of the Same, beyond the struggles of individuation. In this day and age when everything can be cloned, simulated, programmed, and genetically and neurologically managed, humanity shows itself unable to brave its own diversity, preferring instead to regress to the pathological eternity of self-replicating cells. By reverting to our viral origins as sexless immortal beings, we are, ironically, fulfilling a death wish, putting an end to our own species as we know it. Next, Baudrillard explores the "e;nonevent"e; that was and is the turn of the millennium. He provocatively puts forward the thesis that the arrival of the year 2000 could never take place because we could neither resolve nor leave behind our history, nor could we stop counting down toward our future. For Baudrillard, the millennial clock reading to the millionth of a second on its way to zero is the perfect symbol of our time: history decays rather than progresses. In closing, Baudrillard examines what he calls "e;the murder of the real"e; by the virtual. In a world of copies and clones in which everything can be made present in an instant by technology, we can no longer even speak of reality. Beyond Nietzsche's symbolic murder of God, our virtual world free of referents is in the process of exterminating reality, leaving no trace: "e;The corps(e) of the Real-if there is any-has not been recovered, is nowhere to be found."e;Peppered with Baudrillard's signature counterintuitive moves, prophetic visions, and dark humor, The Vital Illusion exposes the contradictions that guide our contemporary culture and rule our lives.

One of our most incisive critics asks where the assault against the canons of Western culture has led us. Hartman calls for the restoration of literature to its place as the focus of thinking about culture and for the renewal of aesthetic education to help ensure the balance between art, culture, and politics.

In three parts, Jameson presents the postmodern problem of Utopia, attempting to diagnose the cultural present and to open a perspective on the future of a world that is all but impossible to predict with any certainty-"a telling of the future," as Jameson calls it, "with an imperfect deck."

Many on the left lament an apathy or amnesia toward recent acts of war. Particularly during the George W. Bush administration's invasion of Iraq, opposition to war seemed to lack the heat and potency of the 1960s and 1970s, giving the impression that passionate dissent was all but dead. Through an analysis of three politically engaged works of art, Rosalyn Deutsche argues against this melancholic attitude, confirming the power of contemporary art to criticize subjectivity as well as war. Deutsche selects three videos centered on the deployment of the atomic bomb: Krzysztof Wodiczko's Hiroshima Projection (1999), made after the first Gulf War; Silvia Kolbowski's After Hiroshima mon amour (2005-2008); and Leslie Thornton's Let Me Count the Ways (2004-2008), which followed the U.S. invasion of Iraq. Each of these works confronts the ethical task of addressing historical disaster, and each explores the intersection of past and present wars. These artworks profoundly contribute to the discourse of war resistance, illuminating the complex dynamics of viewing and interpretation. Deutsche employs feminist and psychoanalytic approaches in her study, questioning both the role of totalizing images in the production of warlike subjects and the fantasies that perpetuate, especially among the left, traditional notions of political dissent. She ultimately reveals the passive collusion between leftist critique and dominant discourse in which personal dimensions of war are denied.

For almost three decades, Gayatri Chakravorty Spivak has been ignoring the standardized "e;rules"e; of the academy and trespassing across disciplinary boundaries. Today she remains one of the foremost figures in the study of world literature and its cultural consequences. In this new book she declares the death of comparative literature as we know it and sounds an urgent call for a "e;new comparative literature,"e; in which the discipline is given new life-one that is not appropriated and determined by the market.In the era of globalization, when mammoth projects of world literature in translation are being undertaken in the United States, how can we protect the multiplicity of languages and literatures at the university? Spivak demonstrates how critics interested in social justice should pay close attention to literary form and offers new interpretations of classics such as Joseph Conrad's Heart of Darkness and Virginia Woolf's A Room of One's Own. Through close readings of texts not only in English, French, and German but also in Arabic and Bengali, Spivak practices what she preaches.Acclaim for Gayatri Chakravorty Spivak and her work:"e;[Spivak] pioneered the study in literary theory of non-Western women."e;-Edward W. Said"e;She has probably done more long-term political good, in pioneering feminist and post-colonial studies within global academia, than almost any of her theoretical colleagues."e; -Terry Eagleton"e;A celebrity in academia... create[s] a stir wherever she goes."e; -The New York Times

Acclaimed historian Harry Harootunian calls attention to the boundaries, real and theoretical, that compartmentalize the world around us. In one of the first works to explore on equal footing European and Japanese conceptions of modernity-as imagined in the writings of Georg Simmel and Walter Benjamin, as well as ethnologist Yanagita Kunio and Marxist philosopher Tosaka Jun-Harootunian seeks to expose the problematic nature of scholarly categories. In doing so, History's Disquiet presents intellectual genealogies of such orthodox notions as "e;field"e; and "e;modernity"e; and other concepts intellectuals in the East and West have used to understand the changing world around them. Contrasting reflections on everyday life in Japan and Europe, Harootunian shows how responses to capitalist society were expressed in similar ways: social critics in both regions alleged a broad sense of alienation, particularly among the middle class. However, he also points out that Japanese critics viewed modernity as a condition in which Japan-without the lengthy period of capitalist modernization that characterized Europe and America-was either "e;catching up"e; with those regions or "e;copying"e; them. As elegantly written as it is controversial, this book is both an invitation for rethinking intellectual boundaries and an invigorating affirmation that such boundaries can indeed be broken down.

In this work philosopher Wolfgang Iser offers a fresh perspective on questions such as why do human beings need fictions? And why do human beings need to interpret, despite the fact that complete interpretation is unattainable?

A tribute to one of the fathers of deconstruction as well as an extended essay on memory, death, and friendship.

N. Katherine Hayles traces the emergence of what she identifies as the postprint condition, exploring how the interweaving of print and digital technologies has changed not only books but also language, authorship, and what it means to be human.

The celebrated author of Gender Trouble here redefines Antigone's legacy, recovering her revolutionary significance and liberating it for a progressive feminism and sexual politics. Butler's new interpretation does nothing less than reconceptualize the incest taboo in relation to kinship-and open up the concept of kinship to cultural change.Antigone, the renowned insurgent from Sophocles's Oedipus, has long been a feminist icon of defiance. But what has remained unclear is whether she escapes from the forms of power that she opposes. Antigone proves to be a more ambivalent figure for feminism than has been acknowledged, since the form of defiance she exemplifies also leads to her death. Butler argues that Antigone represents a form of feminist and sexual agency that is fraught with risk. Moreover, Antigone shows how the constraints of normative kinship unfairly decide what will and will not be a livable life.Butler explores the meaning of Antigone, wondering what forms of kinship might have allowed her to live. Along the way, she considers the works of such philosophers as Hegel, Lacan, and Irigaray. How, she asks, would psychoanalysis have been different if it had taken Antigone-the "e;postoedipal"e; subject-rather than Oedipus as its point of departure? If the incest taboo is reconceived so that it does not mandate heterosexuality as its solution, what forms of sexual alliance and new kinship might be acknowledged as a result? The book relates the courageous deeds of Antigone to the claims made by those whose relations are still not honored as those of proper kinship, showing how a culture of normative heterosexuality obstructs our capacity to see what sexual freedom and political agency could be.

An exploration into the "strange science of writing", in which the author reflects on the writing process and explores three distinct areas essential for "great" writing: the crucial role dreams play in literary inspiration; the importance of depth; and the notion of death.

A masterful writer working in many genres, Ngugi wa Thiong'o entered the East African literary scene in 1962 with the performance of his first major play, The Black Hermit, at the National Theatre in Uganda. In 1977 he was imprisoned after his most controversial work, Ngaahika Ndeenda (I Will Marry When I Want), produced in Nairobi, sharply criticized the injustices of Kenyan society and unequivocally championed the causes of ordinary citizens. Following his release, Ngugi decided to write only in his native Gikuyu, communicating with Kenyans in one of the many languages of their daily lives, and today he is known as one of the most outspoken intellectuals working in postcolonial theory and the global postcolonial movement.In this volume, Ngugi wa Thiong'o summarizes and develops a cross-section of the issues he has grappled with in his work, which deploys a strategy of imagery, language, folklore, and character to "e;decolonize the mind."e; Ngugi confronts the politics of language in African writing; the problem of linguistic imperialism and literature's ability to resist it; the difficult balance between orality, or "e;orature,"e; and writing, or "e;literature"e;; the tension between national and world literature; and the role of the literary curriculum in both reaffirming and undermining the dominance of the Western canon. Throughout, he engages a range of philosophers and theorists writing on power and postcolonial creativity, including Hegel, Marx, Levi-Strauss, and Aime Cesaire. Yet his explorations remain grounded in his own experiences with literature (and orature) and reworks the difficult dialectics of theory into richly evocative prose.

Examines the intersection of the public and private meaning of music. This book incorporates the music criticism of Adorno, musical ideas from literary works by Proust, and criticism by Benjamin and de Man, and discusses performers such as Glenn Gould, Arturo Toscanini, and Alfred Brendel and such composers as Beethoven, Wagner, and Strauss.

Timothy Morton argues that ecological awareness in the present Anthropocene era takes the form of a strange loop or Mobius strip, twisted to have only one side. Deckard travels this oedipal path in Blade Runner (1982) when he learns that he might be the enemy he has been ordered to pursue. Ecological awareness takes this shape because ecological phenomena have a loop form that is also fundamental to the structure of how things are.The logistics of agricultural society resulted in global warming and hardwired dangerous ideas about life-forms into the human mind. Dark ecology puts us in an uncanny position of radical self-knowledge, illuminating our place in the biosphere and our belonging to a species in a sense that is far less obvious than we like to think. Morton explores the logical foundations of the ecological crisis, which is suffused with the melancholy and negativity of coexistence yet evolving, as we explore its loop form, into something playful, anarchic, and comedic. His work is a skilled fusion of humanities and scientific scholarship, incorporating the theories and findings of philosophy, anthropology, literature, ecology, biology, and physics. Morton hopes to reestablish our ties to nonhuman beings and to help us rediscover the playfulness and joy that can brighten the dark, strange loop we traverse.