Humanities Provocateur

This highly original collection is a far cry from the demand on the literary humanities to offer the soothing hum of theory to a world of breaks, crises and pain. Instead, it exemplifies a way ahead for the critical humanities.... -Arjun Appadurai, New York University 'Doing the Humanities' comes to life in this passionate, provocative set of experiments in descriptive poetics. Failure, fantasy, freefall are reconceived as forms of aesthetic achievement across the creative arts.... -Ros Ballaster, University of Oxford ....This timely volume inspires a collective undertaking to learn 'to do' the humanities through the untimeliness of a work of art. A humanities that remains attentive to this form of techné will prove indispensable to remaking the world in the aftermath of a pandemic. -Premesh Lalu, University of the Western Cape ....exhilarating in the democratic breadth of its interests, the emotional fervour of its commitments and its yoking of systemic criticism to the work of poetic language. -Helen Small, University of Oxford How can the humanities make an intervention in such a time as this, when life as we have known it hangs in pandemic balance since the spring of 2020-and when contagion calls for distancing and isolation, while loneliness cries out for the solace of touch? Perhaps only by being, at once, fearless, critical, sorrowing, exultant, enraged, intimate. Humanities, Provocateur brings you fourteen essays and two creative pieces by established as well as younger scholars and writers from America, Europe, the Middle East, South Africa and South Asia, in a bracing invitation to a freefall of reading. They travel from classical literatures and philosophy to twentieth-century writing, cinema and critical-imaginative thinking, grouped whimsically around a set of provocations-Gleaning, Perforation, Caprice, Paraphernalia, Descent, Flux, Flesh, Ephemera-and welcome you to argue, to cherish or to distrust. Taking sharp, sparkling twists and turns in thought and style, this eclectic collection of writings incites you to be intellectually adventurous and destitute at the same time. And, invoking Dante, to never be afraid, for our fate is our gift.

"Humanities, Provocateur: Toward a Contemporary Political Aesthetics will 'occupy' the Humanities afresh in the contemporary, offering a set of speculations and conversations about a dissident aesthetics for these our times, which appear to be singularly out of joint. Where and how do we seek, find, and construct aesthetics that will both represent and resist these times? Is it to be found in an unstable aesthetics of being and becoming, ex-centric, in alienation and rupture in and of the arts, in un-belonging and discomfort, of glancing in, out and askance, of being excluded, excluding, or of excluding oneself? What would be a dissensual aesthetics of desire, melancholy, murder, quietism, exultation, suicide, irresponsibility, nihilism or death that would speak to, and for, our times? What can we recover and re-discover of the power of the Humanities - its seduction, allure, wonder, dream, fantasy and pleasure - in this renewed, revitalized occupation of lost and discarded spaces?."--

The Experimental Book Object shows why and how books matter in the 21st century. Digital and audio platforms are commonplace, and other fields of art beyond literature have increasingly embraced books and publication as their medium of choice. Nevertheless, the manifold book object persists and continues to inspire various types of experimentation. This volume sets forth an unprecedented approach where literary and media theory are entangled with design practitioners’ artistic research and process descriptions. By probing the paradigm of the codex, this collection of essays focuses on historical and contemporary experimentation that has challenged what books are and could be from the perspectives of materiality, mediation, and visual and typographic design. Investigations into less-studied areas and cases of performativity demonstrate what experimental books do by interacting with their systemic and cultural environments. The volume offers a multifaceted and multidisciplinary view of the book object, the book design and publishing processes, and their significance in the digital age.

Drawing on a global history of politicized writing, this book explores literature's utility as a mode of activism and aesthetic engagement with the political challenges of the current moment. The question of literature's 'uses' has recently become a key topic of academic and public debate. Paradoxically, however, these conversations often tend to bypass the rich history of engagements with literature's distinctly political uses that form such a powerful current of 20th- and 21st-century artistic production and critical-theoretical reflection. The Political Uses of Literature reopens discussion of literature's political and activist genealogies along several interrelated lines: As a foundational moment, it draws attention to the important body of interwar politicized literature and to debates about literature's ability to intervene in social reality. It then traces the mobilization of related conversations and artistic practices across several historical conjunctures, most notably the committed literature of the 1960s and our own present. In mapping out these geographically and artistically diverse traditions – including case studies from the Americas, Europe, Africa, India and Russia – contributors advance critical discussions in the field, making questions pertaining to politicized art newly compelling to a broader and more diverse readership. Most importantly, this volume insists on the need to think about literature's political uses today – at a time when it has become increasingly difficult to imagine any kind of political efficacy for art, even as the need to do so is growing more and more acute. Literature may not proffer easy answers to our political problems, but as this collection suggests, the writing of the 20th century holds out aesthetic resources for a renewed engagement with the dilemmas that face us now.

This volume is a critical reader, focusing on the continuities and discontinuities, confirmations and confrontations, crossovers and collisions, appropriations, adaptations and assimilations in the cultural transitions between British and Bangla vernacular modernist fiction within the context of the imperial modernity of the first half of the 20th century. The volume, consisting of critical essays aspires to illuminate, from multiple but intersecting perspectives, those thematic and structural areas where these two kinds of literary modernism, each aesthetically diverse, historically segmented by onslaughts of wars and other outbreaks of suffering and violence, and ideologically convoluted, but conditioned in many ways by common socio-historical catastrophes and promises, interact with each other to constitute an 'aesthetics of motion and dissonance'. Essays cut across literary criticism to employ interdisciplinary approaches, as they blur the boundaries between histories, biographies and fictional narratives, between individual ethics in and outside the fictional world, between imagined and living communities, between real and generic politics, between the home and the world, and between the corporeal and the cultural. These essays interrogate the mastery in literary techniques, narrative motives and dualities, 'major' and 'minor' genres, (de)formations of canons in respect of the 'worldliness' formed by the textual incorporation of the intricate imperial relationships between the United Kingdom and Bangla.

In this book, each chapter explores significant Irish texts in their literary, cultural, and historical contexts. With an introduction that establishes the multiple critical contexts for Irish cinema, literature, and their adaptive textual worlds, the volume addresses some of the most popular and important late 20th-Century and 21st Century works that have had an impact on the Irish and global cinema and literary landscape. A remarkable series of acclaimed and profitable domestic productions during the past three decades has accompanied, while chronicling, Ireland’s struggle with self-identity, national consciousness, and cultural expression, such that the story of contemporary Irish cinema is in many ways the story of the young nation’s growth pains and travails. Whereas Irish literature had long stood as the nation’s foremost artistic achievement, it is not too much to say that film now rivals literature as Ireland’s key form of cultural expression. The proliferation of successful screen versionings of Irish fiction and drama shows how intimately the contemporary Irish cinema is tied to the project of both understanding and complicating (even denying) a national identity that has undergone radical change during the past three decades. This present volume is the first to present a collective accounting of that productive synergy, which has seen so much of contemporary Irish literature transferred to the screen.

The book raises questions about the underlying paradigms of contemporary learning and social thinking, including the nature of consciousness and the mind, the purpose and conduct of eduation, the role of science and scientific methodologies, the place of art and literature, or relationship to the environment, our concepts of spirituality, our attitudes to the past and also what we are doing to our own future.