Pigmalion S Reverie A Korean S Misreading Of Major American And British Poetry

Reading is not an unusual or unfamiliar thing. It must be the first condition of life. Though illiterate or literate, humans should read things, letters, incidents, and situations according to each level of recognition so that they can survive surroundings under the brutal principle of natural selection. Namely, reading must be a reaction for survival. By the way, there are many kinds of readings in the literary world: close reading that new criticism favored, authentic reading that modernism based on elitism pursued, and misreading, as suggested by Harold Bloom, that wayward postmodernism allows. Whichever reading we may choose, it would be innocent because any reading must linger on the level of the parable of Platos cave, in which humans could read the dim shadows of things reflected on the wall. In this sense, Blooms term is very honest rather than being postmodern or deconstructive. Thus, humans cant read the existence of thing itself. What they can read at best is nothing but the indirect, misunderstood fruit through the medium of language according to F. Saussures linguistics. Frankly, humans were born to tell a lie about thing itself, which would be the truth or fate of human existence. Accordingly, however, meticulously we may read poems that would be no better than misreading. Hence, my book has a naive aim that worldwide readers can freely read esoteric English poetry by famed poets regardless of these or those ways of reading, and the interpretations of English poetry dont belong to those professional or authoritarian but to reading public. Furthermore, through reading this subjective criticism on English poetry, worldwide readers can feel interested in how a Korean is reading it. Thus, this book can dedicate itself to the dialectic convergence between the Eastern and the Western ideal.

Reading is not an unusual or unfamiliar thing. It must be the first condition of life. Though illiterate or literate, humans should read things, letters, incidents, and situations according to each level of recognition so that they can survive surroundings under the brutal principle of natural selection. Namely, reading must be a reaction for survival. By the way, there are many kinds of readings in the literary world: close reading that new criticism favored, authentic reading that modernism based on elitism pursued, and misreading, as suggested by Harold Bloom, that wayward postmodernism allows. Whichever reading we may choose, it would be innocent because any reading must linger on the level of the parable of Platos cave, in which humans could read the dim shadows of things reflected on the wall. In this sense, Blooms term is very honest rather than being postmodern or deconstructive. Thus, humans cant read the existence of thing itself. What they can read at best is nothing but the indirect, misunderstood fruit through the medium of language according to F. Saussures linguistics. Frankly, humans were born to tell a lie about thing itself, which would be the truth or fate of human existence. Accordingly, however, meticulously we may read poems that would be no better than misreading. Hence, my book has a naive aim that worldwide readers can freely read esoteric English poetry by famed poets regardless of these or those ways of reading, and the interpretations of English poetry dont belong to those professional or authoritarian but to reading public. Furthermore, through reading this subjective criticism on English poetry, worldwide readers can feel interested in how a Korean is reading it. Thus, this book can dedicate itself to the dialectic convergence between the Eastern and the Western ideal.

An illustrated exploration of fandom that combines academic essays with artist pages and experimental texts. Fandom as Methodology examines fandom as a set of practices for approaching and writing about art. The collection includes experimental texts, autobiography, fiction, and new academic perspectives on fandom in and as art. Key to the idea of “fandom as methodology” is a focus on the potential for fandom in art to create oppositional spaces, communities, and practices, particularly from queer perspectives, but also through transnational, feminist and artist-of-color fandoms. The book provides a range of examples of artists and writers working in this vein, as well as academic essays that explore the ways in which fandom can be theorized as a methodology for art practice and art history. Fandom as Methodology proposes that many artists and art writers already draw on affective strategies found in fandom. With the current focus in many areas of art history, art writing, and performance studies around affective engagement with artworks and imaginative potentials, fandom is a key methodology that has yet to be explored. Interwoven into the academic essays are lavishly designed artist pages in which artists offer an introduction to their use of fandom as methodology. Contributors Taylor J. Acosta, Catherine Grant, Dominic Johnson, Kate Random Love, Maud Lavin, Owen G. Parry, Alice Butler, SooJin Lee, Jenny Lin, Judy Batalion, Ika Willis. Artists featured in the artist pages Jeremy Deller, Ego Ahaiwe Sowinski, Anna Bunting-Branch, Maria Fusco, Cathy Lomax, Kamau Amu Patton, Holly Pester, Dawn Mellor, Michelle Williams Gamaker, The Women of Colour Index Reading Group, Liv Wynter, Zhiyuan Yang

From the author of How We Die, the extraordinary story of the development of modern medicine, told through the lives of the physician-scientists who paved the way. How does medical science advance? Popular historians would have us believe that a few heroic individuals, possessing superhuman talents, lead an unselfish quest to better the human condition. But as renowned Yale surgeon and medical historian Sherwin B. Nuland shows in this brilliant collection of linked life portraits, the theory bears little resemblance to the truth. Through the centuries, the men and women who have shaped the world of medicine have been not only very human, but also very much the products of their own times and places. Presenting compelling studies of great medical innovators and pioneers, Doctors gives us a fascinating history of modern medicine. Ranging from the legendary Father of Medicine, Hippocrates, to Andreas Vesalius, whose Renaissance masterwork on anatomy offered invaluable new insight into the human body, to Helen Taussig, founder of pediatric cardiology and co-inventor of the original "blue baby" operation, here is a volume filled with the spirit of ideas and the thrill of discovery.

One of the founders of the posthumanities, Donna J. Haraway is professor in the History of Consciousness program at the University of California, Santa Cruz. Author of many books and widely read essays, including the now-classic essay "The Cyborg Manifesto," she received the J.D. Bernal Prize in 2000, a lifetime achievement award from the Society for Social Studies in Science. Thyrza Nicholas Goodeve is a professor of Art History at the School of Visual Arts.

Susan Sontag: An Annotated Bibliography catalogues the works of one of America's most prolific and important 20th century authors. Known for her philosophical writings on American culture, topics left untouched by Sontag's writings are few and far between. This volume is an exhaustive collection that includes her novels, essays, reviews, films and interviews. Each entry is accompanied by an annotated bibliography.

Since 1988, J. Hillis Miller has traveled to China to lecture on literary theory, especially the role of globalization in literary theory. Over time, he has assisted in the development of distinctively Chinese forms of literary theory, Comparative Literature, and World Literature. The fifteen lectures gathered in An Innocent Abroad span both time and geographic location, reflecting his work at universities across China for more than twenty-five years. More important, they reflect the evolution of Miller’s thinking and of the lectures’ contexts in China as these have markedly changed over the years, especially on either side of Tiananmen Square and in light of China’s economic growth and technological change. A foreword by the leading theorist Fredric Jameson provides additional context.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.