DOCSLIB.ORG

Phd Thesis the Anglo-American Reception of Georges Bataille

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

1 Eugene John Brennan PhD thesis The Anglo-American Reception of Georges Bataille: Readings in Theory and Popular Culture University of London Institute in Paris 2 I, Eugene John Brennan, hereby declare that this thesis and the work presented in it is entirely my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Signed: Eugene Brennan Date: 3 Acknowledgements This thesis was written with the support of the University of London Institute in Paris (ULIP). Thanks to Dr. Anna-Louis Milne and Professor Andrew Hussey for their supervision at different stages of the project. A special thanks to ULIP Librarian Erica Burnham, as well as Claire Miller and the ULIP administrative staff. Thanks to my postgraduate colleagues Russell Williams, Katie Tidmash and Alastair Hemmens for their support and comradery, as well as my colleagues at Université Paris 13. I would also like to thank Karl Whitney. This thesis was written with the invaluable encouragement and support of my family. Thanks to my parents, Eugene and Bernadette Brennan, as well as Aoife and Tony. 4 Thesis abstract The work of Georges Bataille is marked by extreme paradoxes, resistance to systemization, and conscious subversion of authorship. The inherent contradictions and interdisciplinary scope of his work have given rise to many different versions of ‘Bataille’. However one common feature to the many different readings is his status as a marginal figure, whose work is used to challenge existing intellectual orthodoxies. This thesis thus examines the reception of Bataille in the Anglophone world by focusing on how the marginality of his work has been interpreted within a number of key intellectual scenes. The original contribution of this thesis is as the first work to consider the popular reception of Bataille, including a range of original research, in comparative analysis with his academic reception. The popular cultural manifestations of Bataille examined here are not merely considered simplifications of the work’s complexity. They amplify the tensions and contradictions we encounter in many academic readings. This thesis highlights the performativity of Bataille’s work by examining his importance for entirely opposing and conflicting intellectual scenes. It argues against readings which idealize the ‘uncorrupted’ text and similarly argues that Bataille’s work does not ‘belong’ to any one cultural space, while simultaneously arguing for a specific ‘internal conflict’ which lends Bataille’s work its impact. The introduction contextualises Bataille’s initial reception in France. The first chapter traces the initial dissemination of his work in English through popular publishing. The second chapter examines his reception through academic theory and argues that while his thought was partially depoliticized in translation it was re-politicized in different guises. The third chapter examines a historical scene of reception largely opposed to ‘theory’. The fourth chapter examines his place within British music journalism, and develops the tensions between ‘history’ and ‘theory’, and between the political and anti-political, encountered in the preceding academic readings. 5 Table of Contents INTRODUCTION ................................................................................................................................. 8 Chapter Outlines ............................................................................................................................... 13 Critical Context ................................................................................................................................. 18 Editorial Considerations .................................................................................................................... 19 The Reception of Bataille During His Own Lifetime ....................................................................... 21 Base Materialism and Deconstruction .............................................................................................. 24 Increasing Intellectual and Personal Isolation................................................................................... 27 ‘Un nouveau mystique’ ..................................................................................................................... 30 ‘Inconnue’, ‘méconnue’, ‘malentendu’… ......................................................................................... 33 ‘Célébration Posthume’ .................................................................................................................... 35 The Disputed Surrealist Legacy ........................................................................................................ 38 Reading Practices: Against the ‘Nudity’ of the Text ........................................................................ 45 CHAPTER ONE - BETWEEN LIBERTARIANISM AND RESTRAINT: COUNTER- CULTURAL READINGS .................................................................................................................. 49 Early Reviews ................................................................................................................................... 50 The Olympia Press ............................................................................................................................ 57 Censorship and Pornographic Literature in America ........................................................................ 64 The Literary and the Pornographic: Reading Bataille after Sontag .................................................. 67 Cultural Provocation and the Libertarian Context ............................................................................ 73 ‘The Orgiasts’ ................................................................................................................................... 75 Translations ....................................................................................................................................... 79 Bomb Culture:Libidinal Politics and Counter-Cultural Disappointments ........................................ 89 Curtains: A Shift in Counter-Cultural Readings ............................................................................... 96 Close Readings: Death, Mourning and Inner Experience. ................................................................ 97 Further Problematizing the Relationship Between Sexual liberty and Liberty ............................... 104 CHAPTER TWO - INFORME, CONTAMINATION, PURITY: OCTOBER’S RE-READING OF MODERNISM THROUGH BATAILLE ................................................................................. 112 Introduction ..................................................................................................................................... 112 A ‘Generalized Contamination’ – Derrida’s Bataille...................................................................... 114 Equivocations on the ‘Political’ – Tel Quel and the ‘Logic of Succession’ ................................... 117 Subtle Subversion ........................................................................................................................... 121 Internal Externality ......................................................................................................................... 122 French Theory in America .............................................................................................................. 125 The Beginning of October .............................................................................................................. 127 Rosalind Krauss and the First Readings of Bataille at October ...................................................... 130 Dissemblance and the Dispute with Didi-Huberman ...................................................................... 135 6 Logics of Separation ....................................................................................................................... 138 Contested Modernisms .................................................................................................................... 146 Bataille’s Modernism: ‘Neither form nor content but…’ ............................................................... 149 Modernism as Crisis of Self-Expression ......................................................................................... 153 Chapter Conclusion ......................................................................................................................... 157 CHAPTER THREE – ‘UN BATAILLE DIFFÉRENT’: THE HISTORICAL TURN .............. 160 Jean-Luc Nancy, La Communauté désœuvrée and the Origins of the Historical Turn ................... 162 The Historical Turn in Anglo-American Academia........................................................................ 166 ‘Un Bataille différent’ ..................................................................................................................... 169 The Social and Ethical Imperative .................................................................................................. 170 ‘La communauté était un mot alors ignoré du discours de la pensée’: The Impact of Nancy on the Historical turn ................................................................................................................................. 174 The Return of Hegel .......................................................................................................................
Recommended publications
  • L'hantologie Résiduelle, L'hantologie Brute, L'hantologie Traumatique*

    L'hantologie Résiduelle, L'hantologie Brute, L'hantologie Traumatique*

    Playlist Society Un dossier d’Ulrich et de Benjamin Fogel V3.00 – Octobre 2013 L’hantologie Trouver dans notre présent les traces du passé pour mieux comprendre notre futur Sommaire #1 : Une introduction à l’hantologie #2 : L’hantologie brute #3 : L’hantologie résiduelle #4 : L’hantologie traumatique #5 : Portrait de l’artiste hantologique : James Leyland Kirby #6 : Une ouverture (John Foxx et Public Service Broadcasting) L’hantologie - Page | 1 - Playlist Society #1 : Une introduction à l’hantologie Par Ulrich abord en 2005, puis essentiellement en 2006, l’hantologie a fait son D’ apparition en tant que courant artistique avec un impact particulièrement marqué au niveau de la sphère musicale. Évoquée pour la première fois par le blogueur K-Punk, puis reprit par Simon Reynolds après que l’idée ait été relancée par Mike Powell, l’hantologie s’est imposée comme le meilleur terme pour définir cette nouvelle forme de musique qui émergeait en Angleterre et aux Etats-Unis. A l’époque, cette nouvelle forme, dont on avait encore du mal à cerner les contours, tirait son existence des liens qu’on pouvait tisser entre les univers de trois artistes : Julian House (The Focus Group / fondateur du label Ghost Box), The Caretaker et Ariel Pink. C’est en réfléchissant sur les dénominateurs communs, et avec l’aide notamment de Adam Harper et Ken Hollings, qu’ont commencé à se structurer les réflexions sur le thème. Au départ, il s’agissait juste de chansons qui déclenchaient des sentiments similaires. De la nostalgie qu’on arrive pas bien à identifier, l’impression étrange d’entendre une musique d’un autre monde nous parler à travers le tube cathodique, la perception bizarre d’être transporté à la fois dans un passé révolu et dans un futur qui n’est pas le nôtre, voilà les similitudes qu’on pouvait identifier au sein des morceaux des trois artistes précités.
  • Joy Division and Cultural Collaborators in Popular Music Briana E

    Joy Division and Cultural Collaborators in Popular Music Briana E

    Western University Scholarship@Western Electronic Thesis and Dissertation Repository August 2016 Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music Briana E. Morley The University of Western Ontario Supervisor Dr. Keir Keightley The University of Western Ontario Graduate Program in Popular Music and Culture A thesis submitted in partial fulfillment of the requirements for the degree in Master of Arts © Briana E. Morley 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Music Commons Recommended Citation Morley, Briana E., "Not In "Isolation": Joy Division and Cultural Collaborators in Popular Music" (2016). Electronic Thesis and Dissertation Repository. 3991. https://ir.lib.uwo.ca/etd/3991 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected], [email protected]. Abstract There is a dark mythology surrounding the post-punk band Joy Division that tends to foreground the personal history of lead singer Ian Curtis. However, when evaluating the construction of Joy Division’s public image, the contributions of several other important figures must be addressed. This thesis shifts focus onto the peripheral figures who played key roles in the construction and perpetuation of Joy Division’s image. The roles of graphic designer Peter Saville, of television presenter and Factory Records founder Tony Wilson, and of photographers Kevin Cummins and Anton Corbijn will stand as examples in this discussion of cultural intermediaries and collaborators in popular music.
  • 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)

    'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit".
  • Beauvoir's Lecture on the Metaphysical Novel and Its Contemporary Critiques

    Beauvoir's Lecture on the Metaphysical Novel and Its Contemporary Critiques

    Simone de Beauvoir Studies Volume 29 2013-2014 20 BEAUVOIR’S LECTURE ON THE METAPHYSICAL NOVEL AND ITS CONTEMPORARY CRITIQUES JO BOGAERTS It has been suggested that Simone de Beauvoir’s concept of the metaphysical novel was developed as a response to criticism of “philosophical literature.” The intersection of literature and philosophy, which was not only evident in the writings of fellow existentialists Jean-Paul Sartre and Albert Camus, but also in the works of Georges Bataille, Jean Grenier, Gabriel Marcel, Brice Parain and Jean Wahl, was often rejected as being “merely” allegorical. As a form of allegorical writing, existentialist literature would once again have served as philosophy’s handmaiden by expounding the tenets of a philosophical system. Beauvoir scholars have recently set out to prove both the literary and the philosophical value of Beauvoir’s work, as well as her intellectual autonomy vis-à-vis Sartre. The concept of the metaphysical novel has proven indispensable for this task, as it often furnished the very basis on which Beauvoir’s literary work was reread and reevaluated. However, in doing so, scholars have failed to investigate the contemporary reception of Beauvoir’s lecture and turned a blind eye to possible criticisms that could be made of her concept. While maintaining a firm belief in literature’s ability to. unveil metaphysical aspects of human existence, Beauvoir abandoned the critical use of this concept in the 1950s. Careful scrutiny suggests that she had formed the concept on the basis of ethical categories, thereby obscuring a literary-theoretical reflection and evoking questions about the relevance, viability, and technicality of the concept that are surprisingly absent from the secondary literature.
  • Bataille-Visions-Of-Excess Reduced

    Bataille-Visions-Of-Excess Reduced

    Theory and History of Literature Edited by Wlad Godzich and Jochen Schulte-Sasse Visions Volume 1. Tzvetan Todorov Introduction to Poetics Volume 2. Hans Robert Jauss Toward an Aesthetic of Reception of Excess Volume 3. Hans Robert Jauss Aesthetic Experience and Literary Henneneutics Volume 4. Peter Burger Theory of the Avant-Garde Selected Writings, Volume 5. Vladimir Propp Theory and History of Folklore 1927-1939 Volume 6. Edited by Jonathan Arac, Wlad Godzich, and Wallace Martin The Yale Critics: Deconstruction in America Volume 7. Paul de Man Blindness and Insight: Essays in the Rhetoric of Contemporary Criticism Georges Bataille 2nd ed., rev. Edited and with an Introduction by Allan Stoekl Volume 8. Mikhail Bakhtin Problems of Dostoevsky's Poetics Volume 9. Erich Auerbach Scenes from the Drama of European Literature Translated by Allan Stoekl, Volume 10. Jean-Fran<;ois Lyotard with Carl R. Lovitt and Donald M. Leslie, Jr. The Postmodem Condition: A Report on Knowledge Volume 11. Edited by John Fekete The Structural Allegory: Reconstructive Encounters with the New French Thought Theory and History of Literature, Volume 14 Volume 12. Ross Chambers Story and Situation: Narrative Seduction and the Power of Fiction Volume 13. Tzvetan Todorov Mikhail Bakhtin: The Dialogical Principle Volume 14. Georges Bataille Visions of Excess: Selected Writings, 1927-1939 University of Minnesota Press, Minneapolis Contents English translation and Introduction copyright \:) 1985 by the University of Minnesota All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Introduction Allan Stoekl ix the publisher.
  • In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series

    In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series

    BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire
  • Unsaying Non-Knowledge: Georges Bataille and the Mysticism of Writing Ben Brewer Pacific Nu Iversity

    Unsaying Non-Knowledge: Georges Bataille and the Mysticism of Writing Ben Brewer Pacific Nu Iversity

    Res Cogitans Volume 4 | Issue 1 Article 15 6-19-2013 Unsaying Non-Knowledge: Georges Bataille and the Mysticism of Writing Ben Brewer Pacific nU iversity Follow this and additional works at: http://commons.pacificu.edu/rescogitans Part of the Philosophy Commons Recommended Citation Brewer, Ben (2013) "Unsaying Non-Knowledge: Georges Bataille and the Mysticism of Writing," Res Cogitans: Vol. 4: Iss. 1, Article 15. http://dx.doi.org/10.7710/2155-4838.1082 This Article is brought to you for free and open access by CommonKnowledge. It has been accepted for inclusion in Res Cogitans by an authorized administrator of CommonKnowledge. For more information, please contact [email protected]. Res Cogitans (2013) 4:116-130 2155-4838 | commons.pacificu.edu/rescogitans Unsaying Non-Knowledge: Georges Bataille and the Mysticism of Writing Ben Brewer Pacific University Published online: 19 June 2013 © Ben Brewer 2013 Abstract Georges Bataille’s writing seems to teethe with something utterly foreign to the discipline of philosophy. In this paper, I investigate what Jason Wirth calls’ Bataille’s “mad game of writing” in order to show that Bataille’s bizarre writing style is actually an extension of his ethical and philosophical commitments. Bataille’s writing attempts to produce a state within the reader rather than simply transmit information. I trace the justifications and roots for such a writing from his own system, as well as showing how such a style of writing has its roots in Kantian aesthetics and in Hegel’s Phenomenology. I live by tangible experience and not by logical explanation. I have of the divine an experience so mad that one will laugh at me if I speak of it.
  • 'Understand' Transgressive Fiction

    'Understand' Transgressive Fiction

    Word and Text Vol. IV, Issue 1 26 – 39 A Journal of Literary Studies and Linguistics June / 2014 The Lacuna of Usefulness: The Compulsion to ‘Understand’ Transgressive Fiction Molly Hoey James Cook University, Townsville E-mail: [email protected] Abstract This article takes a brief look at why Transgressive Fiction from the 1990s has been under represented in academic circles and then examines why it was so often misread by reviewers and critics from this period. Transgressive Fiction intentionally frustrates readers using traditional referential modes of criticism by refusing to provide an objective meaning, ideology or structure. This refusal forces the reader to either engage in the text personally or begin a process of rejection and assimilation. This practice can be avoided if Transgressive texts are considered via subjective affectivism (the reader’s reaction and involvement) rather than by the quality of their execution and subject matter. This opens the way for the text to function as a place for consequence-free exploration and the enactment of taboos and their transgression. Keywords: Barthes, Bataille, Transgressive Fiction, value, subjective affectivism The term “Transgressive Fiction” was popularized in 1993 by LA Times columnist Michael Silverblatt1 and has since been used to describe a range of texts which expound the Sadean paralogy of violence, mutilation, cruelty and deviance for the pleasure of the sovereign individual, where the desires of the depersonalizing subject can be projected onto the passive object. This is evidenced in Will Self’s Cock and Bull when Carol assaults her husband with her newly emerged penis: He barely noticed when she turned him over.
  • Botting Fred Wilson Scott Eds

    Botting Fred Wilson Scott Eds

    The Bataille Reader Edited by Fred Botting and Scott Wilson • � Blackwell t..b Publishing Copyright © Blackwell Publishers Ltd, 1997 Introduction, apparatus, selection and arrangement copyright © Fred Botting and Scott Wilson 1997 First published 1997 2 4 6 8 10 9 7 5 3 Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 IJF UK Blackwell Publishers Inc. 350 Main Street Malden, MA 02 148 USA All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form Or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated without the publisher's prior consent in any fo rm of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. British Library Cataloguing in Publication Data A CIP catalogue record for this book is available from the British Ubrary. Library of Congress Cataloging in Publication Data Bataille, Georges, 1897-1962. [Selections. English. 19971 The Bataille reader I edited by Fred Botting and Scott Wilson. p. cm. -(Blackwell readers) Includes bibliographical references and index. ISBN 0-631-19958-6 (hc : alk. paper). -ISBN 0-631-19959-4 (pbk. : alk. paper) 1. Philosophy. 2. Criticism. I. Botting, Fred.
  • Mediated Music Makers. Constructing Author Images in Popular Music

    Mediated Music Makers. Constructing Author Images in Popular Music

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew.
  • Reading Houellebecq and His Fictions

    Reading Houellebecq and His Fictions

    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2018 Reading Houellebecq And His Fictions Sterling Kouri University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Kouri, Sterling, "Reading Houellebecq And His Fictions" (2018). Publicly Accessible Penn Dissertations. 3140. https://repository.upenn.edu/edissertations/3140 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3140 For more information, please contact [email protected]. Reading Houellebecq And His Fictions Abstract This dissertation explores the role of the author in literary criticism through the polarizing protagonist of contemporary French literature, Michel Houellebecq, whose novels have been both consecrated by France’s most prestigious literary prizes and mired in controversies. The polemics defining Houellebecq’s literary career fundamentally concern the blurring of lines between the author’s provocative public persona and his work. Amateur and professional readers alike often assimilate the public author, the implied author and his characters, disregarding the inherent heteroglossia of the novel and reducing Houellebecq’s works to thesis novels necessarily expressing the private opinions and prejudices of the author. This thesis explores an alternative approach to Houellebecq and his novels. Rather than employing the author’s public figure to read his novels, I proceed in precisely the opposite
  • Mark Fisher – K-Punk

    Mark Fisher – K-Punk

    Mark Fisher – k-punk Mark Fisher, 1968 geboren, lebte in London und war Blogger, Schriftsteller und beschäftigte sich als Theoretiker mit radika- ler Politik, Musik und Populärkultur. Er schrieb u.a. für Sight & Sound, The Wire, The Guardian, Film Quaterly und frieze . Er lehrte an der Goldsmiths, University of London, sowie an der University of East London. Bekannt wurde er mit seinem Buch »Kapitalistische Realismus ohne Alternative?« (2013). Bei Tiamat erschienen: »Gespenster meines Lebens«, Berlin 2015, und »Das Seltsame und Gespenstische«, Berlin 2017. Am 13. Januar 2017 beging Mark Fisher Selbstmord. Titel der Originalausgabe: »k-punk. The collected and un- published writings of Mark Fisher (2004-2016)«, Repeater, London 2018. Die vorliegende deutsche Ausgabe enthält eine Textauswahl aus diesem Buch. Text Copyright © Mark Fisher 2018 Vorwort Copyright © Simon Reynolds 2018 Edition TIAMAT Deutsche Erstveröffentlichung 1. Auflage: Berlin 2020 © Verlag Klaus Bittermann www.edition-tiamat.de Druck: cpi books Buchcovergestaltung: Felder Kölnberlin Grafikdesign ISBN: 978-3-89320-247-8 Mark Fisher k-punk Ausgewählte Schriften 2004-2016 Mit einem Vorwort von Simon Reynolds Aus dem Englischen von Robert Zwarg Critica Diabolis 272 Edition TIAMAT Inhalt Vorwort von Simon Reynolds – 9 Warum K? – 21 Teil 1 Methoden des Träumens: Bücher Bücher-Meme – 27 Warum ich Ronald Reagan ficken möchte – 34 Was ist die Politik der Langeweile? (Ballard 2003 Remix) – 42 Lass mich deine Phantasie sein – 51 Eine Welt aus Furcht und Angst – 59 Ripleys Glam – 69