Notice bibliographique

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Type(s) de contenu et mode(s) de consultation : Texte : sans médiation

Auteur(s) : Fleishman, Ian Thomas  Voir les notices liées en tant qu'auteur

Titre(s) : An aesthetics of injury [Texte imprimé] : the narrative wound from Baudelaire to Tarantino / Ian Fleishman

Publication : . - Evanston, [Illinois] : Northwestern university press, copyright 2018

Description matérielle : xi, 305 pages : ill. ; 23 cm

Note(s) : Revised version of the author's thesis (doctoral)--Harvard University, 2013
. - Includes bibliographical references (pages 283-300) and index
An Aesthetics of Injury exposes wounding as a foundational principle of modernism in literature and film. Theorizing the genre of the narrative wound--texts that aim not only to depict but also to inflict injury--Ian Fleishman reveals harm as an essential aesthetic strategy in ten exemplary authors and filmmakers: Charles Baudelaire, Franz Kafka, Georges Bataille, Jean Genet, Hélène Cixous, Ingeborg Bachmann, Elfriede Jelinek, Werner Schroeter, Michael Haneke, and Quentin Tarantino. Violence in the modernist mode, an ostensible intrusion of raw bodily harm into the artwork, aspires to transcend its own textuality, and yet, as An Aesthetics of Injury establishes, the wound paradoxically remains the essence of inscription. Fleishman thus shows how the wound, once the modernist emblem par exellence of an immediate aesthetic experience, comes to be implicated in a postmodern understanding of reality reduced to ceaseless mediation. In so doing, he demonstrates how what we think of as the most real object, the human body, becomes indistinguishable from its "nonreal" function as text. At stake is the heritage of narrative thought: both the narratological workings of these texts (how they tell stories) and the underlying epistemology (whether these narrativists still believe in narrative at all). With fresh and revealing readings of canonical authors and filmmakers seldom treated alongside one another, An Aesthetics of Injury is important for scholars working on literary or cinematic modernism and the postmodern, philosophy, narratology, body culture studies, queer and gender studies, trauma studies, and cultural theory--back cover

Sujet(s) : Lésions et blessures -- Dans la littérature  Voir les notices liées en tant que sujet
Lésions et blessures -- Au cinéma  Voir les notices liées en tant que sujet

Genre ou forme : Littérature -- 20e siècle

Indice(s) Dewey : 809.933 561 (23e éd.)  Voir les notices liées en tant que sujet

Numéros : ISBN 9780810136809. - ISBN 0810136805. - ISBN 9780810136793. - ISBN 0810136791. - ISBN 9780810136816 (erroné). - ISBN 0810136813 (erroné)

Notice n° :  FRBNF45535551 (notice reprise d'un réservoir extérieur)

Table des matières : Introduction. An aesthetic of injury ; The literary wound on trial: poetic decadence and Baudelaire's Flowers of evil ; "Sinnbild der Wunde": the ambivalent aestheticism of Kafka's A country doctor ; Bataille's bruise: the mutilated writing of Blue of noon (1927/1935/1957) ; The poetics of omission ; The textual orifice: holes in Jean Genet's Funeral rites ; "Ce qui est coupe repousse": Helene Cixous's Souffles (Breaths, 1975) and the poetics of omission ; The filmic cut ; The woman on the wall: Ingeborg Bachmann's Malina (1971) ; Elfriede Jelinek's and Werner Schroeter's Malina (1991) ; The filmic cut: Elfriede Jelinek's The piano teacher (1983) ; Michael Haneke's The piano teacher (2001) ; Conclusion ; Epilogue: The final cut: Quentin Tarantino, or modernism dismembered.

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