GENRE SPECIFICS OF ADVENTURE PROSE IN LITERARY STUDIES OF THE URAL-VOLGA REGION

Ancient lake sediments of Bibirevo section in the Yaroslavl and Kostroma Volga region are studied by means of graphical analysis of taxonomical structure of diatom complexes. This method allowed to record critical points (change of areas of stability) in the development of a Neopleistocene lake during the transition from stage to stage, as well as from phase to phase.

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Gilles Deleuze's Luminous Philosophy

10.3366/edinburgh/9781474450713.001.0001 ◽

2020 ◽

Author(s):

Hanjo Berressem

Keyword(s):

Projective Plane ◽

Visual Arts ◽

Whole Body ◽

Literary Studies ◽

Chronological Order ◽

Real Projective Plane ◽

Cinema Studies ◽

The Real

Providing a comprehensive reading of Deleuzian philosophy, Gilles Deleuze’s Luminous Philosophy argues that this philosophy’s most consistent conceptual spine and figure of thought is its inherent luminism. When Deleuze notes in Cinema 1 that ‘the plane of immanence is entirely made up of light’, he ties this philosophical luminism directly to the notion of the complementarity of the photon in its aspects of both particle and wave. Engaging, in chronological order, the whole body and range of Deleuze’s and Deleuze and Guattari’s writing, the book traces the ‘line of light’ that runs through Deleuze’s work, and it considers the implications of Deleuze’s luminism for the fields of literary studies, historical studies, the visual arts and cinema studies. It contours Deleuze’s luminism both against recent studies that promote a ‘dark Deleuze’ and against the prevalent view that Deleuzian philosophy is a philosophy of difference. Instead, it argues, it is a philosophy of the complementarity of difference and diversity, considered as two reciprocally determining fields that are, in Deleuze’s view, formally distinct but ontologically one. The book, which is the companion volume toFélix Guattari’s Schizoanalytic Ecology, argues that the ‘real projective plane’ is the ‘surface of thought’ of Deleuze’s philosophical luminism.

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Context Mediated

Nineteenth-Century Literature ◽

10.1525/ncl.2017.72.1.35 ◽

2017 ◽

Vol 72 (1) ◽

pp. 35-63

Author(s):

Benjamin Pickford

Keyword(s):

Political Economy ◽

Ralph Waldo Emerson ◽

Literary Text ◽

Literary Studies ◽

Economic Relation ◽

Economic Agency

Benjamin Pickford, “Context Mediated: Ralph Waldo Emerson’s Political Economy of Plagiarism” (pp. 35–63) Context has long been a critical determiner of methodologies for literary studies, granting scholars the tools to make objective claims about a text’s political or economic relation to the situation of its genesis. This essay argues that Ralph Waldo Emerson anticipatively criticizes our commitment to such practices through his use of plagiarism—a literary mode that exemplifies the denial of the sovereignty of context. I focus on two core principles that underlie Emerson’s conception of literature’s civic role in Essays: Second Series (1844): first, that literature is driven by an impulse to decontextualize; second, that this means that it has a deep affinity with the deterritorializing logic of capital. Provocatively proposing Emerson as a theorist of the relation between literature and economics, I argue that Essays: Second Series shows how the literary text can negotiate its ineluctable culpability with capitalism, but this does not mean that it can presume to possess a privileged point of vantage that might deny such culpability. Given that this is precisely what much historicizing or contextualizing scholarship implies, I contend that Emerson gives us a case study in the limits of literature and criticism’s economic agency.

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