In(ter)discipline
New Languages for Criticism

Edited by Gillian Beer, Malcolm Bowie and Beate Perrey

Legenda (General Series)

Legenda

14 December 2007  •  263pp

ISBN: 978-1-905981-13-7 (hardback)  •  RRP £75, $99, €85

EnglishFrenchMusicPsychoanalysis


'Interdisciplinarity' has dynamised the Modern Humanities like no other recent academic trend. Yet, this presents serious challenges involving both translation and affect: how can we transmit facts and interpretations, sense and sensations between disciplines, between different artistic media, between cultures, between the private and the public sphere? What are the advantages, the difficulties, and risks? Another challenge concerns language: if single disciplines have produced their own technologies of reading and writing, this book examines and breaks the routine to propose alternative languages. Some of the most distinctive voices in criticism, both established and upcoming, from literature, music, the visual arts, psychoanalysis and philosophy, amongst others, show here their commitment to comparative thinking. The challenge has been to reach beyond the jargon and the epistemological constraints of individual disciplines while remaining coherent and incisive. The outcome successfully reveals new links between different forms of cultural expression.

Gillian Beer (English Literature, Science Writing), Malcolm Bowie (French Literature, Psychoanalysis) and Beate Perrey (Music, Poetry, Psychoanalysis) are the instigators of the interdisplinary research project New Languages for Criticism: Cross-Currents and Resistances, which since 2002 has been under the auspices of CRASSH, the Centre for Research in the Arts, Social Sciences and Humanities at the University of Cambridge.

Reviews:

  • ‘Emerging from conferences organized between 2002 and 2006 within a research project New Languages for Criticism: Cross Currents and Resistances, this compendium addresses the question of the search within the modern humanities for new languages for criticism in the light of a broadening awareness of the increasingly interdisciplinary or intermedial nature of cultural production and research.’ — David Scott, French Studies 514-15
  • ‘The ambition, expertise and disciplinary breadth of this collection are exhilarating... Malcolm Bowie’s celebration of the ‘wonderfully impure acts of translation, of provocation, of risk-taking, and of abyssmanship that musical experience involves’ (p. 72) might equally describe this collection of essays. Often lyrical and innovative in their critical style, these essays by distinguished contributors... are also an important contribution to the definition and exploration of interdisciplinarity itself.’ — unsigned notice, Forum for Modern Language Studies 48.1, 2012, 112

Contents:

1-5
Preface
Gillian Beer, Malcolm Bowie, Beate Perrey
Cite
6-23
What If? The Language of Affect
Mieke Bal
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24-31
Nuisance Value
Adam Phillips
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32-40
Borges’s Blindness and Giacometti’s Eyes
Beate Perrey
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41-51
Wittgenstein’s Chopin: Interdisciplinarity and ‘the Music Itself’
Lawrence Kramer
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52-62
Preserving the Performance: Scholarship as Art?
Gabriele Brandstetter
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63-66
Echoing the ‘Mortal Ear’: Orfeo’s Indiscipline
Peter Szendy
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67-73
Is Music Criticism Criticism?
Malcolm Bowie
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74-82
Modernist Futures
Gillian Beer
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83-93
Conversation, Sport, or Hatchet Job? Criticism and the Power of Metaphor
Katrin Kohl
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94-106
Set Adrift in Style: The Scholar as Fiction and Film-Maker in Jacob’s Room
Catherine M. Lord
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107-113
Languages for Learning to Delight in Art
Joanne Lee
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114-125
Loopholes in Performance
Anthony Gritten
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126-134
Etymology and its Others
Daniel Blake Rosenberg
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135-144
Yves Bonnefoy’s Récits en rêve: The Intersection of Creativity and Critique
Victoria Best
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145-161
On Touching: War, Art, and the Realm of the Senses
Santanu Das
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162-173
Snapshots from the Hereafter: Benjamin, Adorno, and the Critic as Photographer
Carolin Duttlinger
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174-187
Faith and Doubt: An Alternative Dialectic
Patrick Gray
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188-198
Literature and the Theory of Games: Kleist’s Verlobung in St Domingo as an Example
Tim Mehigan
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199-210
Towards Discursive Discipline: Dance beyond Metaphor in Critical Writing
Lucia Ruprecht
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211-221
Interdisciplinarity and Public Engagement
Katy Price
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Bibliography entry:

Beer, Gillian, Malcolm Bowie, and Beate Perrey (eds), In(ter)discipline: New Languages for Criticism (Cambridge: Legenda, 2007)

First footnote reference: 35 In(ter)discipline: New Languages for Criticism, ed. by Gillian Beer, Malcolm Bowie and Beate Perrey (Cambridge: Legenda, 2007), p. 21.

Subsequent footnote reference: 37 Beer, Bowie, and Perrey, p. 47.

(To see how these citations were worked out, follow this link.)

Bibliography entry:

Beer, Gillian, Malcolm Bowie, and Beate Perrey (eds). 2007. In(ter)discipline: New Languages for Criticism (Cambridge: Legenda)

Example citation: ‘A quotation occurring on page 21 of this work’ (Beer, Bowie, and Perrey 2007: 21).

Example footnote reference: 35 Beer, Bowie, and Perrey 2007: 21.

(To see how these citations were worked out, follow this link.)


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