The Cam­bridge com­pan­ion to Dante’s Com­me­dia
This new­ly com­mis­sioned vol­ume presents a focused overview of Dante’s mas­ter­piece, the Com­me­dia, offer­ing read­ers of today wide-rang­ing insights into the poem and its core fea­tures. Lead­ing schol­ars dis­cuss mat­ters of struc­ture, nar­ra­tive, lan­guage and style, char­ac­ter­i­za­tion, doc­trine, and pol­i­tics, in chap­ters that make their own con­tri­bu­tions to Dante crit­i­cism by rais­ing prob­lems and ques­tions that call for renewed atten­tion, while inves­ti­gat­ing con­tex­tu­al con­cerns as well as the cur­rent state of crit­i­cism about the poem. The Com­me­dia is also placed in a vari­ety of cul­tur­al and his­tor­i­cal con­texts through accounts of the poem’s trans­mis­sion and recep­tion that explore both its con­tem­po­rary influ­ence and its con­tin­u­ing lega­cy today. With its acces­si­ble approach, its unstint­ing focus on the poem and its atten­tion to mat­ters that have not always received ade­quate crit­i­cal assess­ment, this vol­ume will be of val­ue to all stu­dents and schol­ars of Dante’s great poem.
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An aes­thet­ics of injury: the nar­ra­tive wound from Baude­laire to Taran­ti­no
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 excel­lence 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 in this tau­to­log­i­cal tex­tu­al mod­el is the her­itage of nar­ra­tive thought: both the nar­ra­to­log­i­cal work­ings of these texts (how they tell sto­ries) and the under­ly­ing epis­te­mol­o­gy exposed (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 read­ing 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.
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