Uses of Literature

Uses of Literature

Volumn , Issue , 2009, Pages 1-154

  Felski, Rita ^a  

^a NONE

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EID: 84889410833     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1002/9781444302790     Document Type: Book

References (181)

1. Harold Bloom, How to Read and Why (New York: Scribner's, 2001), p. 22.
2. Michael Warner observes that "critical reading is the folk ideology of a learned profession, so close to us that we seldom feel the need to explain it." See his "Uncritical Reading," in Jane Gallop, ed., Polemic: Critical or Uncritical (New York: Routledge, 2004), p. 14.
3. Sedgwick, "Paranoid Reading and Reparative Reading," p. 35.
4. Marjorie Perloff, "Crisis in the Humanities? Reconfiguring Literary Study for the Twenty-first Century," in her Differentials: Poetry, Poetics, Pedagogy (Tuscaloosa: University of Alabama Press, 2004), p. 7.
5. Thomas Docherty, Aesthetic Democracy (Stanford, CA: Stanford University Press, 2006).
6. Lennard J. Davis, Resisting Novels: Ideology and Fiction (New York: Methuen, 1987), pp. 224-225.
7. Ellen Rooney, "Form and Contentment," MLQ, 61, 1 (2000), p. 38.
8. William James, Pragmatism (Cambridge, MA: Harvard University Press, 1975), pp. 17-18.
9. Amanda Anderson, The Way We Argue Now: A Study in the Cultures of Theory (Princeton, NJ: Princeton University Press, 2006).
10. Ato Quayson, Calibrations: Reading for the Social (Minneapolis: University of Minnesota Press, 2003), p. xxi.
11. See, among many others, Nancy Armstrong, Desire and Domestic Fiction: A Political History of the Novel (Oxford: Oxford University Press, 1987)
12. Rita Felski, The Gender of Modernity (Cambridge, MA: Harvard University Press, 1995)
13. Susan Stanford Friedman, Mappings: Feminism and the Cultural Geographies of Encounter (Princeton, NJ: Princeton University Press, 1998)
14. Sharon Marcus, Between Women: Friendship, Desire and Marriage in Victorian England (Princeton, NJ: Princeton University Press, 2007)
15. Mary Poovey, Uneven Developments: The Political Work of Gender in Mid-Victorian England (Chicago: University of Chicago Press, 1988)
16. Jane Tompkins, Sensational Designs: The Cultural Work of American Fiction 1790-1860 (Oxford: Oxford University Press, 1985).
17. Wai Chee Dimock, "A Theory of Resonance," PMLA, 112, 5 (1997), p. 1061.
18. On this point, see Anderson, The Way We Argue Now, and Frank Farrell, Why Does Literature Matter? (Ithaca, NY: Cornell University Press, 2004).
19. John Guillory, "The Ethics of Reading," in Marjorie Garber et al., eds., The Turn to Ethics (New York: Routledge, 2000).
20. David Carter and Kay Ferres, "The Public Life of Literature," in Tony Bennett and David Carter, eds., Culture in Australia: Policies, Publics and Programs (Cambridge: Cambridge University Press, 2001). These issues are also rehearsed in Dave Beech and John Roberts, eds., The Philistine Controversy (London: Verso, 2002).
21. We could add to this list the intriguing new work on doxa. See Ruth Amossy, "Introduction to the Study of Doxa," Poetics Today, 23, 3 (2002), pp. 369-394. I have also been inspired by Antoine Compagnon's Literature, Theory and Common Sense (Princeton, NJ: Princeton University Press, 2004) and by Toril Moi's What is a Woman? And Other Essays (Oxford: Oxford University Press, 1999).
22. Richard Shusterman, Surface and Depth: Dialectics of Criticism and Culture (Ithaca, NY: Cornell University Press, 2002).
23. Noel Carroll, "Beauty and the Genealogy of Art Theory," in his Beyond Aesthetics: Philosophical Essays (Cambridge: Cambridge University Press, 2001).
24. Steven Connor, "CP: Or a Few Don'ts by a Cultural Phenomenologist," Parallax, 5, 2 (1991), p. 18.
25. See, for example, Heather Love, Feeling Backward: Loss and the Politics of Queer History (Cambridge, MA: Harvard University Press, 2007)
26. Sarah Ahmed, Queer Phenomenology (Durham, NC: Duke University Press, 2006).
27. In contrast to much recent ethical criticism, however, I do not see ethics as purely a matter of particularity and otherness. In our engagement with others, we surely seek not only a recognition of our differences but also an openness to potential commonalities and affinities. See Adam Zachary Newton, Narrative Ethics (Cambridge, MA: Harvard University Press, 1995)
28. Robert Eaglestone, Ethical Criticism (Edinburgh: Edinburgh University Press, 1998).
29. I borrow this term from J. M. Bernstein, Against Voluptuous Bodies: Late Modernism and the Meaning of Painting (Stanford, CA: Stanford University Press, 2006). Bernstein uses it, however, in the context of an Adorno-esque argument about the role of art in a rationalized and reified society; I am not at all confident that he would endorse such an ecumenical use of his phrase.
30. John Frow, Cultural Studies and Cultural Value (Oxford: Oxford University Press, 1995), p. 134.
31. See also Barbara Herrnstein Smith, "Value/Evaluation," in Frank Lentricchia and Thomas McLaughlin, eds., Critical Terms for Literary Study (Chicago: University of Chicago Press, 1995)
32. Steven Connor, Theory and Cultural Value (Oxford: Blackwell, 1992)
33. Simon Frith, Performing Rites: On the Value of Popular Music (Cambridge, MA: Harvard University Press, 1998).
34. Oscar Wilde, The Picture of Dorian Gray (Harmondsworth: Penguin, 1985), p. 158.
35. Pankaj Mishra, The Romantics (New York: Vintage, 2000), p. 155.
36. Hans-Georg Gadamer, Truth and Method (New York: Continuum, 2003), p. 114.
37. Richard Barney, Plots of Enlightenment: Education and the Novel in Eighteenth-Century England (Stanford, CA: Stanford University Press, 1999).
38. Marcel Proust, Remembrance of Things Past (New York: Random House, 1981), 3, p. 949.
39. Charles Taylor, "The Politics of Recognition," in Charles Taylor et al., Multiculturalism: Examining the Politics of Recognition (Princeton, NJ: Princeton University Press, 1994), p. 26. For the Fraser/Honneth debate, see Nancy Fraser and Axel Honneth, Redistribution or Recognition? A Political-Philosophical Exchange (London: Verso, 2001).
40. Ludwig Wittgenstein, Philosophical Investigations (Oxford: Blackwell, 2001), p. 154.
41. Majid Yar, "Recognition and the Politics of Human(e) Desire," in Scott Lash and Mike Featherstone, eds., Recognition and Difference (London: Sage, 2002).
42. Chantal Mouffe, The Democratic Paradox (London: Verso, 2000)
43. Judith Butler, "Longing for Recognition," in her Undoing Gender (New York: Routledge, 2004).
44. Daniel Stern, The Interpersonal World of the Infant: A View from Psychoanalysis and Developmental Psychology (New York: Basic Books, 1985), p. 162.
45. G. H. Mead, Mind, Self and Society (Chicago: University of Chicago Press, 1962), p. 164.
46. Suzanne Juhasz, Reading from the Heart: Women, Literature and the Search for True Love (Harmondsworth: Penguin, 1994), p. 5.
47. Elizabeth Robins, Ibsen and the Actress (London: Hogarth Press, 1928), p. 18.
48. Murray Smith, Engaging Characters: Fiction, Emotion, and the Cinema (Oxford: Clarendon Press, 1995).
49. See, for example, Don Kuiken, David S. Miall, and Shelley Sikora, "Forms of Self-Implication in Literary Reading," Poetics Today, 25, 2 (2004), pp. 171-203.
50. Quoted in Susan Torrey Barstow, "'Hedda is All of Us': Late-Victorian Women at the Matinee," Victorian Studies 43, 3 (2001), p. 405.
51. Lou Andreas-Salomé, Ibsen's Women (Reading Ridge, CT: Black Swan, 1985), p. 130.
52. Sarah Ahmed, Strange Encounters: Embodied Others in Post-Coloniality (London: Routledge, 2000), p. 3.
53. See Maria Pia Lara, Moral Textures: Feminist Narratives in the Public Sphere (Berkeley: University of California Press, 1999).
54. Mishra, The Romantics, p. 118.
55. Mishra, The Romantics, p. 250.
56. Mishra, The Romantics, p. 250.
57. Shu-mei Shih, "Global Literature and the Technologies of Recognition," PMLA, 119, 1 (2004), pp. 16-30.
58. Terence Cave, Recognition (Oxford: Oxford University Press, 1988), p. 233.
59. Stephen White, Sustaining Affirmation: The Strengths of Weak Ontology in Political Theory (Princeton, NJ: Princeton University Press, 2000), p. 5.
60. Terry Castle, "Afterword," in Laura Doan and Jay Prosser, eds., Palatable Poison: Critical Perspectives on "The Well of Loneliness" (New York: Columbia University Press, 2003), p. 400.
61. Heather Love, Feeling Backwards: Loss and the Politics of Queer History (Cambridge, MA: Harvard University Press, 2007), p. 100.
62. Alexander García Düttman, Between Cultures: Tensions in the Struggle for Recognition (London: Verso, 2000).
63. R. Radhakrishnan, "The Use and Abuse of Multiculturalism," in his Theory in an Uneven World (Oxford: Blackwell, 2003).
64. Steven C. Rockefeller, "Comment," in Taylor et al., Multiculturalism, p. 97; Juhasz, Reading from the Heart.
65. Patchen Markell, Bound By Recognition (Princeton, NJ: Princeton University Press, 2003), p. 3.
66. Michel Foucault, "Nietzsche, Genealogy, History," in his Language, Counter-Memory, Practice (Ithaca, NY: Cornell University Press, 1977), p. 153.
67. Christopher Prendergast, The Order of Mimesis (Cambridge: Cambridge University Press, 1986), p. 22. On the fallibility and inescapability of selfknowledge, see Richard Moran, Authority and Estrangement: An Essay on Self-Knowledge (Princeton, NJ: Princeton University Press, 2001).
68. Joseph Boone, Libidinal Currents: Sexuality and the Shaping of Modernism (Chicago: University of Chicago Press, 1998), p. 20.
69. Boone, Libidinal Currents, p. 1.
70. Gustave Flaubert, Madame Bovary (New York: W. W. Norton, 1965), p. 163.
71. Quoted in Suzi Gablik, The Reenchantment of Art (London: Thames and Hudson, 1991), p. 26.
72. Stephen Greenblatt, "Resonance and Wonder," in Ivan Karp and Steven D. Lavine, eds., The Poetics and Politics of Museum Display (Washington, DC: Smithsonian Institute Press, 1991), p. 49.
73. Bertolt Brecht, A Short Organum for the Theatre, in John Willett, ed., Brecht on Theatre: The Development of an Aesthetic (New York: Hill and Wang, 1964), p. 187.
74. Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot (Chicago: University of Chicago Press, 1980).
75. Max Weber, "Science as a Vocation," in H. H. Gerth and C. Wright Mills, eds., From Max Weber: Essays in Sociology (New York: Oxford University Press, 1968), p. 139.
76. Jane Bennett, The Enchantment of Modern Life: Attachments, Crossings, and Ethics (Princeton, NJ: Princeton University Press, 2001).
77. See, for example, Saurabh Dube, "Introduction: Enchantments of Modernity," special issue on "Enduring Enchantments," South Atlantic Quarterly, 101, 4 (2002), pp. 729-755
78. Birgit Meyer and Peter Pels, eds., Magic and Modernity: Interfaces of Revelation and Concealment (Stanford, CA: Stanford University Press, 2003).
79. Max Weber, "Objectivity in Social Science and Policy," in Edward A. Shils and Henry A. Finch, eds., Max Weber on the Methodology of the Social Sciences, (Glencoe, IL: Free Press, 1949), p. 10. For an amplification of this point, see Basit Bilal Koshul, The Postmodern Significance of Max Weber's Legacy: Disenchanting Disenchantment (New York: Palgrave, 2005).
80. J. Hillis Miller, On Literature (London: Routledge, 2002).
81. Jonathan Rose, The Intellectual Life of the British Working Classes (New Haven, CT: Yale University Press, 2001), p. 127.
82. Janice Radway, A Feeling for Books: The Book-of-the-Month Club, Literary Taste, and Middle-Class Desire (Chapel Hill: University of North Carolina Press, 1997), p. 13
83. Lynne Pearce, Feminism and the Politics of Reading (London: Arnold, 1997).
84. Marie-Laure Ryan, Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media (Baltimore: Johns Hopkins University Press, 2001), p. 98.
85. Eve Kosofsky Sedgwick, "Queer and Now," Tendencies (Durham, NC: Duke University Press, 1993), p. 3.
86. D. A. Miller, Jane Austen, or the Secret of Style (Princeton, NJ: Princeton University Press, 2003), p. 8.
87. Elaine Scarry, On Beauty and Being Just (Princeton, NJ: Princeton University Press, 1999)
88. Denis Donoghue, Speaking of Beauty (New Haven, CT: Yale University Press, 2004).
89. Fredric Jameson, A Singular Modernity: Essay on the Ontology of the Present (London: Verso, 2002), pp. 177-179.
90. John Carey, What Good are the Arts? (London: Faber and Faber, 2005), p. 23.
91. Manuel Puig, Kiss of the Spider Woman (New York: Vintage, 1991), pp. 54-55.
92. Edgar Morin, The Cinema, or The Imaginary Man (Minneapolis: University of Minnesota Press, 2005), p. 16.
93. Bill Brown, A Sense of Things: The Object Matter of American Literature (Chicago: University of Chicago Press, 2003).
94. Greenblatt, "Resonance and Wonder." For a critique of this distinction, see Wai Chee Dimock, "A Theory of Resonance," PMLA, 112, 5 (1997), pp. 1046-1059.
95. Michel Poizat, The Angel's Cry: Beyond the Pleasure Principle in Opera (Ithaca, NY: Cornell University Press, 1992)
96. Wayne Koestenbaum, The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire (New York: Da Capo, 1993).
97. Theodor Adorno and Max Horkheimer, The Dialectic of Enlightenment (Stanford, CA: Stanford University Press, 2002), p. 26. See also Linda Phyllis Austern's helpful essay, " 'Teach Me to Hear Mermaids Singing: Embodiments of (Acoustic) Pleasure and Danger in the Modern West," in Linda Phyllis Austern and Inna Naroditskaya, eds., Music of the Sirens (Bloomington: Indiana University Press, 2006).
98. On voice and possession, see Susan Stewart, Poetry and the Fate of the Senses (Chicago: University of Chicago Press, 2002).
99. Roland Barthes, The Pleasure of the Text (New York: Hill and Wang, 1976), p. 66.
100. Seamus Heaney, "Influences," Boston Review 14, 5 (1989).
101. Charles Bernstein, "Artifice of Absorption," in A Poetics (Cambridge, MA: Harvard University Press, 1992), pp. 52-53.
102. Bernstein, "Artifice of Absorption," p. 23.
103. Morin, The Cinema, p. 225.
104. Michael Saler, "'Clap if You Believe in Sherlock Holmes': Mass Culture and the Re-Enchantment of Modernity, c. 1890-c. 1940," Historical Journal, 46, 3 (2003), pp. 599-622
105. "Modernity and Enchantment: A Historiographic Review," American Historical Review, 111, 3 (2006), pp. 692-716.
106. See also Simon During, Modern Enchantments: The Cultural Power of Secular Magic (Cambridge, MA: Harvard University Press, 2002).
107. Barry Fuller, "Pleasure and Self-Loss in Reading," ADE Bulletin, 99 (Fall 1991).
108. I take the term "pre-evaluation" from Barbara Herrnstein Smith, "Value/Evaluation," in Frank Lentricchia and Thomas McLaughlin, eds., Critical Terms for Literary Study (Chicago: University of Chicago Press, 1995). A US newspaper recently persuaded a world-famous violinist to play incognito in a subway station and reported on the results. "Pearls Before Breakfast," Washington Post, April 8, 2007.
109. Morris Dickstein, A Mirror in the Roadway: Literature and the Real World (Princeton, NJ: Princeton University Press, 2005), p. 8.
110. Charles Taylor, Sources of the Self: The Making of the Modern Identity (Cambridge, MA: Harvard University Press, 1989).
111. Pierre Macherey, A Theory of Literary Production (London: Routledge, 1978), p. 133.
112. Paul de Man, Blindness and Insight (Minneapolis: University of Minnesota Press, 1983), p. 17.
113. Gerald Graff, Literature Against Itself: Literary Ideas in Modern Society (Chicago: Ivan Dee, 1995), pp. 20-21.
114. Philip Weinstein, Unknowing: The Work of Modernist Fiction (Ithaca, NY: Cornell University Press, 2005).
115. Christopher Prendergast, The Order of Mimesis: Balzac, Stendhal, Nerval, Flaubert (Cambridge: Cambridge University Press, 1986)
116. Antoine Compagnon, Literature, Theory, and Common Sense (Princeton, NJ: Princeton University Press, 2004).
117. Marjorie Perloff, Differentials: Poetry, Poetics, Pedagogy (Tuscaloosa: University of Alabama Press, 2004), p. 17.
118. John Frow, Genre (London: Routledge, 2006), p. 12.
119. Paul Ricoeur, "Time and Narrative: Threefold Mimesis," in his Time and Narrative, vol. 1 (Chicago: University of Chicago Press, 1984).
120. Ricoeur, Time and Narrative, pp. 72-74.
121. See also Rita Felski, "Plots," in her Literature After Feminism (Chicago: University of Chicago Press, 2003).
122. Kenneth Dauber and Water Jost, "Introduction: The Varieties of Ordinary Language Criticism," in Ordinary Language Criticism: Literary Thinking After Cavell After Wittgenstein (Evanston, IL: Northwestern University Press, 2003), p. xx.
123. Prendergast, The Order of Mimesis, p. 21.
124. Edith Wharton, "Introduction to the 1936 Edition of The House of Mirth," in Carol J. Singley, ed., Edith Wharton's The House of Mirth: A Casebook (New York: Oxford University Press, 2003), p. 33.
125. Charles Altieri, Act and Quality: A Theory of Literary Meaning and Humanistic Understanding (Amherst: University of Massachusetts Press, 1981), p. 271.
126. Hayden White, Tropics of Discourse: Essays in Cultural Criticism (Baltimore: Johns Hopkins University Press, 1985), pp. 121-122.
127. Dorrit Cohn, The Distinction of Fiction (Baltimore: Johns Hopkins University Press, 1999).
128. Edith Wharton, The House of Mirth, ed. Martha Banta (Oxford: Oxford University Press, 1994), p. 7.
129. George Butte, I Know that You Know that I Know: Narrating Subjects from Moll Flanders to Marnie (Columbus: Ohio State University Press, 2004).
130. See, for example, Carol de Dobay Rifelj, Reading the Other: Novels and the Problem of Other Minds (Ann Arbor: University of Michigan Press, 1992)
131. Martha Nussbaum, "The Window: Knowledge of Other Minds in Virginia Woolf 's To the Lighthouse," New Literary History, 26, 4 (1995), pp. 731-753.
132. Alfred Schutz, The Phenomenology of the Social World, trans. George Walsh and Frederick Lehnhert (Chicago: Northwestern University Press, 1967).
133. Alex Woloch, The One vs. The Many: Minor Characters and the Space of the Protagonist in the Novel (Princeton, NJ: Princeton University Press, 2003).
134. Ken Hirschkop, Mikhail Bakhtin: An Aesthetic for Democracy (Oxford: Oxford University Press, 1999).
135. Evelyn Nien-Ming Chi'en, Weird English (Cambridge, MA: Harvard University Press, 2005).
136. Doris Sommer, Proceed with Caution, when Engaged by Minority Writing in the Americas (Cambridge, MA: Harvard University Press, 1999).
137. Richard Rossiter, "In His Own Words: The Life and Times of Tim Winton," in Richard Rossiter and Lyn Jacobs, eds., Reading Tim Winton (Sydney: Angus and Robertson, 1993), p. 11.
138. Tim Winton, Cloudstreet (New York: Simon and Schuster, 1991).
139. Peter Brooks, Realist Vision (New Haven, CT: Yale University Press, 2005), p. 210.
140. Elaine Freedgood, The Ideas in Things: Fugitive Meaning in the Victorian Novel (Chicago: University of Chicago Press, 2006).
141. Pablo Neruda, Odes to Common Things, trans. Ken Krabbenhoft (New York: Bulfinch, 1994), pp. 11-17.
142. Sara Ahmed, Queer Phenomenology: Orientations, Objects, Others (Durham, NC: Duke University Press, 2006), p. 164.
143. Neruda, Odes to Common Things, pp. 89-95.
144. Douglas Mao, Solid Objects: Modernism and the Test of Production (Princeton, NJ: Princeton University Press, 1998).
145. See also Peter Schwenger, The Tears of Things: Melancholy and Physical Objects (Minneapolis: University of Minnesota Press, 2006).
146. Simon Critchley, Things Merely Are (London: Routledge, 2005)
147. Rosemary Lloyd, Shimmering in a Transformed Light: Writing the Still Life (Ithaca, NY: Cornell University Press, 2005).
148. See Nelson Goodman, Ways of Worldmaking (Indianapolis: Hackett, 1978), p. 102.
149. Terry Eagleton, Criticism and Ideology (London: Verso, 1976).
150. Gianni Vattimo, The Transparent Society (Baltimore: Johns Hopkins University Press, 1992), pp. 47-51.
151. Lionel Trilling, "On the Teaching of Modern Literature," in his Beyond Culture: Essays on Literature and Learning (New York: Viking, 1965).
152. Fredric Jameson, "Postmodernism and Consumer Society," in Hal Foster, ed., Postmodern Culture (London: Pluto Press, 1983), p. 124.
153. Tristan Tzara, "Dada Manifesto 1918," in Seven Dada Manifestos and Lampisteries, trans. Barbara Wright (London: John Calder, 1977), p. 8.
154. Jean-Joseph Goux, "The Eclipse of Art," Thesis Eleven, 44 (1996), pp. 57-68.
155. Euripides, The Bacchae, in Euripides V: The Complete Greek Tragedies ed. David Grene and Richmond Lattimore (Chicago: University of Chicago Press, 1959), p. 204.
156. Jean-Pierre Vernant and Pierre Vidal Naquet, Myth and Tragedy in Ancient Greece (New York: Zone, 1990), p. 246.
157. Karl Heinz Bohrer, Suddenness: On the Moment of Aesthetic Appearance (New York: Columbia, 1994).
158. Wai Chee Dimock, "A Theory of Resonance," PMLA, 112, 5 (1997), pp. 1046-1059.
159. Heinrich von Kleist, Penthesilea, trans. Joel Agee (New York: Harper Collins, 1998), p. 128.
160. Kleist, Penthesilea, pp. 145-146.
161. Michel Chaouli, "Devouring Metaphor: Disgust and Taste in Kleist's Penthesilea," German Quarterly, 69, 2 (1996), p. 130.
162. Leo Bersani, The Freudian Body: Psychoanalysis and Art (New York: Columbia University Press, 1986), p. 70.
163. Jean Laplanche, "Notes on Afterwardness," in his Essays on Otherness (London: Routledge, 1999).
164. Walter Benjamin, "N [Re The Theory of Knowledge, Theory of Progress]," in Gary Smith, ed., Benjamin - Philosophy, Aesthetics, History (Chicago: University of Chicago Press, 1989), p. 50.
165. Elisabeth Ladenson, Dirt for Art's Sake: Books on Trial from Madame Bovary to Lolita (Ithaca, NY: Cornell University Press, 2007), p. xvi.
166. Walter Benjamin, "Some Motifs in Baudelaire," in Charles Baudelaire: A Lyric Poet in the Era of High Capitalism (London: Verso, 1983), p. 116.
167. See also Vaheed. K. Ramazani, "Writing in Pain: Baudelaire, Benjamin, Haussmann," Boundary 2, 23, 2 (1996), pp. 199-224.
168. Charles Baudelaire, "La Charogne/A Carcass," in Marthiel and Jackson Mathews, eds., The Flowers of Evil (New York: New Directions, 1955).
169. Pierre Bourdieu, Distinction: A Social Critique of the Judgment of Taste (Cambridge, MA: Harvard University Press, 1984).
170. William Ian Miller, The Anatomy of Disgust (Cambridge, MA: Harvard University Press, 1997), p. 49.
171. Margaret Oliphant, "Sensation Novels," quoted in Deborah Wynne, The Sensation Novel and the Victorian Family Magazine (New York: Palgrave, 2001), p. 44.
172. Kathy Acker, Blood and Guts in High School (New York: Grove, 1994)
173. Elfriede Jelinek, The Piano Teacher (London: Serpent's Tail, 1989)
174. Helen Zahavi, Dirty Weekend (London: Flamingo, 1991)
175. Sarah Kane, Complete Plays (London: Methuen, 2001).
176. Gayl Jones, Eva's Man (Boston: Beacon Press, 1976), p. 173.
177. Jones, Eva's Man, p. 130.
178. Claudia Tate, Psychoanalysis and Black Novels: Desire and the Protocols of Race (New York: Oxford University Press, 1998)
179. David Scott, Conscripts of Modernity: The Tragedy of Colonial Enlightenment (Durham, NC: Duke University Press, 2004).
180. Hal Foster remarks that to take the romantic rhetoric of the avant-garde, with its language of rupture and revolution, at its word is to mistake crucial dimensions of its practice. See "Who's Afraid of the Neo-Avant-Garde?" in his The Return of the Real: The Avant-Garde at the End of the Century (Cambridge, MA: MIT Press, 1996).
181. Jean-François Lyotard, "The Sublime and the Avant-Garde," in his The Inhuman: Reflections on Time (Stanford, CA: Stanford University Press, 1992).