Kirjahaku

Joe loves Wild things, but can't find any in the city he lives in. When the Wild invites him to explore the night-time city, he is going to learn that nature can be found just about everywhere.

Leila loves bright colours but finds the shadows a little scary. That's until she meets Moon Girl. Together they go on a night-time adventure, painting moonlight in the darkness and discovering the world after the sun sets. Thomas Docherty's stunning illustrations light up the night and turn it into a thing of beauty, curiosity, and wonder. From the author and illustrator of the critically acclaimed Into the Wild.

Alterities marks an advance to a new stage of critical theory. Dealing with literature from Shakespeare and Donne to Calvino, with philosophy from the medieval to the contemporary, with cinema from popular to art-film, and with political theory from Marx to Lyotard, Baudrillard and Badiou, Thomas Docherty intervenes in all the major contemporary cultural debates to propose and practise a new criticism, whose theoretical foundations lie in postmodern ethics, ecopolitics, and an austere attention to the radical difficulties of art. Docherty's new book is a response to a growing realization that modern criticism - even in its apparently oppositional forms - remains caught up within the limitations of a philosophy of identity. Consequently, the tacit purpose of existing critique is the self-legitimation of the subject of criticism, a solace gained only through the refusal of the encounter with the objects of criticism: art and the culture of sociality. Alterities argues that we must attend to the difficulty of aesthetic practices. The contention is that it is only through an attention to the radical otherness of the world outside consciousness that we will be able to arrive at a historical and materialist criticism. In making this claim, Docherty rehabilitates the questions of why we bother about art, and proposes new modes of critical engagement with contemporary culture. Bound together by the cohesive drive of Docherty's intelligence and the coerciveness of the arguments he enlarges about alterity and historicity, Alterities is essential reading for those interested in postmodernist theory.

Alterities marks an advance to a new stage of critical theory. Dealing with literature from Shakespeare and Donne to Calvino, with philosophy from the medieval to the contemporary, with cinema from popular to art-film, and with political theory from Marx to Lyotard, Baudrillard and Badiou, Thomas Docherty intervenes in all the major contemporary cultural debates to propose and practise a new criticism, whose theoretical foundations lie in postmodern ethics, ecopolitics, and an austere attention to the radical difficulties of art. Docherty's new book is a response to a growing realization that modern criticism - even in its apparently oppositional forms - remains caught up within the limitations of a philosophy of identity. Consequently, the tacit purpose of existing critique is the self-legitimation of the subject of criticism, a solace gained only through the refusal of the encounter with the objects of criticism: art and the culture of sociality. Alterities argues that we must attend to the difficulty of aesthetic practices. The contention is that it is only through an attention to the radical otherness of the world outside consciousness that we will be able to arrive at a historical and materialist criticism. In making this claim, Docherty rehabilitates the questions of why we bother about art, and proposes new modes of critical engagement with contemporary culture. Bound together by the cohesive drive of Docherty's intelligence and the coerciveness of the arguments he enlarges about alterity and historicity, Alterities is essential reading for those interested in postmodernist theory.

Criticism and Modernity traces the conditions under which criticism emerges as a socio-cultural practice within the institutionalized forms of European modernity and democracy. It argues that criticism is born out of anxieties about national supremacy in the late seventeenth century, with the consequence that the emergent national cultures of the eighteenth century and since become sites for the regulation of the democratic subject through the academic form of arguments about the proper relations of aesthetics to ethics and politics. The central issue is that of legitimation: how can subjective aesthetic experiences regulate the norms of ethical justice? That question is posed not as an abstract philosophical issue, but rather as a question properly located within the struggles for national culture. The usual Germanic source of modern aesthetics and criticism is here placed in the broader European context, involving contests between England, France, Scotland, Ireland, and the emergent Germany and Italy. Writers addressed include Corneille, Dryden, Molière, Shaftesbury, Hutcheson, Hume, Rousseau, Kant, Schiller, Hegel, Schopenhauer; and, throughout, the legacy of these thinkers is found in the most recent contemporary theory, in work by Agamben, Badiou, Lyotard, MacIntyre, and others. A closing chapter considers the formation of the university across modern Europe, in Vico's Naples, Humboldt's Berlin, Newman's Dublin, Blair's Edinburgh, the France of Alain and Benda, the England of Leavis, as well as our contemporary institutional predicaments.

This reader provides a selection of articles and essays by leading figures in the postmodernism debate.

This book proposes the necessity of a new critical attitude appropriate to a post-enlightenment social and political condition. Theory - the intellectual and his or her knowledge - has been institutionalised and tamed; the critic interested in praxis must find a new means of establishing an effective intellection. After Theory argues the demand for a post-theoretical or ana-theoretical attitude which will recondition and regenerate critique under the aegis of a philosophical and austere postmarxism. The 'waking' of theory advanced here ranges eclectically over twentieth-century practice in philosophy, literature, painting, music, dance, architecture, film and photography, breaking theory from its institutionalised bonds.

Aesthetic Democracy argues that art and the aesthetic in general are the founding condition of the possibility of establishing social and political democracy. The book examines contemporary criticism and finds that it is historically shaped by colonialism, and that it sets up an opposition of east and west that shapes all contemporary cultural politics. The author argues for a way of outwitting this potentially dangerous struggle of east and west grounded in an aestheticism and a validation of sensory experience. Docherty proposes a new model of cultural critique, based on a revitalized and positively valorized notion of "hypocrisy," whose roots lie in Machiavelli, but whose contemporary strength lies in its potential for an ethical encounter with alterity as such.

Aesthetic Democracy argues that art and the aesthetic in general are the founding condition of the possibility of establishing social and political democracy. The book examines contemporary criticism and finds that it is historically shaped by colonialism, and that it sets up an opposition of east and west that shapes all contemporary cultural politics. The author argues for a way of outwitting this potentially dangerous struggle of east and west grounded in an aestheticism and a validation of sensory experience. Docherty proposes a new model of cultural critique, based on a revitalized and positively valorized notion of "hypocrisy," whose roots lie in Machiavelli, but whose contemporary strength lies in its potential for an ethical encounter with alterity as such.

Contemporary criticism of Donne has tended to ignore the historical culture and ideology that conditioned his writings, reinforcing the traditionally accepted model of the poet as a humanist of ethical, cultural and political individualism. In this title, first published in 1986, Thomas Docherty challenges this with a more rigorously theoretical reading of Donne, particularly in relation to the specific culture of the late Renaissance in Europe. Docherty locates Donne’s poetry at the crux of the various scientific, legal, domestic and rhetorical discourses that surrounded and informed it. With a broadly post-structuralist approach, this reissue will benefit literature students with an interest in the wider study and context of John Donne’s work.

Contemporary criticism of Donne has tended to ignore the historical culture and ideology that conditioned his writings, reinforcing the traditionally accepted model of the poet as a humanist of ethical, cultural and political individualism. In this title, first published in 1986, Thomas Docherty challenges this with a more rigorously theoretical reading of Donne, particularly in relation to the specific culture of the late Renaissance in Europe. Docherty locates Donne’s poetry at the crux of the various scientific, legal, domestic and rhetorical discourses that surrounded and informed it. With a broadly post-structuralist approach, this reissue will benefit literature students with an interest in the wider study and context of John Donne’s work.

This reader provides a selection of articles and essays by leading figures in the postmodernism debate.

What is the value of literature? In this important new work, Thomas Docherty charts a new economic history of literary culture and its institutions in the modern age. From the literary patronage of the early modern period, through the colonial exploitation of the 18th and 19th centuries to the institutionalisation of “literature” in the neoliberal university of the 21st century, Literature and Capital explores the changing ways in which literary culture has both resisted and become complicit with exploitative economic notions of value.Drawing on the work of economic and political thinkers such as Thomas Piketty, Naomi Klein, Edward Said and Raymond Williams, the book includes readings of work by a wide range of canonical authors from Shakespeare, Donne and Swift to Tolstoy, Woolf and Ishiguro.

What is the value of literature? In this important new work, Thomas Docherty charts a new economic history of literary culture and its institutions in the modern age. From the literary patronage of the early modern period, through the colonial exploitation of the 18th and 19th centuries to the institutionalisation of “literature” in the neoliberal university of the 21st century, Literature and Capital explores the changing ways in which literary culture has both resisted and become complicit with exploitative economic notions of value.Drawing on the work of economic and political thinkers such as Thomas Piketty, Naomi Klein, Edward Said and Raymond Williams, the book includes readings of work by a wide range of canonical authors from Shakespeare, Donne and Swift to Tolstoy, Woolf and Ishiguro.

From post-truth politics to “no-platforming” on university campuses, the English language has been both a potent weapon and a crucial battlefield for our divided politics. In this important and wide-ranging intervention, Thomas Docherty explores the politics of the English language, its implication in the dynamics of political power and the spaces it offers for dissent and resistance. From the authorised English of the King James Bible to the colonial project of University English Studies, this book develops a powerful history for contemporary debates about propaganda, free speech and truth-telling in our politics. Taking examples from the US, UK and beyond - from debates about the Second Amendment and free-speech on campus, to the Iraq War and the Grenfell Tower fire - this book is a powerful and polemical return to Orwell’s observation that a degraded political language is intimately connected to an equally degraded political culture.

From post-truth politics to “no-platforming” on university campuses, the English language has been both a potent weapon and a crucial battlefield for our divided politics. In this important and wide-ranging intervention, Thomas Docherty explores the politics of the English language, its implication in the dynamics of political power and the spaces it offers for dissent and resistance. From the authorised English of the King James Bible to the colonial project of University English Studies, this book develops a powerful history for contemporary debates about propaganda, free speech and truth-telling in our politics. Taking examples from the US, UK and beyond - from debates about the Second Amendment and free-speech on campus, to the Iraq War and the Grenfell Tower fire - this book is a powerful and polemical return to Orwell’s observation that a degraded political language is intimately connected to an equally degraded political culture.

Exploring the controversial history of an aesthetic – realism – this book examines the role that realism plays in the negotiation of social, political, and material realities from the mid-19th century to the present day.Examining a broad range of literary texts from French, English, Italian, German, and Russian writers, this book provides new insights into how realism engages with themes including capital, social decorum, the law and its politicisation, modern science as a determining factor concerning truth, and the politics of identity.Considering works from Gustave Flaubert, Charles Baudelaire, Émile Zola, Henry James, Charles Dickens, and George Orwell, Docherty proposes a new philosophical conception of the politics of realism in an age where politics feels increasingly erratic and fantastical.

Exploring the controversial history of an aesthetic – realism – this book examines the role that realism plays in the negotiation of social, political, and material realities from the mid-19th century to the present day.Examining a broad range of literary texts from French, English, Italian, German, and Russian writers, this book provides new insights into how realism engages with themes including capital, social decorum, the law and its politicisation, modern science as a determining factor concerning truth, and the politics of identity.Considering works from Gustave Flaubert, Charles Baudelaire, Émile Zola, Henry James, Charles Dickens, and George Orwell, Docherty proposes a new philosophical conception of the politics of realism in an age where politics feels increasingly erratic and fantastical.

A magical celebration of friendship – and the perfect bedtime story for every child who dreams of a horse of their own! Once there was a horse … that jumped. It jumped over a flower. It jumped over a rock. It jumped right over a fence … and out into the world. Jumping through country and town, the horse meets a girl, and together they keep on jumping: over waves and mountains, over clouds, the sun and the moon … into a world of stars and dreams. From the bestselling illustrator of The Snatchabook!

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com.This book explores what is at stake in our confessional culture. Thomas Docherty examines confessional writings from Augustine to Montaigne and from Sylvia Plath to Derrida, arguing that through all this work runs a philosophical substratum - the conditions under which it is possible to assert a confessional mode - that needs exploration and explication. Docherty outlines a philosophy of confession that has pertinence for a contemporary political culture based on the notion of 'transparency'. In a postmodern 'transparent society', the self coincides with its self-representations. Such a position is central to the idea of authenticity and truth-telling in confessional writing: it is the basis of saying, truthfully, 'here I take my stand'. The question is: what other consequences might there be of an assumption of the primacy of transparency? Two areas are examined in detail: the religious and the judicial. Docherty shows that despite the tendency to regard transparency as a general social and ethical good, our contemporary culture of transparency has engendered a society in which autonomy (or the very authority of the subject that proclaims 'I confess') is grounded in guilt, reparation and victimhood.