Bøger udgivet af Eyecorner Press

As the Biblical patriarch Jacob, after twenty years of exile, is about to cross the river that separates him from home, he gets into a nocturnal fight with a supernatural figure, traditionally referred to as 'the angel'. As a result of the wrestling match Jacob is injured, however he also receives a blessing and a new name: from now on he is called Israel. The present study proposes a Jungian reading of this famous episode in Genesis. The focus is on the intriguing identity of Jacob's enigmatic adversary: who or what is that figure on the riverside and what does he want from Jacob? In order to clarify this matter, parallels from other mythological tales are discussed. It will be shown that Jacob is by no means the only character in world mythology to get into a conflict with a demon or deity, even though Jacob's attitude towards unwilling divine powers is rather special. Reading like a detective story, the book takes us on a journey that slowly but steadily unlocks the true nature of Jacob's mysterious opponent. The surprising outcome adds to our understanding of the figure of Jacob-Israel. Moreover, it makes us aware of a number of hitherto overlooked characteristics that modern Western society inherited from its Judaeo-Christian past. -- "In this fascinating study, Maria Kardaun unpacks the psychological implications of one of the most puzzling episodes in Genesis: Jacob's wrestling with the angel. It seems strange to say it of so scholarly a study, but this is a book hard to put down. It ranges widely, taking us on a Jungian journey through legends from many cultures to find the Jacob legend's meaning: a decisive step forward in humans' and civilizations' modernization." Norman N. Holland, Eminent Scholar Emeritus at University of Florida. -- "Fighting the Angel not only makes delightful reading, it is also evidence of thorough and impressive scholarship, in Biblical exegesis and theology no less than in Jungian criticism. Far from being "just another Jungian interpretation" to convince the convinced, this study is a major contribution, convincing even to people who do not accept Jungian theory." Reuven Tsur, Professor Emeritus of Hebrew Literature, Tel Aviv University, Israel Prize Laureate in General Literature, 2009. -- "A wonderful book, that clearly demonstrates the great value of depth psychological analysis. The author manages to bridge the gap that separates us from ancient Biblical times. This reading has great relevance for our understanding of the cultural changes that have created the world that we still live in today." Maaike Meijer, Professor of Gender and Diversity at Maastricht University, author of M. Vasalis. Een biografie.

The Way of the Sign is a book about extraction, about reducing methods of inquiry to the bare bones. In a clear, concise, and dialogic style, Camelia Elias guides students through 10 schools of theory and criticism. The focus is on 'asking' each theory to give its best in the simplest way, by making us see what is at stake and how we might respond to it.

Towards a Genealogy of Spectacle is an exploration of contemporary experience of spectacle in its multiple layers, as it attempts to expose the forces that are at work in the making of spectacular events. It sets before itself two goals: to understand the language of spectacle, and to dissect the pathos of spectacle of contemporary society. In an age that is saturated with technology and the products of mass media, it aims to show how and why grand artistic spectacles are needed for the life and health of a culture. The book engages with the ideas of various thinkers from Kant and Schopenhauer to Foucault and Debord on the subject and aims to open up new spaces for thinking and is an invitation to spectacle-makers towards a fusion of art and philosophy. --- "In Towards a Genealogy of Spectacle Yunus Tuncel shows what it means to reflect, once again, Nietzsche's claim of aesthetic justification of life in the height of our time. He does not just accept this claim, but rather renews it by thoughtfully bringing before our eyes how spectacle could be thought of as a place for the gathering of creative forces." (Arno Böhler, Wien)

The epistemic creative writer is not merely an expressive writer, a writer who writes for creative writing programs at diverse university colleges. Rather, the epistemic creative writer is the writer who understands that in order to say something useful you must step out of the space that engages your ego. Awareness of what really matters comes from the contemplation of the futility of words. Before the word there is silence. After the word there is silence. But during the word there is knowledge that can be made crystal clear. This book is about extracting what writing means to a few writers who formulate ideas about creative writing without, however, making claims to instruction. Can creative writing that produces knowledge be taught without a method? Samuel Beckett, Raymond Federman, Gertrude Stein, Jacques Lacan, Frank O'Hara, Douglas Hofstadter, Brian Rotman, Herman Melville, Kathy Acker, Friedrich Nietzsche, David Markson, Andrei Codrescu, and a host of others, gather here to offer an answer. -- "Camelia Elias speaks to the reader from that place where the language of the birds becomes the language of silence." (Patrick Blackburn, Professor of Formal Logic, Roskilde University)

Renati the King is a play that explores the final hours of Rene Descartes. It is also a play about the perennial question of how love is addressed, who embodies it, and at what level of mastery it is exercised. Baroque and android-like characters intersect each other's fates, and it is suggested that if human love is impossible in terms of constancy, then that of the posthuman is not. Rainer J. Hanshe offers an illuminating counterpoint to this idea by situating the play in a wide context that includes careful considerations of the ancient Greeks, court politics, Nietzsche, and a host of poets ranging from Aristophanes to Genet and Beckett, and tracing the implication of philosophers becoming dramatists.

This volume of prose poems takes the reader through a journey which starts in the living-room. At the core of the collection are a number of Socratic dialogic exchanges between the main speaker of each poem and a number of other figures (fictional and non-fictional). The initiating conversations between a woman and a man continue through dialogues between the woman speaker and other voices (mainly academics and writers) and culminate with exchanges between the woman's voice and that of literary protagonists. There is an intended symmetry at work between the poems which are dedicated to real-life authors and the poems which are dedicated to fictional characters. The poems show how literature is entangled with the geography of being on more than one level.

Derrida is still with us. Through his writings and his performances. This book offers a unique insight into Derrida's last years through analyses by 4 Danish scholars of Kirby Dick and Amy Kofman Ziering's movie "Derrida" (2002). Derrida emerges not only as a wise man, but also as one who can touch our most sensitive cores. The four essays presented here end with a fifth text which is a dialogue between Bent Sørensen, the editor, who met Derrida immediately after 9/11, Camelia Elias, who personally knew Derrida, Steen Ledet Christiansen, who has never seen Derrida, and Søren Hattesen Balle, who personally tried to convince Derrida that he is a Romantic.

Tragic writing emerges as a representation of a sacrificial crisis that calls into question the human relation to the divine. The process of dramatization that exposes this crisis places the subject and language at risk. Writing with Blood explores the birth and death of the tragic subject in antiquity and the modernist reanimation of the sacrificial in Nietzsche, Bataille and Mishima. --- "An excellent piece of work. Very intelligent thinking about questions of the first importance." (William Haver)

When Novalis declared that "the world must be romanticized," that it must be restored to its plenary "meaning, magic, and mystery," he, like Friedrich Schlegel touts the fragment as the vehicle of this restorative art. The Winds of Ilion is an eclectic work that brings together poetry, academic essay, personal memoir, short-short story, and creative fragments in a manner redolent both of the early German romantics and of the Greek concept of moira. The many different creative threads composing this work weave a fabric of variegated meanings whose scope extends to the disparate events and marginal circumstances both of literary and everyday life. --- "Steven Joyce's book offers a fascinating combination of various literary forms. Readers will find it both enjoyable and instructive. The author maintains that we can recapture, through reading, the uplifting romantic spirit of an earlier age. I am happy to report that this volume does indeed rekindle that spirit. It did for me." (Susanna Piontek, member of the PEN Club and of Die Kogge, European Writers' Association)

This is a book of fragments and prose poetry celebrating what mothers try to pass on to their children: a sense of how to be grateful for the experiences in life that can be said to be not only beautiful but also significant in form. The author's own mother, a logician, emerges as a powerful woman who has things to say to people she encounters through mediation: mathematicians, prophets, lovers, and fools. The introduction to the collection is an informative memoir which entangles the personal essay with the formal properties of writing that can be said to be both epistemic, creating a certain kind of knowledge, and also creative in terms of approaches to narrative.

In this volume, Mark Daniel Cohen offers, in the first part, a fresh and intelligent look at Sophocles, re-writing Antigone almost as a Beckettian version of Tristan and Isolde. The modern-day domestic drama is continued in the second part of the volume, in which selected poems aptly combine the trivial and the sublime, the mark and measure of every great classic. Camelia Elias writes the introduction under a contaminated spell.

This bilingual volume introduces the work of American prose poet Robert Gibbons to a transatlantic audience. The volume shows how multifaceted a poet he is, effortlessly exploring political, aesthetic and emotional themes, such as war, poverty, exile, work, love and the archives of Time. Presenting Danish translations of 64 of the poet's best pieces, juxtaposed with the American original versions, the book also contains a lengthy scholarly introduction by the editor and translator, Bent Sørensen, forming the first sustained academic study of Gibbons' work.

Pulverizing Portraits provides the first book-length study of contemporary American poet Lynn Emanuel. Emanuel's poetry is significant because it situates itself in relation to current debates about the state of poetry, creative writing in the academia, and the importance of drawing on interdisciplinary approaches to poetry via visual aesthe-tics, poststructuralist literary and theoretical perspectives, and philosophy. Camelia Elias takes a look at what characterizes contemporary American prose poetry, namely an intensified awareness of being close to something. Poets such as Lynn Emanuel have been increasingly concerned with poetry as a tool for cultural criticism which constantly redefines our poetic discourse. Elias traces the power of Emanuel's writing and looks at her subtleties in combining intrinsic and formal constraints in poetry with extrinsic and socio-historical methodologies. Elias's analyses of Emanuel's poetic genius culminate in a plethora of references which bring together painters, philosophers, poets, critics, and actors. Thus, the poet's father, the painter Akiba Emanuel, meets Giorgio Agamben, Charles Simic, Gertrude Stein, and Sharon Stone. They all contribute to voicing the world's "interminable speeches."

Night Café is a book for the senses that think. Gray Kochhar-Lindgren takes us through a history of coffee as recorded for and by the thinkers of the 19th and 20th century. The Night Café brings together prominent critics, artists, and intellectuals in an encounter which the author describes as a meeting between epistemo-lovers who are equally into rigorous mathematics and the architecture of the tastes. Here's some coffee according to Walter Benjamin, Vincent Van Gogh, Hemingway, Rilke, Ovid, and others. "These amorous notes show a deep, dark passion for philosophy, literature and art-as well as an ardent love of the dispeller of all worries, the drink whose ingestion-and the ensuing thoughts-Gray convinces us amounts to a Hell of a lot more than a mere hill of beans: coffee." (Bent Sørensen) "When one opens the pages of Kochhar-Lindgren's Night Café, after inspecting the menu, one ultimately chooses to fill the optic cup to the brim, that concave receptacle, which synthesizes light from the pupil, iris, & retina, beaming color & imagery into the optic nerve. A pathway, past fact, into depths of imagination, reaching down to the Shaman of Trois Freres, & seeing through the eyes in Cafés of Vincent van Gogh, Walter Benjamin, Ernest Hemingway, & others. Refills are desirable & free!" (Robert Gibbons)

This book is a reading of the arabesque tales of Edgar Allan Poe, focusing on the main themes of love, identity, and reason as they are played out in a core set of four love stories bearing the names of beautiful undying ladies. Included are chapters on structural plot analysis, the doppelgänger motif and close readings of thematic features in the four Poe tales. The book also offers a categorization of Poe's entire fictional oeuvre using the terms arabesque and grotesque, as well as a discussion of love's psychology and tellability.