The Aesthetics Of Island Space

This book focuses on the challenges and uncertainties involved when island geography is translated into words and images, and it explores the complexities and contradictions of islands as figures of thought in Western modernity. Other studies have shown how islands have been imagined as bounded, easily controllable spaces and colonial territories; The Aesthetics of Island Space argues that they have been linked to disorientation and confusion as much asto spatial mastery and control. The book traces four lines in the vast sea of Anglo-American island stories, each of which has its beginning in one of modernity's voyages of discovery. The chapters focus onAmerica's island gateways (Roanoke and Ellis Island), visions of tropical islands (Tahiti and imagined South Sea islands), the islands of the US-Canadian border region in the Pacific Northwest, and the imaginative appeal of geologically mutable islands. The book studies the journals of explorers and scientists alongside literary texts and films. It discusses a panorama of real and imagined journeys that take their narrators, protagonists, and readers to the limits of human perception andunderstanding, where borders are drawn and dissolved in a disorienting world between water and land.

Oxford Textual Perspectives is a series of informative and provocative studies focused upon literary texts (conceived of in the broadest sense of that term) and the technologies, cultures, and communities that produce, inform, and receive them. It provides fresh interpretations of fundamental works and of the vital and challenging issues emerging in English literary studies. By engaging with the materiality of the literary text, its production, and reception history, and frequently testing and exploring the boundaries of the notion of text itself, the volumes in the series question familiar frameworks and provide innovative interpretations of both canonical and less well-known works. The Aesthetics of Island Space discusses islands as central figures in the modern experience of space. It examines the spatial poetics of islands in literary texts, from Shakespeare's The Tempest to Ghosh's The Hungry Tide, in the journals of explorers and scientists such as James Cook and Charles Darwin, and in Hollywood cinema. It traces the ways in which literary and cinematic islands have functioned as malleable spatial figures that offer vivid perceptual experiences as well as a geopoetic oscillation between the material energies of words and images and the energies of the physical world. The chapters focus on America's island gateways (Roanoke and Ellis Island), visions of tropical islands (Tahiti and imagined South Sea islands), the islands of the US-Canadian border region in the Pacific Northwest, and the imaginative appeal of mutable islands. It argues that modern voyages of discovery posed considerable perceptual and cognitive challenges to the experience of space, and that these challenges were negotiated in complex and contradictory ways via poetic engagement with islands. Discussions of island narratives in postcolonial theory have broadened understanding of how islands have been imagined as geometrical abstractions, bounded spaces easily subjected to the colonial gaze. There is, however, a second story of islands in the Western imagination which runs parallel to this colonial story. In this alternative account, the modern experience of islands in the age of discovery went hand in hand with a disintegration of received models of understanding global space. Drawing on and rethinking (post-)phenomenological, geocritical, and geopoetic theories, The Aesthetics of Island Space argues that the modern experience of islands as mobile and shifting territories implied a dispersal, fragmentation, and diversification of spatial experience, and it explores how this disruption is registered and negotiated by both non-fictional and fictional responses.

A collection of twenty-nine essays written over the past forty years.

Conventional wisdom suggests that aesthetic experiences - those moments when the senses come to life - are important only after more basic needs have been met. In this inspiring wealth of provocative ideas, Yi-Fu Tuan demonstrates that feeling and beauty are essential parts of life and society. The aesthetic is shown to be not merely one aspect of culture but its central core - both its driving force and its ultimate goal. Beginning with the individual and the physical world, the author's exploration progresses from the simple to the complex. Tuan starts by examining the building blocks of aesthetic experience - sight, hearing, smell, touch, taste - and gradually expands his analysis to include the most elaborate of human constructs, including art, architecture, literature, philosophy, music, and landscape. This leads him to the realm of politics, where he grapples with the fundamental question of the relationship between goodness and beauty, and of how the aesthetic can become a moral force within society. To guide the reader along this journey, the author describes how the aesthetic operates in four widely disparate cultures: Australian aboriginal, Chinese, medieval European, and modern American. Yi-Fu Tuan, one of our most influential and original thinkers, brilliantly conveys the profound fascination of multisensory reality, and in so doing enables us to make connections among even the most diffuse elements of our lives. While Tuan does not ignore human folly, Passing Strange and Wonderful is a celebration of the world around us, our experiences, and our creations.

First words -- Piecemeal reductionism: a sense of the issue -- The new intentionalism -- Interlude: a glance at reductionism in the philosophy of mind -- Beardsley and the intentionalists -- Intentionalism's prospects -- A failed strategy.

Is there an allure of spoiled places? Spoil islands are overlooked places that combine dirt with paradise, waste-land with “brave new world,” and wildness with human intervention. Although they are mundane products of dredging, these islands form an uninvestigated archipelago that demonstrates the potential value and contested re-valuation of landscapes of waste. To explore these islands, Spoil Island: Reading the Makeshift Archipelago navigates a course along the U.S. east coast, moving from New York City to Florida. Along the way, a general populace squats, picnics, and reflects on the islands, while other forces are also at work. New York City parks commissioner Robert Moses first deplores then adopts Hoffman and Swinburne Islands, UN Secretary General U Thant meditates on the East River’s Belmont Island, businessman John D. MacArthur rejects the purchase of Peanut Island, artist Christo surrounds Miami’s spoil islands, Key Westers debate the futures of two spoil islands that mark their sunset view, and artist Robert Smithson augments this archipelago materially and conceptually. Historical and contemporary stories highlight each island’s often contradictory ecologies that pair nature with infrastructure, public concerns with private development, rationalized urbanism with artistic impulse, and order with disorder. Spoil islands put you in places you normally wouldn’t—and perhaps shouldn’t—be. To examine these marginalized topographies is to understand emergent concerns of twenty-first-century place-making, public space, and natural and artificial infrastructure. Today, spoil islands constitute an unprecedented public commons, where human agency and nature are inextricably linked. Spoil Island will be of interest to anyone working in the areas of architecture, cultural history, cultural geography, environmental studies, or environmental philosophy. Linking the islands with their environmental aesthetics, Charlie Hailey provides a lively and critical topography of places that play a part in current events and local situations with global implications.

Chinese Reportage details for the first time in English the creation and evolution of a distinctive literary genre in twentieth-century China. Reportage literature, while sharing traditional journalism’s commitment to the accurate, nonfictional portrayal of experience, was largely produced by authors outside the official news media. In identifying the literary merit of this genre and establishing its significance in China’s leftist cultural legacy, Charles A. Laughlin reveals important biases that impede Western understanding of China and, at the same time, supplies an essential chapter in Chinese cultural history. Laughlin traces the roots of reportage (or baogao wenxue) to the travel literature of the Qing Dynasty but shows that its flourishing was part of the growth of Chinese communism in the twentieth century. In a modern Asian context critical of capitalism and imperialism, reportage offered the promise of radicalizing writers through a new method of literary practice and the hope that this kind of writing could in turn contribute to social revolution and China’s national self-realization. Chinese Reportage explores the wide range of social engagement depicted in this literature: witnessing historic events unfolding on city streets; experiencing brutal working conditions in 1930s Shanghai factories; struggling in the battlefields and trenches of the war of resistance against Japan, the civil war, and the Korean war; and participating in revolutionary rural, social, and economic transformation. Laughlin’s close readings emphasize the literary construction of social space over that of character and narrative structure, a method that brings out the critique of individualism and humanism underlying the genre’s aesthetics. Chinese Reportage recaptures a critical aspect of leftist culture in China with far-reaching implications for historians and sociologists as well as literary scholars.

This collection takes up the challenge of thinking spatially by exploring Deleuze's spatial concepts in applied contexts: architecture, cinema, urban planning, political philosophy and metaphysics. In doing so, it brings together some of the most accomplished Deleuze scholars writing today - Reda Bensmaia, Ian Buchanan, Claire Colebrook, Tom Conley, Manuel DeLanda, Gary Genosko, Gregg Lambert and Nigel Thrift.

Cecilia Sjöholm reads Hannah Arendt as a philosopher of the senses, grappling with questions of vision, hearing, and touch even in her political work. Constructing an Arendtian theory of aesthetics from the philosopher's fragmentary writings on art and perception, Sjöholm begins a vibrant new chapter in Arendt scholarship that expands her relevance for contemporary philosophers. Arendt wrote thoughtfully about the role of sensibility and aesthetic judgment in political life and on the power of art to enrich human experience. Sjöholm draws a clear line from Arendt's consideration of these subjects to her reflections on aesthetic encounters and works of art mentioned in her published writings and stored among her memorabilia. This delicate effort allows Sjöholm to revisit Arendt's political concepts of freedom, plurality, and judgment from an aesthetic point of view and incorporate Arendt's insight into current discussions of literature, music, theater, and visual art. Though Arendt did not explicitly outline an aesthetics, Sjöholm's work substantively incorporates her perspective into contemporary reckonings with radical politics and their relationship to art.