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Uncovers the politics of nostalgia and madness inherent in the Arabic novel. The Arabic novel has taken shape in the intercultural networks of exchange between East and West, past and present. Wen-chin Ouyang shows how this has created a politics of nostalgia which can be traced to discourses on aesthetics, ethics and politics that are relevant to cultural and literary transformations of the Arabic speaking world in the 19th and 20th centuries. She reveals nostalgia and madness as the tropes through which the Arabic novel writes its own history, as a story of grappling with and resisting the hegemony of both the state and cultural heritage.

Nostalgia in literature, Arabic. --- Arabic fiction --- History and criticism. --- Nostalgia in literature. --- Arabic literature

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Ces contributions examinent l'espace occupé par la nostalgie dans la littérature arabe, classique et moderne. Les analyses démontrent que ce thème, loin d'être cantonné dans la sphère amoureuse de la poésie, c'est-à-dire le nasib et le gazal, gagna également des genres où il était moins attendu, tels que le panégyrique, la satire ou encore le thrène, s'apparentant davantage à des genres héroïques.

Arabic literature --- Nostalgia in literature. --- Littérature arabe --- Nostalgie dans la littérature --- Themes, motives. --- Thèmes, motifs --- Littérature arabe --- Nostalgie dans la littérature --- Thèmes, motifs

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In this book, ethnographer and poet Michael Jackson addresses the interplay between modes of writing, modes of understanding, and modes of being in the world. Drawing on literary, anthropological and autobiographical sources, he explores writing as a technics akin to ritual, oral storytelling, magic and meditation, that enables us to reach beyond the limits of everyday life and forge virtual relationships and imagined communities. Although Maurice Blanchot wrote of the impossibility of writing, the passion and paradox of literature lies in its attempt to achieve the impossible--a leap of faith that calls to mind the mystic's dark night of the soul, unrequited love, nostalgic or utopian longing, and the ethnographer's attempt to know the world from the standpoint of others, to put himself or herself in their place. Every writer, whether of ethnography, poetry, or fiction, imagines that his or her own experiences echo the experiences of others, and that despite the need for isolation and silence his or her work consummates a relationship with them.

Authorship. --- English language --- English literature --- American fiction --- Authoring (Authorship) --- Writing (Authorship) --- Literature --- Writing --- Writing. --- History and criticism. --- Germanic languages --- anthropology. --- art. --- artists. --- authors. --- dark night of the soul. --- empathy. --- engaging. --- ethnographer. --- ethnography. --- fiction writers. --- imagination. --- impossibility of writing. --- leap of faith. --- life experiences. --- literary criticism. --- literary. --- literature. --- lively. --- longing. --- magic. --- meditation. --- modes of understanding. --- modes of writing. --- modes. --- nostalgia. --- oral storytelling. --- poet. --- poetry. --- relationship. --- ritual. --- social science. --- students and teachers. --- unrequited love. --- utopia. --- worldliness. --- writing.

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Mike Kelley, Paul McCarthy, and Raymond Pettibon-these Southern California artists formed a "bad boy" trifecta. Early purveyors of abject art, the trio produced work ranging from sculptures of feces to copulating stuffed animals, and gained notoriety from being perverse. Showing how their work rethinks transgressive art practices in the wake of the 1960s, Pay for Your Pleasures argues that their collaborations as well as their individual enterprises make them among the most compelling artists in the Los Angeles area in recent years. Cary Levine focuses on Kelley's, McCarthy's, and Pettibon's work from the 1970s through the 1990s, plotting the circuitous routes they took in their artistic development. Drawing on extensive interviews with each artist, he identifies the diverse forces that had a crucial bearing on their development-such as McCarthy's experiences at the University of Utah, Kelley's interest in the Detroit-based White Panther movement, Pettibon's study of economics, and how all three participated in burgeoning subcultural music scenes. Levine discovers a common political strategy underlying their art that critiques both nostalgia for the 1960s counterculture and Reagan-era conservatism. He shows how this strategy led each artist to create strange and unseemly images that test the limits of not only art but also gender roles, sex, acceptable behavior, poor taste, and even the gag reflex that separates pleasure from disgust. As a result, their work places viewers in uncomfortable situations that challenge them to reassess their own values. The first substantial analysis of Kelley, McCarthy, and Pettibon, Pay for Your Pleasures shines new light on three artists whose work continues to resonate in the world of art and politics.

Art, American --- Artists --- Persons --- American art --- Eight (Group of American artists) --- Indian Space (Group of artists) --- Mission School (Group of artists) --- NO!Art (Group of artists) --- Old Bohemians (Group of artists) --- Stieglitz Circle (Group of artists) --- McCarthy, Paul, --- Kelley, Mike, --- Pettibon, Raymond, --- Ginn, Raymond, --- Pettibon, Lance, --- Peṭibon, Remond, --- פטיבון, רימונד --- raymond pettibon, mike kelley, paul mccarthy, southern california, abject art, perversity, notoriety, celebrity, fame, bad boys, artists, stuffed animals, copulation, fornication, sex, sexuality, transgression, feces, sculptures, collaboration, los angeles, university of utah, detroit, white panthers, economics, subculture, music, underground, conservatism, reagan, counterculture, 1960s, nostalgia, aesthetics, disgust, pleasure, gag reflex, poor taste, acceptable behavior, gender, unseemly, nonfiction.