Elliott Carter's Late Music

The first comprehensive study of the late music of one of the most influential composers of the last half century, this book places Elliott Carter's music from 1995 to 2012 in the broader context of post-war contemporary concert music, including his own earlier work. It addresses Carter's reception history, his aesthetics, and his harmonic and rhythmic practice, and includes detailed essays on all of Carter's major works after 1995. Special emphasis is placed on Carter's settings of contemporary modernist poetry from John Ashbery to Louis Zukofsky. In readable and engaging prose, Elliott Carter's Late Music illuminates a body of late work that stands at the forefront of the composer's achievements.

Im "Labyrinth der Legitimitäten" und Ethosanalyse. Carl Schmitt und Herfried Münkler über die neuen Kriege und Krieger

In the "Labyrinth of Legitimacy" and Ethos Analysis. Carl Schmitt and Herfried Münkler on the New Wars and New Warriors The article analyzes Münkler's continuation of Carl Schmitt's late work on international law in the book Kriegssplitter and emphasizes its divergent ethical approach.

The Later Work of Gabriel García Márquez

If the Bolívar novel embodies the collective memory of a region in a manner spare yet ingenious, the novelist’s other major late work tends toward personal memory. In Of Love and Other Demons, García Márquez comes as close to magical realism as in any work since the short stories and One Hundred Years of Solitude and reaffirms the multiracial and Caribbean character of the author’s own definition of Spanish America. In News of a Kidnapping, García Márquez ventures onto the territory of drug cartels and violence, which became the preoccupation of the next generation of Colombian writers, relating this material from the deadpan, appalled stance that is as characteristic of his viewpoint as the mesmeric incantations so commonly associated with him. In Memories of My Melancholy Whores, a late in life moral transformation redeems a lifetime of iniquity and testifies to the strangeness of the new territory of extreme old age, in a sense as unexplored a country as Macondo once was. In Living to Tell the Tale, García Márquez reflects upon the first half of his own life. Unlike in the case of Bolívar, García Márquez did not get to tell the ending of the story, leaving later writers and readers to do so in their own minds, as the great master had done for the General.

Kollektiv (Collective)

The idea of the ‘collective’ plays a key role in Goethe’s late work. It denotes a balance between multiplicity and unity, heterogeneity and homogeneity, which is characteristic both of Goethe’s authorship and of his literary work, above all his novel Wilhelm Meisters Wanderjahre (1829; Wilhelm Meister’s Journeyman Years). Etymologically, Goethe’s use of the term refers back to its original meaning from the Latin colligere; for him, a collective emerges when parts are gathered and arranged into some sort of ordered whole. It has formal, intellectual, and social implications. The term is semantically close to the concepts of the ‘aggregate’ and the ‘compendium,’ which are also essential to Goethe’s late poetics. The collective, the aggregate, and the compendium are all situated between mere particularity and full systematicity, in a sphere of the intermediary. Finally, Goethe’s idea of the collective found resonance primarily and early on in the United States, specifically in the writings of Ralph Waldo Emerson.

Under Suspicion: Christine Brooke-Rose, Intelligence Work, and the Theory Wars

This article looks at Christine Brooke-Rose's late work of life-writing, Remake (1996) and its depiction of Brooke-Rose's wartime experience working in the Allied code-breaking centre at Bletchley Park. I situate Remake's recall of Bletchley Park within a textual matrix that includes Brooke-Rose's own academic writing of the 1980s–90s, as well as texts that emerged out of the so-called ‘Theory Wars’ of the same period – especially relating to the revelation of Paul de Man's collaborationist journalism. In this range of writing, I trace a set of common concerns regarding personal history, suspicion, secrecy, disclosure, and mastery that herald a turn towards other forms of knowing. In doing so, I locate Remake at a crucial juncture in the emergence of our present post-critical moment.

Hölderlins Homburger Folioheft in diachroner Darstellung

Literary compositional drafts and working manuscripts preserve traces of the gradual process of writing and its different stages. In the static medium of print, genetic editions are confronted with the problem of depicting the dynamic evolution of texts. Presenting the variants in line-by-line synoptic display disregards the spatial arrangement on the manuscript pages. On the other hand, giving a topographic representation of the writing in diplomatic transcripts might stratify it into a few chronological layers but is unable to sufficiently reproduce the dynamic process to an elaborate degree. Consequently, the screen is better suited to visualise the writing process. The digital presentation of the ‘Homburg Folio’, the most important manuscript of Friedrich Hölderlin’s late work, offers not only the transcriptional record as known from print media but displays the process of writing and revision on each of the facsimile’s pages itself (https://homburgfolio.wlb-stuttgart.de). Thus, it is possible to visualise writing both as an act in time and its graphic result on the space of a page. It confines itself to the presentation of the genesis without any constitution of a text. The combination of these different operations has often led to errors. Decoupling the genetic analysis from the extrapolation of text reveals its potential.

Dream and the aesthetics of existence: Revisiting “Foucault’s ethical imagination”

For the later Foucault, as for the early Foucault, the dream represents a privileged disclosure of the ethics of the self, and the relation to truth. What, then, is the function of the dream in the ethics of the self? This article brings together Foucault’s early work on the dream and his late work on the care of the self to answer this question. Foucault’s archeologies and genealogies of power and discourse show how the modern disciplinary, bio-political, neo-liberal individual is constituted simultaneously as self-sovereign and as subject to governmental management. The dream awakens when the self-sovereign subject of modern power goes to sleep. The dream, then, problematizes and displaces the sovereign subject and opens the door to disruptive forms of experience, counter to modern power’s demand that we be always awake, productive, and in control of our thoughts and feelings.