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"The language theory of Mikhail Bakhtin does not fall neatly under any single rubric - 'dialogism,' 'marxism,' 'prosaics,' 'authorship' - because the philosophic foundation of his writing rests ambivalently between phenomenology and Marxism. The theoretical tension of these positions creates philosophical impasses in Bakhtin's work, which have been neglected or ignored partly because these impasses are themselves mirrored by the problems of antifoundationalist and materialist tendencies in literary scholarship. In Mikhail Bakhtin: Between Phenomenology and Marxism Michael Bernard-Donals examines various incarnations of phenomenological and materialist theory - including the work of Jauss, Fish, Rorty, Althusser, and Pecheux - and places them beside Bakhtin's work, providing a contextualised study of Bakhtin, a critique of the problems of contemporary critics, and an original contribution to literary theory"

"The work of Mikhail Bakhtin does not fall neatly under a single rubric, because its philosophical foundation rests ambivalently between phenomenology and Marxism. The theoretical tension between these two positions creates philosophical impasses in Bakhtin's work, which have been neglected or ignored in previous studies of Bakhtin. Michael Bernard-Donals examines developments in phenomenological and materialist theory, providing a contextualized study of Bakhtin, a critique of the problems of contemporary criticism, and an original contribution to literary theory."

"At a time when even much of the political left seems to believe that transnational capitalism is here to stay, Marxism, Modernity and Postcolonial Studies refuses to accept the inevitability of the so-called 'New World Order'. By giving substantial attention to topics such as globalisation, racism, and modernity, it provides a specifically Marxist intervention into postcolonial and cultural studies. An international team of contributors locate a common ground of issues engaging Marxist and postcolonial critics alike. Arguing that Marxism is not the inflexible, monolithic irrelevance some critics assume it to be, this collection aims to open avenues of debate - especially on the crucial concept of 'modernity' - which have been closed off by the widespread neglect of Marxist analysis in postcolonial studies. Politically focused, at times polemical and always provocative, this book is a major contribution to contemporary debates on literary theory, cultural studies, and the definition of postcolonial studies."

"Dalam ranah pascahumanisme dalam filsafat teknologi. Eksistensialisme seringkali dianggap tidak penting. Hal ini dikarenakan, dalam pencarian filsafat teknologi pemaknaan manusia terhadap teknologi sering dianggap antroposentris. Namun, sejatinya perenungan eksistensialisme tersendiri justru penting agar seorang engineer melakukan refleksi diri dan mempunyai penjiwaan atas apa yang ia sedang rancang, rakit, ataupun buat. Terkhususnya dalam welding engineering process yang merupakan ranah engineering dengan tingkat kesulitan yang tinggi. Jika refleksi diri dan penjiwaan dalam perancangan, perakitan, dan pembuatan artefak engineering ini dikesampingan dan tidak dibahas. Maka artefak dan teknologi tetap hanya dinilai sebagai instrumen ataupun objek belaka yang tidak memiliki creative energy untuk membuat menampakkan sesuatu. Pada kesempatan inilah relasi I-Thou yang di rancang oleh Martin Buber dapat membantu seorang engineer menampakkan state of the art dari artefak dengan dialog bersama teknologi yang menghasilkan creative energy bersama yang aktif.

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In the realm of post-humanism on philosophy of technology, Existentialism is often deemed unimportant. This is because in philosophy of technology, humans meaning of technology is often considered anthropocentric. However, in fact, independent existentialist contemplation is actually important so that an engineer can self-reflect and have an understanding of what he/she is designing, assembling or creating. Especially in the welding engineering process, which is an engineering domain with a high level of difficulty. If self-reflection and spirit in the design, assembly and manufacture of engineering artifacts are sidelined and not discussed. So artifacts and technology are still only valued as mere instruments or objects that do not have the creative energy to do something. It is on this occasion that the I-Thou relationship designed by Martin Buber can help an engineer reveal the state of the art of artifacts through dialogue with technology that produces active joint creative energy."

"Skripsi ini membahas konsep chronotope Mikhail Bakhtin pada novel Турецкий Гамбит /Tureckij Gambit/ karya Boris Akunin. Dalam menganalisis novel tersebut penulis menggunakan metode deskriptif-analitis untuk membuktikan bahwa di dalam novel tersebut terdapat konsep chronotope. Hasil dari penelitian ini adalah ditemukannya tiga chronotope yang membuat jalannya cerita. Chronotope yang muncul pada novel tersebut adalah Хронотоп Дороги /Chronotope Dorogi/, Гостиная-Салон /Gostinaya-Salon/, dan Хронотоп Порога /Chronotop Poroga/.

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This thesis disscused about Mikhail Bakhtin’s concept of chronotope within the novel Турецкий Гамбит /Tureckij Gambit/ by Boris Akunin. Analytical-descriptive method is used in this thesis in order to prove that the novel consists chronotopes that make the plot of the story. The outcome of this thesis shows that there are three chronotopes appear in this novel. Those chronotopes are Хронотоп Дороги /Chronotope Dorogi/, Гостиная-Салон /Gostinaya-Salon/, and Хронотоп Порога /Chronotop Poroga/."

"Drawing on interdisciplinary work in the field of ethics and literature by a diverse range of thinkers, including Martha Nussbaum, Emmanuel Levinas and Paul Ricoeur, Jil Larson offers new readings of late Victorian and turn-of-the-century British fiction, she shows how ethical concepts can transform our understanding of narratives, just as narratives make possible a valuable, contextualised moral deliberation. Focusing on novels by Thomas Hardy, Sarah Grand, Olive Schreiner, Oscar Wilde, and Henry James, Larson explores the conjunction of ethics and fin-de-siècle history and culture through a consideration of what narratives from this period tell us about emotion, reason, and gender, aestheticism, and such speech acts as promising and lying. This book will be of interest to scholars of nineteenth century and modernism, and all interested in the conjunction between narrative, ethics and literary theory."

"This timely book argues that the institutionalisation of literary theory, particularly within American and British academic circles, has led to a sterility of thought which ignores the special character of literary art. Mark Edmundson traces the origins of this tendency to the ancient quarrel between philosophy and poetry, in which Plato took the side of philosophy; and he shows how the work of modern theorists - Foucault, Derrida, de Man and Bloom - exhibits similar drives to subsume poetic art into some 'higher' kind of thought. Challenging and controversial, this book should be read by all teachers of literature and of theory, and by anyone concerned about the future of institutionalised literary studies."

"This book challenges theory's critique of literary art. It argues that the institutionalization of theory, particularly in North American universities over the last quarter century, has led to a pervasive intellectual sterility. Theory's institutional triumph induces critics to offer categorical explanations and demystifying analyses that ignore the actual power and scope of literature. Mark Edmundson traces this tendency to systematize and sterilize literature to Plato's famous quarrel, on behalf of philosophy, against the poets. Edmundson goes on to show how contemporary theorists like de Man, Derrida and Bloom have renewed the philosophical drive to demean poetic art, or to subsume it into some "higher" form of thought. This is not an anti-theoretical book: it acknowledges the value of theory and the intellectual prowess of the theorists it treats. But it is also concerned to recognize theory's limits and to establish the responsibility of literary criticism to do more than theorize: to identify those points at which literature resists being explained away. This book comes to the defence of poetry and of literary art overall, at a time when its cultural status is in doubt."