FIGURACIONES: CÓMO LA LITERATURA CREA IMÁGENES

Murcia University Press

back cover text:
In this book, I discuss those places in narrative literature where theoretical conceptualizations intersect with detailed analysis of literary texts, taking into account what images emerge from them. I have selected those that I consider masterpieces to connect contemporary thoughts with what has been called “cultural heritage.” I do not intend to rewrite the history of literature, but to point out how works from the past are relevant to today, and vice versa. This integration of both the theoretical and literary dimensions will shed new light on the literary and artistic qualities of these texts, as well as on their social, historical and ethical relevance, which will encourage the reader to understand the place of literary analysis. in contemporary cultures.

I present this book as “pieces” of an archive of reflections on literary narrative in its power to stimulate the imagination, with its fertility to create visual images. Starting from one or more significant texts, a relevant theoretical problem opens up, as they are: color in literature; the tension between narration and description; the integration of words and images; the inevitable relationship with the canons; the challenge and need for an intercultural reading; ethics in relation to memory and time; empathy and the need for “disturbing empathy” as an alternative to identification; the difficult problem of trauma; the role of rivalry at all levels; and, finally, the presence of the essayistic within fiction. The central element is the question of figuration and visualization.

Table of Contents
Preface

  1. Authorship: Expanding on the Pre-existing, for the Sake of Creativity
    Introduction: Creation as Responsibility
    Killing the Author – or Just Wounding Him/Her/It?
    Timely Remains of the Author
    Exploding Authorship
    Narrative Polyphony
    From Cacophony to Witnessing
    Figurality

  2. Yellow Fever: How Proust started a Dialogue Between Literature and visual Art
    Introduction: A Dangerous Colour
    Performance Anxiety
    Encyclopaedic Thinking
    Far Encounters
    Safely Seeing the Sun
    Illumination
    Framing
    Photo-Memory

  3. “Descriptology”: Towards the Figural
    Introduction: The Problem of Description
    Robin in The Frame
    Albertine Becoming Object
    Nana in Decomposition
    Emma Ending

  4. Words and Images Integrated: Figuration in the Act
    Introduction: Words Become Images
    Introducing Rape as Key
    Rape, Suicide, Signs, and Show
    Contagious Logorrhea: Between Men
    Vision Vying Violence: Between Women
    Expository Writing

  5. Love Stories: For an Ethics of Non-Indifference
    Introduction: Reading in a Canon
    Ethics Entangled with Aesthetics
    Detailed Reading as an Ethical Task
    Feminism as a Mode of Reading
    Feminist Framing

  6. Meanwhile, Elsewhere, Elsewhen
    Introduction: Who Speaks Where and When in Intercultural Story-Telling?
    Meanwhile as a Starting Point
    Knowledge, Nation, Novel
    International Imagination
    Knowledge Produced by the Imagination

  7. Timely Commitments
    Introduction: Ethical Art and the Present
    Bringing Time to Ethics
    Memory as Ethical
    Commitment to Temporal Failure for the Sake of Ethics
    In Search of Lost Truth
    Focalization for the Restoration of Subjectivity

  8. Empathic Unsettlement
    Introduction: Focalisation as a Political Tool
    Ambiguous Focalisation: Suspending Judgment
    What is focalization?
    An Illness We All Have: Emotional Capitalism
    Empathy: Siding with the Dying
    Ending on the Now

  9. Installing Don Quijote: The Forms of Formlessness
    Introduction: How to Figure the Unspeakable
    Material Figuring: Image-Thinking
    Showing Trauma?
    Trauma Facing Time and Movement

  10. Perpetual Contest
    Introduction: Back to the Future
    The Contested Status of Narrative
    A Reading of the Text: Realism and Paternity
    Pleasure, Maleness
    Writing Sexual Difference
    Considerations of method

  11. Trying
    Attempt, Adorno
    Bi-lateral, Bollas
    Character, Cassandra
    Directing, Damisch
    Essay, Elliot
    Film, Freud, Flaubert
    Generosity, Girard
    Hands-on, Hecuba
    Imagining, Imaging
    References