LEADER 04135oam 22004094a 450 001 9910404756203321 005 20250512212218.0 010 $a9781950192922 035 $a(CKB)4100000011314432 035 $a(OCoLC)1195808925 035 $a(MdBmJHUP)muse91767 035 $a(NjHacI)994100000011314432 035 $a(EXLCZ)994100000011314432 100 $a20200528d2020 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aCritique of Fantasy, Vol. 1$eBetween a Crypt and a Datemark /$fLaurence A. Rickels 210 1$aSanta Barbara :$cPunctum Books,$d2020. 210 4$dİ2020. 215 $a1 online resource 311 08$a1-950192-92-X 330 $aCritique of Fantasy, Vol. 1: Between a Crypt and a Date Mark addresses both the style or genre of fantasy and the mental faculty, long the hot property of philosophical ethics. Freud passed it along in his 1907 essay on the poetics of daydreaming when he addressed omnipotent wish fantasy as the source and resource of the aspirations and resolutions of art, which, however, the artwork can never look back at or acknowledge. By grounding his genre in the one fantasy that is true, the Gospel, J.R.R. Tolkien obviated and made obvious the ethical mandate of fantasy's restraining order.With George Lucas's Star Wars we entered the borderlands of the fantasy and science fiction genres, a zone resulting from and staggering a contest, which Tolkien inaugurated in the 1930s. The history of this contested borderland marks changes that arose in expectation of what the new media held in store, changes realized (but outside the box of what had been projected) upon the arrival of the unanticipated digital relation, which at last seemed to award the fantasy genre the contest prize.Freud's notion of the Zeitmarke (datemark), the indelible impress of the present moment that triggered the daydream that denies it, already introduced the import of fantasy's historicization. Science fiction won a second prize that keeps it in the running. No longer bound to projecting the future, the former calling which in light of digitization it flunked, science fiction becomes allegorical and reading in the ruins of its failed predictions illuminates all the date marks and crypts hiding out in the borderlands it traverses with fantasy. To motivate the import of an evolving science fiction genre, Critique of Fantasy makes Gotthard Gu?nther's reflections in the 1950s on American science fiction - as heralding a new metaphysics and a new planetary going on interstellar civilization - a mainstay of its cultural anthropology with B-genres.===After thirty years teaching at the University of California, Santa Barbara, in 2011 Laurence A. Rickels accepted a professorship in art and theory at the Staatliche Akademie der Bildenden Ku?nste, Karlsruhe and taught there as successor to Klaus Theweleit until 2017. During 2018 Rickels was Eberhard Berent Visiting Professor and Distinguished Writer at New York University, and he continues to offer seminars in media and philosophy at the European Graduate School (Saas Fee, Switzerland and Malta) where he holds the Sigmund Freud Chair. Rickels is the author of Aberrations of Mourning (Minnesota, 1988), The Case of California (Minnesota, 1991), The Vampire Lectures (Minnesota, 1999), Nazi Psychoanalysis (Minnesota, 2002), The Devil Notebooks (Minnesota, 2008), Ulrike Ottinger: The Autobiography of Art Cinema (Minnesota, 2008), I Think I Am: Philip K. Dick (Minnesota, 2010), SPECTRE (Anti-Oedipus, 2013), Germany: A Science Fiction (Anti-Oedipus, 2014), and The Psycho Records (Columbia, 2016). 606 $aFantasy literature 606 $aFantasy literature$xHistory and criticism 615 0$aFantasy literature. 615 0$aFantasy literature$xHistory and criticism. 676 $a808.83876 700 $aRickels$b Laurence A.$0886893 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910404756203321 996 $aCritique of Fantasy, Vol. 1$92152293 997 $aUNINA