LEADER 04392nam 2200661Ia 450 001 9910463219903321 005 20211216222415.0 010 $a0-8122-0169-8 024 7 $a10.9783/9780812201697 035 $a(CKB)2670000000418303 035 $a(OCoLC)859161073 035 $a(CaPaEBR)ebrary10748617 035 $a(SSID)ssj0000981478 035 $a(PQKBManifestationID)11515082 035 $a(PQKBTitleCode)TC0000981478 035 $a(PQKBWorkID)10973366 035 $a(PQKB)11217178 035 $a(MiAaPQ)EBC3442185 035 $a(MdBmJHUP)muse29097 035 $a(DE-B1597)449022 035 $a(OCoLC)1013936910 035 $a(OCoLC)979968249 035 $a(DE-B1597)9780812201697 035 $a(Au-PeEL)EBL3442185 035 $a(CaPaEBR)ebr10748617 035 $a(CaONFJC)MIL682355 035 $a(EXLCZ)992670000000418303 100 $a20060414d2006 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aUnhuman culture$b[electronic resource] /$fDaniel Cottom 210 $aPhiladelphia $cUniversity of Pennsylvania Press$dc2006 215 $a1 online resource (210 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 0 $a1-322-51073-3 311 0 $a0-8122-3956-3 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface --$tIntroduction: To Love to Hate --$tChapter One. Crowning Presumption --$tChapter Two. I Think; Therefore, I Am Heathcliff --$tChapter Three. Immemorial --$tChapter Four. The Injustice of Velázquez --$tChapter Five. The Illusion of a Future --$tChapter Six. The Akedah on Blanket Hill --$tChapter Seven. What Is It Like to Be an Artwork? --$tConclusion: The Necessity of Misanthropy --$tNotes --$tIndex --$tAcknowledgments 330 $aIt is widely acknowledged that the unhuman plays a significant role in the definition of humanity in contemporary thought. It appears in the thematization of "the Other" in philosophical, psychoanalytic, anthropological, and postcolonial studies, and shows up in the "antihumanism" associated with figures such as Heidegger, Foucault, and Derrida. One might trace its genealogy, as Freud did, to the Copernican, Darwinian, and psychoanalytic revolutions that displaced humanity from the center of the universe. Or as Karl Marx and others suggested, one might lose human identity in the face of economic, technological, political, and ideological forces and structures. With dazzling breadth, wit, and intelligence, Unhuman Culture ranges over literature, art, and theory, ancient to postmodern, to explore the ways in which contemporary culture defines humanity in terms of all that it is not. Daniel Cottom is equally at home reading medieval saints' lives and the fiction of Angela Carter, plumbing the implications of Napoleon's self-coronation and the attacks of 9/11, considering the paintings of Pieter Bruegel and the plastic-surgery-as-performance of the body artist Orlan. For Cottom, the unhuman does not necessarily signify the inhuman, in the sense of conspicuous or extraordinary cruelty. It embraces, too, the superhuman, the supernatural, the demonic, and the subhuman; the supposedly disjunctive animal, vegetable, and mineral kingdoms; the realms of artifice, technology, and fantasy. It plays a role in theoretical discussions of the sublime, personal memoirs of the Holocaust, aesthetic reflections on technology, economic discourses on globalization, and popular accounts of terrorism. Whereas it once may have seemed that the concept of culture always, by definition, pertained to humanity, it now may seem impossible to avoid the realization that we must look at things differently. It is not only art, in the narrow sense of the word, that we must recognize as unhuman. For better or worse, ours is now an unhuman culture. 606 $aMisanthropy in art 606 $aMisanthropy in literature 606 $aMisanthropy 608 $aElectronic books. 615 0$aMisanthropy in art. 615 0$aMisanthropy in literature. 615 0$aMisanthropy. 676 $a700.1/08 700 $aCottom$b Daniel$0678696 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910463219903321 996 $aUnhuman culture$92475000 997 $aUNINA