In arguing that Nietzsche's Thus Spoke Zarathustra is a philosophical explanation of the possibility of modernism--that is, of the possibility of radical cultural change through the creation of new values--the author shows that literary fiction can do the work of philosophy. Nietzsche takes up the problem of modernism by inventing Zarathustra, a self-styled cultural innovator who aspires to subvert the culture of modernity (the repressive culture of the -last man-) by creating new values. By showing how Zarathustra can become a creator of new values, notwithstanding the forces that...

In order to grasp what it means to call Rousseau an "author" of the Revolution, as so many revolutionaries did, it is necessary to take full measure of the difficulties of literary interpretation to which Rousseau's work gives rise, particularly around such a charged term as "author." On Jean-Jacques Rousseau shows that Rousseau's texts consistently generate a division in their own reading, a division both designated and masked by the fiction of authorship. These divisions can occur successively--as in the narrative reversals and discontinuities characteristic of Rousseau's fictional...

Marlene Dietrich had the last line in Orson Welles's A Touch of Evil "What does it matter what you say about other people?" The author ponders the question: What does it matter what you say about yourself? She wonders why the requirement to be a something-or-other should be so hard to satisfy in a manner that rings true in the ears of its own subject. She decides that some hesitations and awkwardness in inhabiting many categories of the person--including those celebrated by what is sometimes termed identity politics--need not evidence either psychological weakness or political...

Sustaining Loss explores the uncanny, traumatic weaving together of the living and the dead in art, and the morbid fascination it holds for modern philosophical aesthetics. Beginning with Kant, the author traces how aesthetic theory has been drawn back repeatedly to the moving power of the undead body of the work of art. He locates the most potent expressions of this philosophical compulsion in Hegel's thesis that art is a thing of the past, and in Freud's view that the work of art is the haunting of the present by the endless suffering of what is dead but still has claims over the...