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Poetry in Painting
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Since its inception Theory has been concerned with its own limits, ends and after-life. It would be an illusion to imagine that the academy is no longer resistant to Theory but a significant consensus has been estab- lished and it can be said that Theory has now entered the mainstream of the humanities. Reaction against Theory is now a minority view and new generations of scholars have grown up with Theory. This leaves so-called Theory in an interesting position which its own procedures of auto-critique need to consider: what is the nature of this mainstream Theory and what is the relation of Theory to philosophy and the other disciplines which inform it? What is the history of its construction and what processes of amnesia and the repression of difference have taken place to establish this thing called Theory? Is Theory still the site of a more-than-critical affirmation of a negotiation with thought, which thinks thought’s own limits?
‘Theory’ is a name that traps by an aberrant nominal effect the trans- formative critique which seeks to reinscribe the conditions of thought in an inaugural founding gesture that is without ground or precedent: as a ‘name’, a word and a concept, Theory arrests or misprisions such think- ing. To imagine the frontiers of Theory is not to dismiss or to abandon Theory (on the contrary one must always insist on the it-is-necessary of Theory even if one has given up belief in theories of all kinds). Rather, this series is concerned with the presentation of work which challenges complacency and continues the transformative work of critical thinking. It seeks to offer the very best of contemporary theoretical practice in the humanities, work which continues to push ever further the frontiers of what is accepted, including the name of Theory
1st Edtion
978 0 7486 4745 3
NONE
Poetry in Painting
Management
English
2011
1-152
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