Object-oriented ontology offers a startlingly fresh way to think about causality that takes into account developments in physics since 1900. Causality, argues, Object Oriented Ontology (OOO), is aesthetic. In this book, Timothy Morton explores what it means to say that a thing has come into being, that it is persisting, and that it has ended. Drawing from examples in physics, biology, ecology, art, literature and music, Morton demonstrates the counterintuitive yet elegant explanatory power of OOO for thinking causality. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.

"Object-oriented ontology offers a startlingly fresh way to think about causality that takes into account developments in physics since 1900. Causality, argues, Object Oriented Ontology (OOO), is aesthetic. In this book, Timothy Morton explores what it means to say that a thing has come into being, that it is persisting, and that it has ended. Drawing from examples in physics, biology, ecology, art, literature and music, Morton demonstrates the counterintuitive yet elegant explanatory power of OOO for thinking causality."--Publisher's description.

Analyzing Shakespeare's views on theatre and magic and John Dee's concerns with philosophy and magic in the light of the Italian version of philosophia perennis (mainly Marsilio Ficino, Pico della Mirandola and Giordano Bruno), this book offers a new perspective on the Italian-English cultural dialogue at the Renaissance and its contribution to intellectual history. In an interdisciplinary and intercultural approach, it investigates the structural commonalities of theatre and magic as contiguous to the foundational concepts of perennial philosophy, and explores the idea that the Italian thinkers informed not only natural philosophy and experimentation in England, but also Shakespeare's theatre. The first full length project to consider Shakespeare and John Dee in juxtaposition, this study brings textual and contextual evidence that Gonzalo, an honest old Counsellor in The Tempest, is a plausible theatrical representation of John Dee. At the same time, it places John Dee in the tradition of the philosophia perennis-accounting for what appears to the modern scholar the conflicting nature of his faith and his scientific mind, his powerful fantasy and his need for order and rigor-and clarifies Edward Kelly's role and creative participation in the scrying sessions, regarding him as co-author of the dramatic episodes reported in Dee's spiritual diaries. Finally, it connects the Enochian/Angelic language to the myth of the Adamic language at the core of Italian philosophy and brings evidence that the Enochian is an artificial language originated by applying creatively the analytical instruments of text hermeneutics used in the Cabala.

This book follows the hybrid and contradictory history of magic realism through the writings of three key figures – art historian Franz Roh, novelist Alejo Carpentier, and cultural critic Fredric Jameson – drawing links between their political, aesthetic, and philosophical ideas on art’s relationship to reality. Magic realism is vast in scope, spanning almost a century, and is often confused with neighbouring styles of literature or art, most notably surrealism. The fascinating conditions of modernist Europe are complex and contradictory, a spirit that magic realism has taken on as it travels far and wide. The filmmakers and writers in this book acknowledge the importance of feeling, atmosphere, and mood to subtly provoke and resist global capitalism. Theirs is the history of magic-realist cinema. The book explores this history through the modernist avant-garde in search of a new theory of cinematic magic realism. It uncovers a resistant, geopolitical form of world cinema – moving from Europe, through Latin America and the former Soviet Union, to Thailand – that emerges from these ideas. This book is invaluable to any reader interested in world modernism(s) in relation to contemporary cinema and geopolitics. Its sustained analysis of film as a sensory, intermedial medium is of interest to scholars working across the visual arts, literature, critical theory, and film-philosophy.

On magical realism in literature

The Companion to Magical Realism provides an assessment of the world-wide impact of a movement which was incubated in Germany, flourished in Latin America and then spread to the rest of the world. It provides a set of up-to-date assessments of the work of writers traditionally associated with magical realism such as Gabriel Garc a M rquez in particular his recently published memoirs], Alejo Carpentier, Miguel ngel Asturias, Juan Rulfo, Isabel Allende, Laura Esquivel and Salman Rushdie, as well as bringing into the fold new authors such as W.B. Yeats, Seamus Heaney, Jos Saramago, Dorit Rabinyan, Ovid, Mar a Luisa Bombal, Ibrahim al-Kawni, Mayra Montero, Nakagami Kenji, Jos Eustasio Rivera and Elias Khoury, discussed for the first time in the context of magical realism. Written in a jargon-free style, and with all quotations translated into English, this book offers a refreshing new interdisciplinary slant on magical realism as an international literary phenomenon emerging from the trauma of colonial dispossession. The companion also has a Guide to Further Reading. Stephen Hart is Professor of Hispanic Studies, University College London and Doctor Honoris Causa of the Universidad Nacional Mayor de San Marcos, Lima, Peru. Wen-chin Ouyang lectures in Arabic Literature and Comparative Literature at the School of Oriental and African Studies, London. CONTRIBUTORS: Jonathan Allison, Michael Berkowitz, John D. Erickson, Robin Fiddian, Evelyn Fishburn, Stephen M. Hart, David Henn, Stephanie Jones, Julia King, Efra n Kristal, Mark Morris, Humberto N ez-Faraco, Wen-Chin Ouyang, Lois Parkinson Zamora, Helene Price, Tsila A. Ratner, Kenneth Reeds, Alejandra Rengifo, Lorna Robinson, Sarah Sceats, Donald L. Shaw, Stefan Sperl, Philip Swanson, Jason Wilson.

Welcome to the wonderful world of Mr. Magic Realism. AMAZING FEATS! A man hangs from the rafters of his house by only his thumbs for over a decade. BEWILDERING MYSTERIES! A mall that might be the afterlife is stormed by giant insects. COMICAL FANTASIES! Aliens on the run hide out in American breakfast foods. DAZZLING NIGHTMARES! Spiders put a man on trial for crimes he has not committed. Like Golden Age science fiction comics written by Freud, Mr. Magic Realism is a strange, insightful adventure that spans the furthest reaches of the galaxy, exploring the hidden caverns in the hearts and minds of men, women, aliens, and biomechanical cats.

Magical realism can lay claim to being one of most recognizable genres of prose writing. It mingles the probable and improbable, the real and the fantastic, and it provided the late-twentieth century novel with an infusion of creative energy in Latin America, Africa, Asia, and beyond. Writers such as Alejo Carpentier, Gabriel García Márquez, Isabel Allende, Salman Rushdie, Ben Okri, and many others harnessed the resources of narrative realism to the representation of folklore, belief, and fantasy. This book sheds new light on magical realism, exploring in detail its global origins and development. It offers new perspectives of the history of the ideas behind this literary tradition, including magic, realism, otherness, primitivism, ethnography, indigeneity, and space and time.

This work examines novels from Caribbean, North American, and European literatures of the second half of the twentieth century, both Anglophone and in translation, with focus on the chronotopes of slavery, colonialism, the Holocaust, and war. Historical traumata have found their reconstruction in literary works written by either traumatized or vicariously traumatized authors, such as Jean Rhys, Alejo Carpentier, Maryse Conde??, Salman Rushdie, Gabriel Garci??a Ma??rquez, Bernard Malamud, Joseph Skibell, Gu??nter Grass, and Tim O'Brien. The traumatic imagination accounts for the relative prevalence of magical realist writing in postmodernist fiction. As a singular phenomenon of postmodern aporia, magical realist texts write the silence imposed by trauma, and convert it into history.--publisher.