Search results for ""Author Robert Baker""

At the center of In Dark Again in Wonder are readings of René Char (1907-88) and George Oppen (1908-84). Both of these poets achieved recognition at a young age, Char among the French surrealists in the 1930s, Oppen among the American objectivists in the same decade. Both were independent individuals who, having found their way to communities of inventive writers, stepped back and shaped their own idiosyncratic paths. Both responded decisively to the social upheavals of the 1930s and ‘40s. Oppen committed himself to radical politics in the ‘30s, a decision that, as it turned out, led to his not writing poetry for nearly twenty-five years. Char fought in the Resistance in the ’40s. Both, in their mature work, developed a kind of poetry that is at once a love poetry, a meditative poetry, and a poetry of encounter. The concluding chapter of the book places the questions raised by Char’s and Oppen’s work in a larger context, tracing the cultural history that shapes our modern experience of inhabiting a tension between an historical and a metaphysical horizon of experience, or, as this appears in a different but related light, a tension between a sociological and an existential understanding of our lives. Char and Oppen are both poets concerned with the old philosophical questions that are still with us—the nature of spiritual freedom, the gathering of the self in relation to death, the meditation on the whole, the turn to Nature as the open space of the whole under the conditions of modernity, the clarification of the ground of vision in eros and love, and the search for the good life—while at the same time they fully engage the social predicaments and promises of their world.

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In The Extravagant Robert Baker explores the interplay between poetry and philosophy in the modern period, engaging a broad range of writers: Kant, Wordsworth, and Lyotard in a chapter on the sublime; Rimbaud, Nietzsche, and Bataille in a chapter on visionary quest; and Kierkegaard, Dickinson, Mallarmé, and Derrida in a chapter on apocalyptic negativity. His guiding concern is to illuminate adventures of “extravagant” or “wandering” language that, from the romantic period on, both poets and philosophers have undertaken in opposition to the dominant social and discursive frames of a pervasively instrumentalized world. The larger interpretative narrative shaping the book is that a dialectic of instrumental reason and creative negativity has been at work throughout modern culture. Baker argues that adventures of exploratory wandering emerge in the romantic period as displaced articulations of older religious discourses. Given the dominant trends of the modern world, however, these adventures repeatedly lead to severe collisions and crises, in response to which they are later revised or further displaced. Over time, as instrumental structures come to disfigure every realm of modern life, poetries and philosophies at odds with these structures are forced to criticize and surpass earlier voices in their traditions that seem to have lost a transformative power. Thus, Baker argues, these adventures gradually unfold into various discourses of the negative prominent in contemporary culture: discourses of decentering, dispersing, undoing, and erring. It is this dialectic that Baker traces and interprets in this ambitious study.

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In The Extravagant Robert Baker explores the interplay between poetry and philosophy in the modern period, engaging a broad range of writers: Kant, Wordsworth, and Lyotard in a chapter on the sublime; Rimbaud, Nietzsche, and Bataille in a chapter on visionary quest; and Kierkegaard, Dickinson, Mallarmé, and Derrida in a chapter on apocalyptic negativity. His guiding concern is to illuminate adventures of “extravagant” or “wandering” language that, from the romantic period on, both poets and philosophers have undertaken in opposition to the dominant social and discursive frames of a pervasively instrumentalized world. The larger interpretative narrative shaping the book is that a dialectic of instrumental reason and creative negativity has been at work throughout modern culture. Baker argues that adventures of exploratory wandering emerge in the romantic period as displaced articulations of older religious discourses. Given the dominant trends of the modern world, however, these adventures repeatedly lead to severe collisions and crises, in response to which they are later revised or further displaced. Over time, as instrumental structures come to disfigure every realm of modern life, poetries and philosophies at odds with these structures are forced to criticize and surpass earlier voices in their traditions that seem to have lost a transformative power. Thus, Baker argues, these adventures gradually unfold into various discourses of the negative prominent in contemporary culture: discourses of decentering, dispersing, undoing, and erring. It is this dialectic that Baker traces and interprets in this ambitious study.

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The dramas of Eugene O'Neill - often called America's first ""serious"" playwright - exhibit an imagining of the natural world that enlivens the plays and marks the boundaries of the characters' fates. O'Neill's figures move within purposefully animated natural environments - ocean, dense forest, desert plains, the rocky soil of New England.This new approach to O'Neill's dramas explores ecological settings as crucial to his characters' ability to carry out their conscious and unconscious desires. O'Neill's career is covered, from his youthful one-acts, to the experimental dramas of his middle years, to the mature tragedies of his late period. Special attention is paid to the connection of ecology and theological quest, and to O'Neill's persistent evocation of an exotic, natural ""other."" Combining an ecocritical approach with an examination of Classical and philosophical influences on the playwright's creative process, the author reveals a new, less hermetic O'Neill.

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The Text in Play interrogates theatrical creativity by focusing on how twentieth-century playwrights have incorporated scenes of rehearsal into their dramatic texts. Contemporary theoretical perspectives, principally from Brecht, Bahktin, and Barthes, are used to analyze a series of avant-garde plays whose dramatization of the messiness and flux of rehearsal creativity serves to destabilize yet also invigorate their theatrical potentials.

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In recent years concerns over the use of results of scientific advances, expectations about how medical decisions are made, and demographic changes have raised ethical questions about how resources are allocated, and how the principles of beneficence, and respect for patient autonomy are applied. The effect that bioethics can have on policy decisions and health care delivery demand an enhanced approach to our understanding of such complex issues. This volume opens a window to how empirical social research can be used to illuminate and answer such quandaries and offers a practical resource for those wishing to engage in this type of research. Through a thorough look at both quantitative and qualitative methods utilized in key research investigations in bioethics, the book examines the impact of such investigations on clinical and policy decision-making, scholarship and on the advancement of theory. The varied sociological and anthropological research examples that are presented allow readers to better understand the richness and breadth of such work as well as relevant practical and theoretical approaches. Last, but not least, the book aims to stimulate further discussion of avenues toward a more solid integration of bioethics and empirical social research and, in that process, further our understanding of the complex bioethical environment surrounding us. This book offers insights into clinical and policy implications of empirical research, enhances understanding of methodologies as applied to bioethics. It is comprehensive - gives a range of examples of empirical bioethics studies, interdisciplinary - geared to a wide audience and a reference source - includes a large number of references.

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