Search results for ""author george steiner""

With his hallmark discernment, George Steiner presents in The Poetry of Thought his magnum opus, staking out his claim for the essential oneness of great thought and great style. Steiner spans the entire history of Western philosophy as it entwines with literature, finding that, as Sartre stated, in all philosophy there is "a hidden literary prose."

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George Steiner, the eminent professor of English at Cambridge and Geneva universities, has outlined seven books he has never written, but has always wanted to write, in seven sections.In this fiercely original and audacious work, George Steiner tells of seven books which he did not write. Because intimacies and indiscretions were too threatening. Because the topic brought too much pain. Because its emotional or intellectual challenge proved beyond his capacities.The actual themes range widely and defy conventional taboos: the torment of the gifted when they live among, when they confront, the very great; the experience of sex in different languages; a love for animals greater than for human beings; the costly privilege of exile; a theology of emptiness.Yet a unifying perception underlies this diversity. The best we have or can produce is only the tip of the iceberg. Behind every good book, as in a lit shadow, lies the book which remained unwritten, the one that would have failed better.

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When we talk about education today, we tend to avoid the rhetoric of "mastery," with its erotic and inegalitarian overtones. But the charged personal encounter between master and disciple is precisely what interests George Steiner in this book, a sustained reflection on the infinitely complex and subtle interplay of power, trust, and passions in the most profound sorts of pedagogy. Based on Steiner's Norton Lectures on the art and lore of teaching, Lessons of the Masters evokes a host of exemplary figures, including Socrates and Plato, Jesus and his disciples, Virgil and Dante, Heloise and Abelard, Tycho Brahe and Johann Kepler, the Baal Shem Tov, Confucian and Buddhist sages, Edmund Husserl and Martin Heidegger, Nadia Boulanger, and Knute Rockne.Pivotal in the unfolding of Western culture are Socrates and Jesus, charismatic masters who left no written teachings, founded no schools. In the efforts of their disciples, in the passion narratives inspired by their deaths, Steiner sees the beginnings of the inward vocabulary, the encoded recognitions of much of our moral, philosophical, and theological idiom. He goes on to consider a diverse array of traditions and disciplines, recurring throughout to three underlying themes: the master's power to exploit his student's dependence and vulnerability; the complementary threat of subversion and betrayal of the mentor by his pupil; and the reciprocal exchange of trust and love, of learning and instruction between master and disciple. Forcefully written, passionately argued, Lessons of the Masters is itself a masterly testament to the high vocation and perilous risks undertaken by true teacher and learner alike.

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`Translation has long needed a champion, and at last in George Steiner it has found a scholar who is a match for the task.' Sunday Times First published in 1975, After Babel constituted the first systematic investigation of the theory and processes of translation since the eighteenth century. In mapping out its own field, it quickly established itself as both controversial and seminal, and gave rise to a considerable, and still-growing, body of secondary literature. Even today, with its status as a modern classic beyond question, many of the books insights remain provocative and challenging. For the second edition of After Babel, George Steiner entirely revised the text, added new and expanded notes, provided a substantially updated bibliography (including much Russian and Eastern European material), and wrote a new preface setting the book in the present context of hermeneutics, poetics, and translation studies. `Steiner's subject is extravagantly rich and he ponders it on the most generous scale...his language and his ideas display even-handedness, seriousness without heaviness, learning without pedantry, and sober charm.' New Yorker

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With characteristic lucidity and style, Steiner makes Heidegger's immensely difficult body of work accessible to the general reader. In a new introduction, Steiner addresses language and philosophy and the rise of Nazism. "It would be hard to imagine a better introduction to the work of philosopher Martin Heidegger."—George Kateb, The New Republic

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The Origin of German Tragic Drama is Walter Benjamin's most sustained and original work. It begins with a general theoretical introduction on the nature of the baroque art of the sixteenth and seventeenth centuries, concentrating on the peculiar stage-form of royal martyr dramas called Trauerspiel. Benjamin also comments on the engravings of Durer and the theatre of Calderon and Shakespeare. Baroque tragedy, he argues, was distinguished from classical tragedy by its shift from myth into history. Georg Lukacs, an opponent of Benjamin's aesthetics, singled out The Origin of German Tragic Drama as one of the main sources of literary modernism in the twentieth century.

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Cited by Lukács as a principal source of literary modernism, Walter Benjamin's study of the baroque stage-form called Trauerspiel (literally, "mourning play") is the most complete document of his prismatic literary and philosophical practice. Engaging with sixteenth- and seventeenth-century German playwrights as well as the plays of Shakespeare and Calderón and the engravings of Dürer, Benjamin attempts to show how the historically charged forms of the Trauerspiel broke free of tragedy's mythological timelessness. From its philosophical prologue, which offers a rare account of Benjamin's early aesthetics, to its mind-wrenching meditation on allegory, The Origin of German Tragic Drama sparkles with early insights and the seeds of Benjamin's later thought.

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This is a memoiristic book and a dual portrait, built around intense friendships with two leading public intellectuals who achieved celebrity status—Susan Sontag on a global scale, George Steiner principally in Europe, though also for a time in the US. For audiences at Woody Allen movies Sontag was the prime embodiment of the term “intellectual,” whose famous 1965 essay “Notes on Camp” won her an enormous following. For viewers of French, German and British television over decades Steiner was the primary interview show talking head, igniting controversy on many fronts, while also commanding a loyal audience for thirty years as a book critic at The New Yorker. To know Sontag and Steiner, as this memoir suggests, was often to feel overmatched and yet also bemused and awe-struck. Both of them gave off an air of omniscience and self-confidence, as if they had taken to heart the words of the Nobel laureate Elias Canetti, who wrote, “I cannot become modest; too many things burn in me.”Maestros & Monsters is the work of a well-known public intellectual who was close to Sontag and Steiner over a half century, and who managed to bring them together on several occasions—the only times they ever met. Those encounters are among the most bizarre episodes in this narrative, which also features extended encounters with such literary figures as Arthur Koestler, Edward Said, Phillip Rieff, James Wood and others.

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George Steiner is one of the preeminent intellectuals of our time. The Washington Post has declared that no one else "writing on literature can match him as polymath and polyglot, and few can equal the verve and eloquence of his writing," while the New York Times says of his works that "the erudition is almost as extraordinary as the prose: dense, knowing, allusive." Reading in many languages, celebrating the survival of high culture in the face of modern barbarisms, Steiner probes the ethics of language and literature with unparalleled grace and authority. A Long Saturday offers intimate insight into the questions that have absorbed him throughout his career. In a stimulating series of conversations, Steiner and journalist Laure Adler discuss a range of topics, including Steiner's boyhood in Vienna and Paris, his education at the University of Chicago and Harvard, and his early years in academia. Books are a touchstone throughout, but Steiner and Adler's conversations also range over music, chess, psychoanalysis, the place of Israel in Jewish life, and beyond. Blending thoughts on subjects of broad interest in the humanities the issue of honoring Richard Wagner and Martin Heidegger in spite of their politics, or Virginia Woolf's awareness of the novel as a multivocal form, for example with personal reflections on life and family, Steiner demonstrates why he is considered one of today's greatest minds. Revealing and exhilarating, A Long Saturday invites readers to pull up a chair and listen in on a conversation with a master.

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