Long considered "the noblest of the senses," vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance. Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes's writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty. His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of "scopic regimes." Certain to generate controversy and discussion throughout the humanities and social sciences, Downcast Eyes will consolidate Jay's reputation as one of today's premier cultural and intellectual historians.

A selection of twenty-nine essays. "[Woolf's] essays...are lighter and easier than her fiction, and they exude information and pleasure.... Everything she writes about novelists, like everything she writes about women, is fascinating.... Her well-stocked, academic, masculine mind is the ideal flint for the steel of her uncanny intuitions to strike on" (Cyril Connolly, New Yorker). Adeline Virginia Woolf (25 January 1882 – 28 March 1941) was an English writer, and one of the foremost modernists of the twentieth century. During the interwar period, Woolf was a significant figure in London literary society and a central figure in the influential Bloomsbury Group of intellectuals. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One's Own (1929), with its famous dictum, "A woman must have money and a room of her own if she is to write fiction."

Ralph Waldo Emerson (1803-1882) was the most influential American writer of the nineteenth century. Poets such as Walt Whitman, Emily Dickinson, Robert Frost, and Wallace Stevens descend from Emerson, as do thinkers such as John Dewey and William James. This volume of critical interpretations focuses on Emerson's Essays: First Series (1841) and Essays: Second Series (1844), which encompass some of his most important works-"History," "Self-Reliance," "Circles," "The Poet," and "Experience" among others. These essays exemplify Emerson's distinctively rich prose and his radical affirmation of the strength of the individual. The analyses and appreciations collected here place Emerson's essays in the context of literary and intellectual history, grapple with the implications of his epigrams and tropes, and link his shifts of perspective and tone to the changes in Emerson's life. Together they illuminate the complexity and scope of the seminal works of America's most influential writer and thinker. Book jacket.

Originally presented as the author's thesis (doctoral)--Fernuniversiteat Hagen, 2008.

This volume of essays, written at various stages of Professor Hough's career, is a distinguished and wide-ranging collection of literary studies.