Series: Meridian: Crossing Aesthetics
Werner Hamacher, Editor
Running from pole to pole, meridians trace connections. They draw lines of tension, crossing virtually all the points of a sphere and exposing to critical remapping the places and objects through which they pass.
Just as meridians are artificial constructions, so the arts – literature, painting, music, architecture, as well as their theoretical phrasing – can be conceived as meridians. The Meridian series will explore the arts as analytical media, as techniques to subvert the allures of semblance and decompose the mystifications of immediacy. Meridian contravenes the tendencies towards isolationism and reductionism that have characterized recent aesthetic inquiry. Presenting investigations in philosophy, literature and its theories, psychoanalysis, ethnology, politics, and history, the series will set the arts in their broadest contexts, seeking to rechart the territory of the aesthetic and to disclose new horizons for critical thought. Respecting the singularity of analytical experience, Meridian books conform to no established disciplinary or methodological program; at every point the constructive principle of meridians is in question; each can be revolved on its axis and become a space through which other meridians pass.
The books of the Meridian series mark critical lines, crossing through the entrenched tropes and topoi of discursive orders. They locate fractures and suggest alternative arrangements and distributions. They connect not only disciplines, institutions, and national traditions, but also different historical sites. Part of a new map for theoretical action, Meridian books are themselves interventions.
Meridian will consist of four categories of book. Reprints or translations of classic intellectual works will seek to renew their impact on contemporary thought. Translations of contemporary European work will continue the process of theoretical transmission. Original work in English will introduce new itineraries of reading. Finally, reflections on art by those who practice it themselves should transgress boundaries that too seldom are crossed.
Running from pole to pole, meridians trace connections. They draw lines of tension, crossing virtually all the points of a sphere and exposing to critical remapping the places and objects through which they pass.
Just as meridians are artificial constructions, so the arts – literature, painting, music, architecture, as well as their theoretical phrasing – can be conceived as meridians. The Meridian series will explore the arts as analytical media, as techniques to subvert the allures of semblance and decompose the mystifications of immediacy. Meridian contravenes the tendencies towards isolationism and reductionism that have characterized recent aesthetic inquiry. Presenting investigations in philosophy, literature and its theories, psychoanalysis, ethnology, politics, and history, the series will set the arts in their broadest contexts, seeking to rechart the territory of the aesthetic and to disclose new horizons for critical thought. Respecting the singularity of analytical experience, Meridian books conform to no established disciplinary or methodological program; at every point the constructive principle of meridians is in question; each can be revolved on its axis and become a space through which other meridians pass.
The books of the Meridian series mark critical lines, crossing through the entrenched tropes and topoi of discursive orders. They locate fractures and suggest alternative arrangements and distributions. They connect not only disciplines, institutions, and national traditions, but also different historical sites. Part of a new map for theoretical action, Meridian books are themselves interventions.
Meridian will consist of four categories of book. Reprints or translations of classic intellectual works will seek to renew their impact on contemporary thought. Translations of contemporary European work will continue the process of theoretical transmission. Original work in English will introduce new itineraries of reading. Finally, reflections on art by those who practice it themselves should transgress boundaries that too seldom are crossed.
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