/

Stolen Life

Moten, Fred
Innbundet / 2018 / Engelsk

Produktdetaljer

ISBN
9780822370437
Publisert
2018-08-16
Utgiver
Vendor
Duke University Press
Vekt
590 gr
Høyde
229 mm
Bredde
152 mm
Aldersnivå
P, 06
Språk
Product language
Engelsk
Format
Product format
Innbundet

Forfatter
Moten, Fred

Om bidragsyterne

Fred Moten is Professor of Performance Studies at New York University and the author of Black and Blur and The Universal Machine, both also published by Duke University Press, and In the Break: The Aesthetics of the Black Radical Tradition.

Stolen Life

Moten, Fred
Innbundet / 2018 / Engelsk
Moten, Fred
Innbundet / 2018 / Engelsk
Nettpris:
1.512,-
Status uviss - sendes når tilgjengelig
Sjekk lagerstatus i butikk

"It's this spirit of the collective effort of study and exchange and resonance, the effort to keep the channels open and keep listening, that has made Moten (or, maybe, 'Moten/s') such a celebrated thinker. At the end of sentences like these, you want to say something like Amen."

- Jess Row, Bookforum

"At a time when both theory and criticism are frequently and convincingly attacked as exhausted forms, Moten’s trilogy has reinvented both. . . . In its mixture of theoretical complexity and disarming directness, Moten’s beautifully written trilogy offers the sheer pleasure of art." 

- Lidija Haas, Vulture

"My favorite book(s) of 2018 are the three volumes of Fred Moten’s consent not to be a single being, individually titled <i>Black and Blur</i>, <i>Stolen Life</i>, and <i>The Universal Machine</i>. In this collection of essays stretching back fifteen years, Moten challenges the reader to imagine a radically interconnected aesthetic and political sphere that stretches from Glenn Gould to Fanon to Kant to Theaster Gates, sometimes in the space of a single sentence. This trilogy is one of the great intellectual adventures of our era."

- Jess Row, Bookforum

Se alle

"2018 must go down for me as the year of Fred Moten’s trilogy: <i>Black and Blur</i>, <i>Stolen Life</i>, and <i>The Universal Machine</i>. You could say they’re essays about art, philosophy, blackness, and the refusal of social death, but I think of them more as a fractal universe forever inviting immersion and exploration, a living force now inhabiting my bookshelf."<br />  

- Maggie Nelson, Bookforum

"<i>consent not to be a single being</i>, titled after a phrase of Édouard Glissant’s, ranges across an impressive number of disciplines: black studies, performance studies, aesthetics, phenomenology, ontology, ethnomusicology, jazz history, comparative literature, critical theory, etc. Without announcing its intervention as interdisciplinary–Moten deftly renders discipline beside the point. . . . Taken together, the series amounts to a powerful argument for black study—as an analytic, an impetus, a mode, the collective shout from a radical vista, whose bellow requires nothing less than 'passionate response' (Moten 2003)."

- Mimi Howard, boundary 2

"Whether reading his poetry or theory, listening to his lectures, Moten will change how you think about almost everything."

- Melissa Chadburn, Literary Hub

"Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."—Brent Hayes Edwards, author of Epistrophies: Jazz and the Literary Imagination In Stolen Life—the second volume in his landmark trilogy consent not to be a single being—Fred Moten undertakes an expansive exploration of blackness as it relates to black life and the collective refusal of social death. The essays resist categorization, moving from Moten's opening meditation on Kant, Olaudah Equiano, and the conditions of black thought through discussions of academic freedom, writing and pedagogy, non-neurotypicality, and uncritical notions of freedom. Moten also models black study as a form of social life through an engagement with Fanon, Hartman, and Spillers and plumbs the distinction between blackness and black people in readings of Du Bois and Nahum Chandler. The force and creativity of Moten's criticism resonate throughout, reminding us not only of his importance as a thinker, but of the continued necessity of interrogating blackness as a form of sociality.
Les mer
In Stolen Life—the second volume in his landmark trilogy consent not to be a single being—Fred Moten engages with the work of thinkers ranging from Kant to Saidiya Hartman, undertaking an expansive exploration of blackness as it relates to black life and the collective refusal of social death.
Les mer
Acknowledgments  vii Preface  ix 1. Knowledge of Freedom  1 2. Gestural Critique of Judgment  96 3. Uplift and Criminality  115 4. The New International of Decent Feelings  140 5. Rilya Wilson, Precious Doe, Buried Angel  152 6. Black Op  155 7. The Touring Machine (Flesh Thought Inside Out)  161 8. Seeing Things  183 9. Air Shaft, Rent Party  188 10. Notes on Passage  191 11. Here, There, and Everywhere  213 12. Anassignment Letters  227 13. The Animaternalizing Call  237 14. Erotics of Fugitivity  241 Notes  269 Works Cited  297 Index  309
Les mer
"It's this spirit of the collective effort of study and exchange and resonance, the effort to keep the channels open and keep listening, that has made Moten (or, maybe, 'Moten/s') such a celebrated thinker. At the end of sentences like these, you want to say something like Amen."
Les mer
"Fred Moten's panpipe critical practice is nowhere more luxuriantly available than in Stolen Life. Diagnostic, ministerial, rhapsodic, it pulls out all stops to chase the farthest, fullest reaches of thought and language, criticality's gambit. Moten returns the essay to its etymon, a radical trial, a radical attempt, what John Coltrane called pursuance, in flight for and toward something, which is as much what fugitivity (a prized word and concept between these covers) is as getting away, an unremitting search prone to unexpected turns at any point. Study is a word of choice in Moten's work and he does indeed school us, take us to school. We've been tardy at times, we learn, and we've even, on occasion, played hooky. No matter. He pulls right up outside our door, driving the bus."
Les mer

Relaterte produkter

"It's this spirit of the collective effort of study and exchange and resonance, the effort to keep the channels open and keep listening, that has made Moten (or, maybe, 'Moten/s') such a celebrated thinker. At the end of sentences like these, you want to say something like Amen."

- Jess Row, Bookforum

"At a time when both theory and criticism are frequently and convincingly attacked as exhausted forms, Moten’s trilogy has reinvented both. . . . In its mixture of theoretical complexity and disarming directness, Moten’s beautifully written trilogy offers the sheer pleasure of art." 

- Lidija Haas, Vulture

"My favorite book(s) of 2018 are the three volumes of Fred Moten’s consent not to be a single being, individually titled <i>Black and Blur</i>, <i>Stolen Life</i>, and <i>The Universal Machine</i>. In this collection of essays stretching back fifteen years, Moten challenges the reader to imagine a radically interconnected aesthetic and political sphere that stretches from Glenn Gould to Fanon to Kant to Theaster Gates, sometimes in the space of a single sentence. This trilogy is one of the great intellectual adventures of our era."

- Jess Row, Bookforum

Se alle

"2018 must go down for me as the year of Fred Moten’s trilogy: <i>Black and Blur</i>, <i>Stolen Life</i>, and <i>The Universal Machine</i>. You could say they’re essays about art, philosophy, blackness, and the refusal of social death, but I think of them more as a fractal universe forever inviting immersion and exploration, a living force now inhabiting my bookshelf."<br />  

- Maggie Nelson, Bookforum

"<i>consent not to be a single being</i>, titled after a phrase of Édouard Glissant’s, ranges across an impressive number of disciplines: black studies, performance studies, aesthetics, phenomenology, ontology, ethnomusicology, jazz history, comparative literature, critical theory, etc. Without announcing its intervention as interdisciplinary–Moten deftly renders discipline beside the point. . . . Taken together, the series amounts to a powerful argument for black study—as an analytic, an impetus, a mode, the collective shout from a radical vista, whose bellow requires nothing less than 'passionate response' (Moten 2003)."

- Mimi Howard, boundary 2

"Whether reading his poetry or theory, listening to his lectures, Moten will change how you think about almost everything."

- Melissa Chadburn, Literary Hub

"Taken as a trilogy, consent not to be a single being is a monumental accomplishment: a brilliant theoretical intervention that might be best described as a powerful case for blackness as a category of analysis."—Brent Hayes Edwards, author of Epistrophies: Jazz and the Literary Imagination In Stolen Life—the second volume in his landmark trilogy consent not to be a single being—Fred Moten undertakes an expansive exploration of blackness as it relates to black life and the collective refusal of social death. The essays resist categorization, moving from Moten's opening meditation on Kant, Olaudah Equiano, and the conditions of black thought through discussions of academic freedom, writing and pedagogy, non-neurotypicality, and uncritical notions of freedom. Moten also models black study as a form of social life through an engagement with Fanon, Hartman, and Spillers and plumbs the distinction between blackness and black people in readings of Du Bois and Nahum Chandler. The force and creativity of Moten's criticism resonate throughout, reminding us not only of his importance as a thinker, but of the continued necessity of interrogating blackness as a form of sociality.
Les mer
In Stolen Life—the second volume in his landmark trilogy consent not to be a single being—Fred Moten engages with the work of thinkers ranging from Kant to Saidiya Hartman, undertaking an expansive exploration of blackness as it relates to black life and the collective refusal of social death.
Les mer
Acknowledgments  vii Preface  ix 1. Knowledge of Freedom  1 2. Gestural Critique of Judgment  96 3. Uplift and Criminality  115 4. The New International of Decent Feelings  140 5. Rilya Wilson, Precious Doe, Buried Angel  152 6. Black Op  155 7. The Touring Machine (Flesh Thought Inside Out)  161 8. Seeing Things  183 9. Air Shaft, Rent Party  188 10. Notes on Passage  191 11. Here, There, and Everywhere  213 12. Anassignment Letters  227 13. The Animaternalizing Call  237 14. Erotics of Fugitivity  241 Notes  269 Works Cited  297 Index  309
Les mer
"It's this spirit of the collective effort of study and exchange and resonance, the effort to keep the channels open and keep listening, that has made Moten (or, maybe, 'Moten/s') such a celebrated thinker. At the end of sentences like these, you want to say something like Amen."
Les mer
"Fred Moten's panpipe critical practice is nowhere more luxuriantly available than in Stolen Life. Diagnostic, ministerial, rhapsodic, it pulls out all stops to chase the farthest, fullest reaches of thought and language, criticality's gambit. Moten returns the essay to its etymon, a radical trial, a radical attempt, what John Coltrane called pursuance, in flight for and toward something, which is as much what fugitivity (a prized word and concept between these covers) is as getting away, an unremitting search prone to unexpected turns at any point. Study is a word of choice in Moten's work and he does indeed school us, take us to school. We've been tardy at times, we learn, and we've even, on occasion, played hooky. No matter. He pulls right up outside our door, driving the bus."
Les mer

Produktdetaljer

ISBN
9780822370437
Publisert
2018-08-16
Utgiver
Vendor
Duke University Press
Vekt
590 gr
Høyde
229 mm
Bredde
152 mm
Aldersnivå
P, 06
Språk
Product language
Engelsk
Format
Product format
Innbundet

Forfatter
Moten, Fred

Om bidragsyterne

Fred Moten is Professor of Performance Studies at New York University and the author of Black and Blur and The Universal Machine, both also published by Duke University Press, and In the Break: The Aesthetics of the Black Radical Tradition.

Relaterte produkter