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Intro -- The Heidegger Change -- Contents -- Translator/Editor's Preface -- Introduction -- Part I. Metamorphoses and Migrations of Metaphysics -- 1. The Metabolism of the Immutable -- 2. The Mound of Visions* -- 3. "Color, the Very Look of Things, Their Eidos, Presencing, Being-This Is What Changes"* -- 4. Outline of a Cineplastic of Being -- Part II. The New Ontological Exchange -- 5. Changing the Gift -- 6. Surplus Essence -- 7. The Fantastic Is Only Ever an Effect of the Real -- Part III. At Last, Modification -- 8. Metamorphosis to Modification -- 9. "The Thin Partition That Separates Dasein from Itself . . ." -- 10. Man and Dasein Boring Each Other -- Conclusion -- Notes -- Bibliography of Cited Works by Heidegger -- Other Works Cited -- Index Nominum -- A -- B -- C -- D -- E -- F -- G -- H -- J -- K -- L -- M -- N -- O -- P -- R -- S -- V -- Z -- Index Rerum -- A -- B -- C -- D -- E -- F -- G -- H -- I -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W.

By KIM BELLARD I hadn't expected to write about a biology-related topic anytime soon after doing so last week, but, gosh darn it, then I saw a press release from Cornell aboutContinue reading...

Fantasy has played a crucial role in shaping literature since time immemorial. Yet , proper syste matic work on fantasy has not been done until the last century, when scholars began to realize its importance and give it due recognition. First published in 1970, Tzvetan Todorov's The Fantastic: A Structural Approach to a Lirerary Genre represents one of the touchstones of critical work on the fantastic genre. His pioneering ideas have inspired literary critics worldwide to deve lop their own premises on the genre, some of which bear Todorov's indelible imprints. This essay attempts to chart how Todorov constructs his paradigm by means of his structuralist standpoint and how later critics, such as Christine Brooke-Rose and Rosemary Jackson, respond to his theoretical postulate. The main objective of this essay is to investigate how these theoretical dialogues, with Todorov's model of the fantastic genre functioning as an axis, shed light on a complex notion of genre as dynamic institution, which needs to be resilient enough to accommodate changes and in turn prescriptive enough to be the guideline for readers and writers alike.

Cover -- Contents -- Introduction -- GENRE -- Belief, Potentiality, and the Supernatural: Mapping the Fantastic -- Fantasy without Fantasy: Politics, Genre, and Media in the Fiction of M. John Harrison -- Is the Fantastic Really Fantastic? -- Insurgent Utopias: How to Recognize the Knock at the Door -- IDEOLOGY -- Crossing Impossible Boundaries? Fantastic Narrative and Ideology -- Questioning Mononormativity: A Future of Fantastic Scholarship in Liminal Identities -- Organic Fantasy and the Alien Archetype in Nnedi Okorafor's Lagoon -- Latino/a Magical Realism and American Superhero Fiction as Constitutive Agents in the Negotiation of Dominican-American Identity in Junot Díaz' The Brief Wondrous Life of Oscar Wao -- POPULAR CULTURE -- Flights of Fancy, Secondary Worlds and Blank Slates: Relations between the Fantastic and the Real -- Creepypastas: How Counterterrorist Fantasies (Re-)Create Horror Traditions for Today's Digital Communities -- "All the Better to Eat You With": The Eroticization of the Werewolf and the Rise of Monster Porn in the Digital Age -- About the Authors

This essay examines the notion of the fantastic in Debora Vogel's work. I argue that the fantastic for Vogel is simultaneously a novel artistic form and a form of life, as well as a singular use of language; it is both a "trait" of modernity and thinking of modernity. The fantastic is analyzed as a key term in the author's understanding of modern design of space and objects through discussions of "Dwelling in its Psychic and Social Function" (1932), the critic's essay on lived space. I demonstrate that Vogel's reflections and theorizing of the fantastic are not necessarily aimed at the development of pure theory and concepts but rather at the performance of the fantastic in the author's own theory-praxis through the lens of Vogel's essay on poetics, "White Words in Poetry" (1930). The essay discusses various types of the fantastic which finds itself between matter-of-factness and phantasm: the fantastic of ingenuity, the fantastic of asymmetry, the fantastic of color, and the fantastic of simplicity. All of these different types set forth the unconcealment of truth.