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The plan is complicated by the intervention of his heart surgeon, who also fancies himself as a kind of director and by the surgeon's wife, an empathy-challenged child psychologist who clashes with Pan's leading lady.\u003c\/p\u003e\u003cp\u003eThe novel plays, so to speak, on the distinction between acting (doing something) and acting (playing a role). 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By observing the complementarity between narrative and the aesthetic, Singer argues for the relevance of narrative logic to the critique of post-Cartesian subjectivity.\u003cbr\u003eEach chapter juxtaposes a set of philosophical arguments about the dynamics of human agency with a close reading of stylistic innovations in narrative literature. The author focuses on formal innovations that give a strong theoretical warrant for linking narrative to the realm of human action. The book demonstrates aesthetic theory in the works of Aristotle, Baumgarten, Kant, Fichte, Hegel, Sartre, Adorno, and Goodman to be convergent with the goals of social theory espoused in the works of Schutz, Lukacs, Althusser, Foucault, and Giddens. This philosophical tradition is traced in texts by Thomas Nashe, Laurence Stern, Henry James, Maurice Blanchot, William Gaddis, and John Ashbery.\u003cbr\u003e\u003ci\u003eThe Subject as Action \u003c\/i\u003econcludes by asserting the usefulness of narrative aesthetics in resolving the current conflict between postmodern aestheticists like Jean-Francois Lyotard and anti-aesthetic communitarian ethicists like Jurgen Habermas, for whom the realms of the aesthetic and the political otherwise remain mutually exclusive possibilities.\u003cbr\u003eSinger's work at one stroke stops and reverses narratology's drift of decades away from truly searching inquiry into the place of actions and events in narrative. . . . a rare academic book because it does not cheapen either the demands or the dignity of intellectual labor, and because it fully rewards both. --Robert Caserio, University of Utah\u003cbr\u003eAlan Singer is Professor of English, Temple University.\u003cbr\u003e","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":50256371319057,"sku":"CIN0472104713G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":51700640121105,"sku":"CIN0472104713VG","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0472104713.jpg?v=1751039911"},{"product_id":"posing-sex-book-alan-singer-9781501359125","title":"Posing Sex","description":"Posing Sex: Toward a Perceptual Ethics for Literary and Visual Art views the long and provocative tradition of representing the sexual act in Western art as an occasion for challenging assumptions about personhood.    It is uncontroversial that what Singer dubs the “sex image,” the artist’s posing of human figures in the act of coitus, is an enduring compositional armature for artists from antiquity to the present.  Singer, however, makes the quite controversial claim that this aesthetic practice, in literature and painting especially, serves as a powerful métier for exploring how the mind is continuous with the sensuously lively body rather than its rationalistic antagonist. Singer draws upon a rich philosophical tradition—from the Greek Stoics, Descartes, Spinoza, and Hegel to contemporary theorists of perception and aesthetic agency—to show how the stakes of aesthetic experience epitomized in the sex image are essentially ethical.  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What is literary? Is literarity a thing? Are there still aesthetic standards of taste? Is the category of literary aesthetics an obstacle to understanding the uses of literature? What does it mean to count the reading of literature as an experience in its own right? What would be the deficits to human experience without literature?   Attending to the Literary addresses all of these questions with a view to challenging the notion of literarity as merely representative of experience. On the contrary, Alan Singer shows how literarity is an enacting of experience. Through close readings of an eclectic repertoire of literary sentences – culled from the genres of fiction, poetry, and drama – Singer demonstrates how syntax stages human capacities for attending ever more consequentially to the world of practical experience. These stagings of forms of attention involve readers in the drama of reason-giving and expand the possibilities of rational imagination.  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