Leo Bersani, chairman of the French Department at Berkeley, interprets “”a future for Astyanax”” freed from the psychological constraints and. Leo Bersani, A Future for Astyanax: Character and Desire in Literature (London: Marion Boyars, ; hardback, £ ISBN 0 1). Show full title. Ohio Wesleyan UniversityBernard Murchland A Future for Astyanax: Character and Desire in Literature, by Leo Bersani; pp. xii & Boston & Toronto: Litde.

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Added to PP index Total downloads 2of 2, Recent downloads 6 months 1of 2, How can I increase my downloads? Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. In Racine’s Andromache, the heroine saves her son, Astyanax, bersanu the murderous victors of the Trojan war by consenting to marry Pyrrhus, a disobedient, lustful enemy hero.

A Future For Astyanax

Dialectically, Bersani’s book reveals that each of these views is other than it appears. He has done so with clarity, discrimination, and a sense of the complexity of the issues he writes about.

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Sign in to use this feature. His book is about the concepts of desire and the self, and their relationship. Character and Desire in Literature. Fo from being merely regressive, art thus can reveal possibilities for the loss of self that otherwise would remain undreamt of.


Monthly downloads Sorry, there are not enough data points to plot this chart. We have become accustomed—and certainly most critics do little to upset this astynaax think literary criticism as of only marginal relevance to philosophy. Allying himself loosely with critics of psychoanalysis like Norman O. On balance, Marxism and Literary Criticism is an instance of a shorter book being better than many longer ones on the same subject.

The adult self A requires a conflict with other adults: This website uses cookies to ensure you get the best experience on our website. In the density of its textual analysis, in its philosophically suggestive account of desire and the self, in its creative use of recent French criticism, and in the clarity and scope of its perspective on the realistic novel, Bersani’s book is very impressive.

Each week, our editors select the one author and one book they believe to be most worthy of your attention and highlight them in our Pro Connect email alert. Leo Bersani – Gender, Desire, and Sexuality in T. Shorter Reviews for further discussion. This article has no associated abstract. Many classic novelists show, in different ways, the conflict between unity of self and desire; in fro doing they implicidy undermine the traditional novel.

In lieu of an abstract, here is a brief excerpt of the content: Bersani intends his criticism to encourage a “”psychic mobility”” beyond “”the tyrannical rigidities of both sublimated desire”” and pornographic obsession. Request removal from index.

Character and Desire adtyanax Literature Review. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.


To have no bounds to one’s desires is thus to lack definition as a self. Be the first to discover new talent! A Future for Astyanax: Jay Clayton – – Critical Inquiry 16 1: Maria Einman – – Methis: Jottkandt -. History of Western Philosophy. By clicking on “Submit” you agree that futur have read and agree to the Privacy Policy and Terms of Service. Sign up here to receive your FREE alerts.

A FUTURE FOR ASTYANAX: Character and Desire in Literature by Leo Bersani | Kirkus Reviews

Reginald Jackson – – Philosophy 18 Built on the Johns Hopkins University Campus. The “deconstructed” self B fails to recognize the existence of other selves, and hence is really not a self at all. From Character and Desire to Force and Choreography. But he places much knowledge and intelligence on display, and the reader with a learned and resolute curiosity about literary psychology will find his analyses of individual works and authors absorbing.

Narrative and Theories of Desire. The first, drawn from Racine, Flaubert, Stendhal, James, Lawrence, and miscellaneous Realists, dramatizes conflicts between passions and the “”limiting structures”” of sublimation.