"The thoughts traced in this book may seem a little complicated but the project itself is simple. It is to see what sort of weight and extension Walter Benjamin's phrase 'reception in distraction' can be seen to bear in changing contexts. The book...
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Universität Stuttgart, Bibliothek der Institute für Linguistik und Literaturwissenschaft
Signature:
U1--WOO21
Inter-library loan:
No loan of volumes, only paper copies will be sent
"The thoughts traced in this book may seem a little complicated but the project itself is simple. It is to see what sort of weight and extension Walter Benjamin's phrase 'reception in distraction' can be seen to bear in changing contexts. The book first looks at the theoretical contours of the phrase, and several of its relatives, in the work of Benjamin and Barthes, with a glance at a prehistory in Proust and others. It then closely considers some different objects of reception and different forms of distraction: in jazz, classical music, poetry, painting, art house film and popular film. Particular instances are: an album by Miles Davis and his group, a song by Richard Strauss, a poem by W. B. Yeats, a painting by Max Ernst, a film by Luís Buñuel, a film by Clint Eastwood. The hope is that distraction in interpretation - listening, reading, viewing, watching - will come to seem less vague and regrettable, and may serve as a corrective to narrow, expert and over-explicit modes of response. But this hope itself depends on readers who will take what is shown here as an invitation to choose their own examples and explore some of these possibilities for themselves" -- Series Preface by John Schad -- Part One. Out of Theory -- One: The Distraction Set -- Two: Staying Too Long -- Three: Something Is Happening -- Part Two. Into Practice. -- Four: Kinds Of Cool -- Five: All That Dread -- Six: Playing The Witch -- Seven: Let's Not Overthink This -- Epilogue: Don't Say Goodbye
