Examines themes of loss and mourning in the late work of Derrida. In this book, Kas Saghafi argues that the notion of “the end the world” in Derrida’s late work is not a theological or cosmological matter, but a meditation on mourning and the death of the other. He examines this and several other tightly knit motifs in Derrida’s work: mourning, survival, the phantasm, the event, and most significantly, the term salut, which in French means at once greeting and salvation. An underlying concern of The World after the End of the World is whether a discourse on salut (saving, being saved, and salvation) can be dissociated from discourse on religion. Saghafi compares Derrida’s thought along these lines with similar concerns of Jean-Luc Nancy’s. Combining analysis of these themes with reflections on personal loss, this book maintains that, for Derrida, salutation, greeting, and welcoming is resistant to the economy of salvation. This resistance calls for what Derrida refers to as a “spectro-poetics” devoted to and assigned to the other’s singularity. “Saghafi’s book makes a remarkable contribution as a coming-to-terms with interminable mourning.” — Peggy Kamuf, author of To Follow: The Wake of Jacques Derrida

The 'end of the world' opens up philosophical questions concerning the very notion of the world, which is a fundamental element of all existential, phenomenological and hermeneutical philosophy. Is the 'end of the world' for us 'somebody's' death (the end of 'being-in-the-world') or the extinction of many or of all (the end of the world itself)? Is the erosion of the 'world' a phenomenon that does not in fact affect the notion of the world as a fundamental feature of all existential-ontological inquiry? This volume examines the present state of these concerns in philosophy, film and literature. It presents a philosophical hermeneutics of the present state of the world and explores the principal questions of the philosophical accounts of the end of the world, such as finality and finitude. It also shows how literature and cinema have ventured to express the end of the world while asking if a consequent expression of the end of the world is also an end of its expression.

In this bold book, Samuel Cohen asserts the literary and historical importance of the period between the fall of the Berlin wall and that of the Twin Towers in New York. With refreshing clarity, he examines six 1990s novels and two post-9/11 novels that explore the impact of the end of the Cold War: Pynchon's Mason & Dixon, Roth's American Pastoral, Morrison's Paradise, O'Brien's In the Lake of the Woods, Didion's The Last Thing He Wanted, Eugenides's Middlesex, Lethem's Fortress of Solitude, and DeLillo's Underworld. Cohen emphasizes how these works reconnect the past to a present that is ironically keen on denying that connection. Exploring the ways ideas about paradise and pastoral, difference and exclusion, innocence and righteousness, triumph and trauma deform the stories Americans tell themselves about their nation’s past, After the End of History challenges us to reconsider these works in a new light, offering fresh, insightful readings of what are destined to be classic works of literature. At the same time, Cohen enters into the theoretical discussion about postmodern historical understanding. Throwing his hat in the ring with force and style, he confronts not only Francis Fukuyama’s triumphalist response to the fall of the Soviet Union but also the other literary and political “end of history” claims put forth by such theorists as Fredric Jameson and Walter Benn Michaels. In a straightforward, affecting style, After the End of History offers us a new vision for the capabilities and confines of contemporary fiction.

There is no 'Happily Ever After' awaiting heroine Ahneta. With the man responsible for the death of her family and village dead, Ahneta believes that she has no reason to live anymore. But when the gods send her back in time as a white tigress, she begins to find reasons amongst the young couple who see her as family, the blind fortune teller who stops aging upon meeting her, and the strange man made of darkness who once petrified her. As she travels through time, Ahneta is faced with a horrific decision that could grant her the fate she's wanted since losing her loved ones, but destroy the new bonds she's created. Will she finally put the past behind her, or will she allow the darkness of grief to consume her? Her journey for revenge may be over, but Ahneta's story has only just begun.

Daniel Bell assesses the impact of Christian resistance to capitalism in Latin America, and the implications of theological debates that have emerged from this. He uses postmodern critical theory to investigate capitalism, its effect upon human desire and the Church's response to it, in a thorough account of the rise, failure and future prospects of Latin American liberation theology.

What do the humanities have to offer in the twenty-first century? Are there compelling reasons to go on teaching the literate arts when the schools themselves have become battlefields? Does it make sense to go on writing when the world itself is overrun with books that no one reads? In these simultaneously personal and erudite reflections on the future of higher education, Richard E. Miller moves from the headlines to the classroom, focusing in on how teachers and students alike confront the existential challenge of making life meaningful. In meditating on the violent events that now dominate our daily lives—school shootings, suicide bombings, terrorist attacks, contemporary warfare—Miller prompts a reconsideration of the role that institutions of higher education play in shaping our daily experiences, and asks us to reimagine the humanities as centrally important to the maintenance of a compassionate, secular society. By concentrating on those moments when individuals and institutions meet and violence results, Writing at the End of the World provides the framework that students and teachers require to engage in the work of building a better future.

Before the Beginning and after the End: An Educational Journey to the Reality of God frames an enduring set of questions about Gods nature with the authors memoir of his undergraduate and graduate journey through studies in biology. By pairing his accounts of study and query, Floyd Ernest Bell Jr., PhD, presents a work that is both personal and universal. Despite the great deposit of wisdom that he encountered in numerous classes, the author continued to carry with him questions that reached out to touch the unknown. Readers of Before the Beginning and after the End may find themselves asking these same questions: Where does matter come from in the first place? Was there a beginning? If so, what happened the day before? How do finite minds comprehend infinity? All matter occupies space and has mass, but when an organism dies, no space or mass is lost. Thus life is not matter. So, what is life? Would it be defined as the spirit? What is the conscience? Did it emerge through evolution? Do nonhuman species have consciences? What is the DNA code for a conscience? Before the Beginning and after the End invites you to step out with the author and to share his educational journey leading to the reality of God. In the course of this exploration, you will find yourself confronted with the questions that push against the boundaries of knowledge and experience and lead to a life-changing encounter with the truth of God

How creativity makes its way through feeling—and what we can know and feel through the artistic work of Black women Feeling is not feelin. As the poet, artist, and scholar Bettina Judd argues, feelin, in African American Vernacular English, is how Black women artists approach and produce knowledge as sensation: internal and complex, entangled with pleasure, pain, anger, and joy, and manifesting artistic production itself as the meaning of the work. Through interviews, close readings, and archival research, Judd draws on the fields of affect studies and Black studies to analyze the creative processes and contributions of Black women—from poet Lucille Clifton and musician Avery*Sunshine to visual artists Betye Saar, Joyce J. Scott, and Deana Lawson. Feelin: Creative Practice, Pleasure, and Black Feminist Thought makes a bold and vital intervention in critical theory’s trend toward disembodying feeling as knowledge. Instead, Judd revitalizes current debates in Black studies about the concept of the human and about Black life by considering how discourses on emotion as they are explored by Black women artists offer alternatives to the concept of the human. Judd expands the notions of Black women’s pleasure politics in Black feminist studies that include the erotic, the sexual, the painful, the joyful, the shameful, and the sensations and emotions that yet have no name. In its richly multidisciplinary approach, Feelin calls for the development of research methods that acknowledge creative and emotionally rigorous work as productive by incorporating visual art, narrative, and poetry.