Papers by Andrew H Clark
Diderot Studies Vol. XXXVIII, 2023
An interesting question is how (or if) these four books might prove useful to the historian of sc... more An interesting question is how (or if) these four books might prove useful to the historian of science or medicine. We need to hear more from our colleagues in history departments about how studies such as these improve their knowledge, not only of what they do but also of what we do. Bender, McAlpin, Davidson, and Lynall have certainly added much to what we literary historians will understand about how the histories of science or medicine converge with, impinge upon, run parallel to, or are used by the authors we read and teach. These four scholars have also widened the scope of how we might understand the inter relationship of literature and science or of literature and medicine within eighteenthcentury culture more generally. And I think all four, in different ways, demonstrate that the kind of history—of science or medicine—that the literary record contains is vitally important to under standing science and medicine in the eighteenth century if we seek to advance a true interdisciplinarity that maps the discursive ter rain of the period we all care about so deeply, however demanding that pursuit may be. In the archaeological dig that is eighteenth-century history, many shards are buried in the sand, and the literary artifact is one of them, a rich and vibrant encoding of cultural materials.
Contents: Introduction: repetition and difference in Le Fils Naturel Autonomous fibers and secret... more Contents: Introduction: repetition and difference in Le Fils Naturel Autonomous fibers and secreting organs The poetics of order The figure of dissonance Conclusion Bibliography Index.
Addressing the Sonorous, 2013
Addressing the Sonorous, 2013
The Eighteenth Century, 2012
The Eighteenth Century: Theory and Interpretation, 53:1 (Spring, 2012): 99–11
Méthode! Revue de littérature française et comparée 13 (Agrégations de Lettres 2008) (Éditions de... more Méthode! Revue de littérature française et comparée 13 (Agrégations de Lettres 2008) (Éditions de Vallongues, Fall 2007): 177–183
Shark 4 (Summer 2002): 165–177
Books by Andrew H Clark
The ways of speaking of music are many. People chat about it every day and in everyday language, ... more The ways of speaking of music are many. People chat about it every day and in everyday language, but they also treat it as a limit, as the boundary of what is sayable. Speech is in one sense different from music, but in another all speech is itself musical.
By addressing different perspectives and traditions that form and inform the speaking of music in Western culture—musical, literary, philosophical, semiotic, political—this volume offers a unique and snapshot of today’s scholarship on speech about music. All from the points of view of their own disciplines, the experts here treat the variety of types of speech about music and musical speech, from historical to contemporary, mundane to specialized. Even as they diverge and differ in their approaches, the scholars coalesce in adumbrating common issues and developing certain topoi: physicality and performance, limits and supplements, ineffability and space, and so forth. These common topoi, discussed in the introduction, show the ways that this subject continues to resonate in tones particular to the twenty-first century
The range of considerations and material is wide. Among others, they include the words used to interpret musical works (such as those of Beethoven), the words used to channel musical practices (whether Bach’s, Rousseau’s, or Hispanic political protesters’), and the words used to represent music (whether in a dialogue by Plato, a story by Balzac, or in an Italian popular song). The contributors consider the ways that music may slide by words, as in the performance of an Akpafu dirge or in Messiaen, and the ways that music may serve as an embodied figure, as in the writings of Diderot or in the sound and body art of Henri Chopin. The book concludes with an essay by Jean-Luc Nancy.
More Info: Co-edited with Dr. Andrew Clark, Modern Languages and Literatures, Fordham University To apper in 2013 with Fordham University Press Contributors include Per Aage Brandt, Keith Chapin, Andrew H. Clark, Matthew Gelbart, John T. Hamilton, Lawrence Kramer, Jairo Moreno, Jean-Luc Nancy, Laura Odello, Tracy B. Strong, Peter Szendy, Sander van Maas, Kiene Brillenburg Wurth, and Lawrence M. Zbikowski.
Research Interests: Cognitive Science, Comparative Literature, Philosophy, Philosophy Of Language, Aesthetics, Plato, Music and Language, Jean-Luc Nancy, Political Science, Music Aesthetics, Beethoven, Genre Theory, J S Bach, Jean Jaques Rousseau, Humanism, Anti-Humanism, and Post-Humanism, Henri Chopin, Diderot, Denis, Honoré de Balzac, and Olivier Messiaen
Addressing the Sonorous, 2013
Drawing upon the rich heterogeneity of Denis Diderot's texts-whether scientific, aesthetic, philo... more Drawing upon the rich heterogeneity of Denis Diderot's texts-whether scientific, aesthetic, philosophic or literary-Andrew Clark locates and examines an important epistemological shift both in Diderot's oeuvre and in the eighteenth century more generally.
In Western Europe during the 1750s, the human body was reconceptualized as physiologists began to emphasize the connections, communication, and relationships among relatively autonomous somatic parts and an animated whole. This new conceptualization was part of a larger philosophical and epistemological shift in the relationship of part to whole, as discovered in that of bee to swarm; organ to body; word to phrase; dissonant chord to harmonic progression; article to encyclopedia; and individual citizen to body politic.
Starting from Diderot's concept of the body as elaborated from the physiological research and speculation of contemporaries such as Haller and Bordeu, the author investigates how the logic of an unstable relationship of part to whole animates much of Diderot's writing in genres ranging from art criticism to theatre to philosophy of science. In particular, Clark examines the musical figure of dissonance, a figure used by Diderot himself, as a useful theoretical model to give insight into these complex relations.
This study brings a fresh approach to the classic question of whether Diderot's work represents a consistent point of view or a series of ruptures and changes of position.
Book Chapters by Andrew H Clark
Portrayals of Medicine, Physicians, Patients, and Illnesses in French Literature from the Middle ... more Portrayals of Medicine, Physicians, Patients, and Illnesses in French Literature from the Middle Ages to the Present, eds. Lison Baselis-Bitoun and Ji-Hyun Philippa Kim (Lewiston, NY: Edwin Mellen Press, 2011), pp. 237–71
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Papers by Andrew H Clark
Books by Andrew H Clark
By addressing different perspectives and traditions that form and inform the speaking of music in Western culture—musical, literary, philosophical, semiotic, political—this volume offers a unique and snapshot of today’s scholarship on speech about music. All from the points of view of their own disciplines, the experts here treat the variety of types of speech about music and musical speech, from historical to contemporary, mundane to specialized. Even as they diverge and differ in their approaches, the scholars coalesce in adumbrating common issues and developing certain topoi: physicality and performance, limits and supplements, ineffability and space, and so forth. These common topoi, discussed in the introduction, show the ways that this subject continues to resonate in tones particular to the twenty-first century
The range of considerations and material is wide. Among others, they include the words used to interpret musical works (such as those of Beethoven), the words used to channel musical practices (whether Bach’s, Rousseau’s, or Hispanic political protesters’), and the words used to represent music (whether in a dialogue by Plato, a story by Balzac, or in an Italian popular song). The contributors consider the ways that music may slide by words, as in the performance of an Akpafu dirge or in Messiaen, and the ways that music may serve as an embodied figure, as in the writings of Diderot or in the sound and body art of Henri Chopin. The book concludes with an essay by Jean-Luc Nancy.
More Info: Co-edited with Dr. Andrew Clark, Modern Languages and Literatures, Fordham University To apper in 2013 with Fordham University Press Contributors include Per Aage Brandt, Keith Chapin, Andrew H. Clark, Matthew Gelbart, John T. Hamilton, Lawrence Kramer, Jairo Moreno, Jean-Luc Nancy, Laura Odello, Tracy B. Strong, Peter Szendy, Sander van Maas, Kiene Brillenburg Wurth, and Lawrence M. Zbikowski.
Research Interests: Cognitive Science, Comparative Literature, Philosophy, Philosophy Of Language, Aesthetics, Plato, Music and Language, Jean-Luc Nancy, Political Science, Music Aesthetics, Beethoven, Genre Theory, J S Bach, Jean Jaques Rousseau, Humanism, Anti-Humanism, and Post-Humanism, Henri Chopin, Diderot, Denis, Honoré de Balzac, and Olivier Messiaen
In Western Europe during the 1750s, the human body was reconceptualized as physiologists began to emphasize the connections, communication, and relationships among relatively autonomous somatic parts and an animated whole. This new conceptualization was part of a larger philosophical and epistemological shift in the relationship of part to whole, as discovered in that of bee to swarm; organ to body; word to phrase; dissonant chord to harmonic progression; article to encyclopedia; and individual citizen to body politic.
Starting from Diderot's concept of the body as elaborated from the physiological research and speculation of contemporaries such as Haller and Bordeu, the author investigates how the logic of an unstable relationship of part to whole animates much of Diderot's writing in genres ranging from art criticism to theatre to philosophy of science. In particular, Clark examines the musical figure of dissonance, a figure used by Diderot himself, as a useful theoretical model to give insight into these complex relations.
This study brings a fresh approach to the classic question of whether Diderot's work represents a consistent point of view or a series of ruptures and changes of position.
Book Chapters by Andrew H Clark
By addressing different perspectives and traditions that form and inform the speaking of music in Western culture—musical, literary, philosophical, semiotic, political—this volume offers a unique and snapshot of today’s scholarship on speech about music. All from the points of view of their own disciplines, the experts here treat the variety of types of speech about music and musical speech, from historical to contemporary, mundane to specialized. Even as they diverge and differ in their approaches, the scholars coalesce in adumbrating common issues and developing certain topoi: physicality and performance, limits and supplements, ineffability and space, and so forth. These common topoi, discussed in the introduction, show the ways that this subject continues to resonate in tones particular to the twenty-first century
The range of considerations and material is wide. Among others, they include the words used to interpret musical works (such as those of Beethoven), the words used to channel musical practices (whether Bach’s, Rousseau’s, or Hispanic political protesters’), and the words used to represent music (whether in a dialogue by Plato, a story by Balzac, or in an Italian popular song). The contributors consider the ways that music may slide by words, as in the performance of an Akpafu dirge or in Messiaen, and the ways that music may serve as an embodied figure, as in the writings of Diderot or in the sound and body art of Henri Chopin. The book concludes with an essay by Jean-Luc Nancy.
More Info: Co-edited with Dr. Andrew Clark, Modern Languages and Literatures, Fordham University To apper in 2013 with Fordham University Press Contributors include Per Aage Brandt, Keith Chapin, Andrew H. Clark, Matthew Gelbart, John T. Hamilton, Lawrence Kramer, Jairo Moreno, Jean-Luc Nancy, Laura Odello, Tracy B. Strong, Peter Szendy, Sander van Maas, Kiene Brillenburg Wurth, and Lawrence M. Zbikowski.
Research Interests: Cognitive Science, Comparative Literature, Philosophy, Philosophy Of Language, Aesthetics, Plato, Music and Language, Jean-Luc Nancy, Political Science, Music Aesthetics, Beethoven, Genre Theory, J S Bach, Jean Jaques Rousseau, Humanism, Anti-Humanism, and Post-Humanism, Henri Chopin, Diderot, Denis, Honoré de Balzac, and Olivier Messiaen
In Western Europe during the 1750s, the human body was reconceptualized as physiologists began to emphasize the connections, communication, and relationships among relatively autonomous somatic parts and an animated whole. This new conceptualization was part of a larger philosophical and epistemological shift in the relationship of part to whole, as discovered in that of bee to swarm; organ to body; word to phrase; dissonant chord to harmonic progression; article to encyclopedia; and individual citizen to body politic.
Starting from Diderot's concept of the body as elaborated from the physiological research and speculation of contemporaries such as Haller and Bordeu, the author investigates how the logic of an unstable relationship of part to whole animates much of Diderot's writing in genres ranging from art criticism to theatre to philosophy of science. In particular, Clark examines the musical figure of dissonance, a figure used by Diderot himself, as a useful theoretical model to give insight into these complex relations.
This study brings a fresh approach to the classic question of whether Diderot's work represents a consistent point of view or a series of ruptures and changes of position.