Chris Jenks

• 1. Whither Transgression?  2. The Centre Cannot Hold  3. To Have Done the Judgement of God  4. Excess  5. Extreme Seductiveness is at the Boundary of Horror  6. Journey to the End of the Night  7. The World Turned Upside Down  8. Theatres of Cruelty

'Now that the late 20th-century infatuation with transgression as an end itself has lost much of its power, it is time to explore the sources and weigh the consequences of its disturbing appeal. Drawing on a wide range of evidence from philosophical, literary, anthropological and sociological discourses, Chris Jenks soberly measures their exuberance for transgression against the horrors of contemporary instances of violent excess. Not since Stallybrass and White's classic The Politics and Poetics of Transgression has so much pressure been put on this fascinating and troubling concept.' - Martin Jay, University of California, Berkley, USA Trangression is an edge-work...a self-challenge to the intellectual, moral and aesthetic categories that order disciplinary life in the arts and sciences. Jenk's strategy is to tip the canonical order/disorder problem off its Durkheimian and Hegelian legs into the vortex of excess, eroticism, violence, madness, serial crime and carnival opened up by Bataille and the Surrealists. The result is a fast-moving narrative that recovers the sociological significance of Artaud, Rimbaud, Debord and Bakhtin whose anti-modernity was the transgressive force that launched our more established postmodernity.' - John O'Neill, York University, Canada

Chris Jenks

• 1. Whither Transgression?  2. The Centre Cannot Hold  3. To Have Done the Judgement of God  4. Excess  5. Extreme Seductiveness is at the Boundary of Horror  6. Journey to the End of the Night  7. The World Turned Upside Down  8. Theatres of Cruelty

'Now that the late 20th-century infatuation with transgression as an end itself has lost much of its power, it is time to explore the sources and weigh the consequences of its disturbing appeal. Drawing on a wide range of evidence from philosophical, literary, anthropological and sociological discourses, Chris Jenks soberly measures their exuberance for transgression against the horrors of contemporary instances of violent excess. Not since Stallybrass and White's classic The Politics and Poetics of Transgression has so much pressure been put on this fascinating and troubling concept.' - Martin Jay, University of California, Berkley, USA Trangression is an edge-work...a self-challenge to the intellectual, moral and aesthetic categories that order disciplinary life in the arts and sciences. Jenk's strategy is to tip the canonical order/disorder problem off its Durkheimian and Hegelian legs into the vortex of excess, eroticism, violence, madness, serial crime and carnival opened up by Bataille and the Surrealists. The result is a fast-moving narrative that recovers the sociological significance of Artaud, Rimbaud, Debord and Bakhtin whose anti-modernity was the transgressive force that launched our more established postmodernity.' - John O'Neill, York University, Canada

Chris Jenks

• 1. Whither Transgression?  2. The Centre Cannot Hold  3. To Have Done the Judgement of God  4. Excess  5. Extreme Seductiveness is at the Boundary of Horror  6. Journey to the End of the Night  7. The World Turned Upside Down  8. Theatres of Cruelty

'Now that the late 20th-century infatuation with transgression as an end itself has lost much of its power, it is time to explore the sources and weigh the consequences of its disturbing appeal. Drawing on a wide range of evidence from philosophical, literary, anthropological and sociological discourses, Chris Jenks soberly measures their exuberance for transgression against the horrors of contemporary instances of violent excess. Not since Stallybrass and White's classic The Politics and Poetics of Transgression has so much pressure been put on this fascinating and troubling concept.' - Martin Jay, University of California, Berkley, USA Trangression is an edge-work...a self-challenge to the intellectual, moral and aesthetic categories that order disciplinary life in the arts and sciences. Jenk's strategy is to tip the canonical order/disorder problem off its Durkheimian and Hegelian legs into the vortex of excess, eroticism, violence, madness, serial crime and carnival opened up by Bataille and the Surrealists. The result is a fast-moving narrative that recovers the sociological significance of Artaud, Rimbaud, Debord and Bakhtin whose anti-modernity was the transgressive force that launched our more established postmodernity.' - John O'Neill, York University, Canada