Simon Lee-Price

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Simon Lee-Price

Simon Lee-Price

@SimonLeePrice

"How can we linger over books to which their authors have manifestly not been driven?" - George Bataille

South East, England Katılım Temmuz 2014
71 Takip Edilen22 Takipçiler
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London Critical
London Critical@LondonCritical·
Black Matters: The Cosmic Horror of Thomas Ligotti Simon Lee-Price Horrors of Philosophy London Conference in Critical Thought, 2023 June 30th and July 1st, London Metropolitan University Registration and Programme at londoncritical.org
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Simon Lee-Price
Simon Lee-Price@SimonLeePrice·
Delighted to be included in this issue.
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Flora Thomson-DeVeaux
Flora Thomson-DeVeaux@ruivanorio·
I am fully aware that it’s a strange time to be celebrating a book launch. But I wouldn’t have dedicated years of my life to translating this one if I weren’t convinced that it was a novel for the ages.
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Simon Lee-Price
Simon Lee-Price@SimonLeePrice·
Thank you to Michael (or his dog) for his enthusiastic editing and publishing my speculative essay about the paradoxes of writing.
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Simon Lee-Price
Simon Lee-Price@SimonLeePrice·
In splendid (self-) isolation
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Simon Lee-Price retweetledi
London Critical
London Critical@LondonCritical·
Please note that there's been a slight venue change. Here is the poster with the correct venue information. As before, everyone welcome and we look forward to seeing you in July for our free, interdisciplinary, interinstitutional conference in critical thought!
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Simon Lee-Price
Simon Lee-Price@SimonLeePrice·
Cheer, Eddie! You are, indeed, generous. It's nice to have a story appreciated. 🙂
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Simon Lee-Price
Simon Lee-Price@SimonLeePrice·
Culture/Politics of Trauma
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Simon Lee-Price
Simon Lee-Price@SimonLeePrice·
Have something to say about #trauma? Consider submitting a proposal for my stream at the London Conference in Critical Thought. Deadline: 25 March. londoncritical.org
London Critical@LondonCritical

#LCCT2019 Streams: CULTURE/POLITICS OF TRAUMA invites an exploration of trauma from interdisciplinary, practitioner and artistic perspectives. To what extent is the traumatic turn a symptom of late modernity? How can the non-representability of trauma figure in creative work?

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