By Rodolphe Gasché
This ebook seeks to enhance a unique method of literature past the traditional divide among realism/formalism and history/aestheticism. It accomplishes this not just via an intensive reassessment of the specificity of literature in contrast from one in all its others--namely, philosophy--but chiefly by means of taking serious factor with the venerable notion of the textual content and its organization with the artisanal recommendations of weaving and interlacing. This belief of the textual content as an artisanal textile is, the writer holds, the unreflected presupposition of either realist, or historicist, and reflective, or deconstructive, feedback. Gasché argues that the scenes of construction inside of literary works, created through their authors but self sustaining of these authors' intentions, level a work's personal construction in digital type and therefore accomplish for these works a undeniable perfect ontological prestige that permits for either historic patience and artistic interpretation. In Gasché's development of those scenes, within which literary works render seen inside their very own textile the invisible stipulations in their self sufficient life, yes pictures be successful: the fold, the celebrity, the veil. through exhibiting that those literary photographs aren't easily the opposites of ideas, he not just places into query the typical competition among literature and philosophy yet indicates that literary works practice a fashion of argumentation that, regardless of all its distinction from philosophical conceptuality, is on a par with it. The argument progresses via shut readings of literary works by means of Lautramont, Nerval, de l'Isle Adam, Huysman, Flaubert, Artaud, Blanchot, Defoe, and Melville
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Extra resources for The stelliferous fold : toward a virtual law of literature's self-formation
In 1998 Kevin Hart invited me to contribute a piece on one of Maurice Blanchot’s narratives for a collection of commentaries on all of Blanchot’s literary works. Hart’s guideline for the essay was to engage a philosophical question already at work in the narrative or to pose a philosophical question that would illuminate the narrative. In ‘‘The Imperative of Transparency,’’ I chose to read the one who stands apart from me in order to demonstrate that this narrative, which evokes the major themes, tenets, and movements of phenomenological thought, complicates these themes and movements to such a degree that, although this narrative requests a philosophical interpretation, it makes such an interpretation impossible.
Ishmael continues: ‘‘However contracted, that deﬁnition is the result of an expanded meditation’’ (119). In reducing the features to a mere axial section, the deﬁnition draws the whale together into a movement whose monstrosity, nonetheless, is hardly diminished given the tearing of the immaculate surface that it brings about. This contracted deﬁnition, as the minimal Tractatus Cetaceus, is established according to the initial covenant, ................. 18080$ $CH1 07-06-11 15:04:45 PS PAGE 37 38 Scenarios for a Theory the binding agreement Ishmael has made with the Leviathan—with the haunting movement of writing in the Scriptures.
Caught forever in the net of language, the whale, in regard to its determination as an axial section, can no longer be considered an object exterior to language. For the disruption of the plane surface is nothing less than the inscription of a mark upon its hitherto virgin space, the opening of a gap in a surface. And indeed, what does the deﬁnition, ‘‘a spouting ﬁsh with a horizontal tail’’ (119), signify but the movement of this interruption within the created blank space, the label ready for the entry of subsequent data?