Blanchot Romantique: A Collection of Essays by John McKeane, Hannes Opelz PDF

By John McKeane, Hannes Opelz

ISBN-10: 3035300593

ISBN-13: 9783035300598

The paintings of French author and essayist Maurice Blanchot (1907-2003) is definitely one of the so much not easy the 20th century has to provide. modern debate in literature, philosophy, and politics has but to completely recognize its discreet yet enduring impression. coming up from a convention that happened in Oxford in 2009, this e-book units itself an easy, if daunting, activity: that of measuring the influence and responding to the problem of Blanchot’s paintings through addressing its engagement with the Romantic legacy, particularly (but not just) that of the Jena Romantics. Drawing upon a variety of philosophers and poets linked without delay or not directly with German Romanticism (Kant, Fichte, Goethe, Jean Paul, Novalis, the Schlegels, Hölderlin), the authors of this quantity discover how Blanchot’s fictional, serious, and fragmentary texts rewrite and reconsider the Romantic call for with regards to questions of feedback and reflexivity, irony and subjectivity, narrative and style, the elegant and the neutre, the paintings and the fragment, citation and translation. analyzing Blanchot with or opposed to key twentieth-century thinkers (Benjamin, Foucault, de Man), in addition they research Romantic and post-Romantic notions of background, mind's eye, literary thought, depression, impact, love, revolution, neighborhood, and different critical topics that Blanchot’s writings set up around the century from Jean-Paul Sartre to Jean-Luc Nancy. This ebook comprises contributions in either English and French.

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Strangely, this portion of text does not appear in the published French version of the essay, ‘La Contestation de la mort’, Magazine littéraire, 424 (October 2003), 58–60. 59 Introduction: The Absolute, the Fragmentary 39 gurated by Jena Romanticism (what Blanchot also refers to as ‘la passion de penser et l’exigence quasi abstraite, posée par la poésie, de se réfléchir et de s’accomplir par sa réflexion’ (EI, 518; his emphasis)) that literature presents itself, that its theory or concept establishes itself, in short, that it can impose itself, as Lacoue-Labarthe and Nancy put it, ‘comme l’au-delà (la vérité, ou la critique, ou la dissolution) de ce que la poétique ancienne et la rhétorique avaient constitué comme genres de la chose écrite ou parlée’61 (their emphasis).

22 But what makes Romanticism so unique in this interrogative scheme is the fact that, for the first time, the ‘what is’ question can be asked from within the domain of literature – and not simply from the outside: philosophy, politics, history, or any other discourse that would seek to subsume its object under its authority. And this is because literature now has a being (or so it seems) accessible to questioning. Art is no longer – or only – the work of representation (mimesis); in its Romantic demand, it becomes nothing less than the power to be: ‘le pouvoir, pour l’œuvre, d’être et non plus de représenter’ (EI, 518).

Elle a beau être 28 Hannes Opelz and John McKeane l’effet exact de l’esprit qui la crée, elle affranchit de lui-même cet esprit auquel elle est strictement soumise, elle le rend libre de soi par les chaînes spéciales qu’elle lui impose. (FP, 339–40) The key terms here (or at least those Blanchot readers might happily ignore) are: ‘et en dépend’. For, what they reveal is to the extent to which the experience of literature in Blanchot, perhaps contrary to a view commonly held by his commentators, is crucially informed by the notion of the subject, despite the latter’s mise en question or mise en jeu, metamorphosis or alteration, modification or transformation.

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