"A actual journey de strength. . . . the entire virtues of the author's incredible intelligence and compelling rhetoric are glaring from the 1st sentence onward."—Anthony C. Yu, Journal of Religion
guy word-possessed, fancied that each one sentences spoken or set down because the inception of guy have been ‘frozen’, have been preserved intact in a few intermediate sphere, from which the warmth of recollection, of want, of soreness, might soften and keep in mind them. Expelled from silence, language does its irreparable paintings. Theseus can't summon again (revoke within the literal, etymological feel) to his appalled lips and throat the unfounded yet homicidal curse which he has said on his son. In phrases, as in.
tales of suggestion. Longinus at the ‘sublime’, Coleridge’s Biographia, Ruskin’s glossy Painters, Proust’s Contre Sainte-Beuve, which he himself wrote as an incipient novel, Roland Barthes’s analyzing of Balzac, Harold Bloom on Yeats, illustrate this narrative unfolding. We can also conceive of definite explicative thoughts as dramatized myths or mythologies of intelligibility, as fables of knowing. There are shiny scenic and mythological components within the aesthetic feedback of Diderot, within the.
Little-read but seminal paintings: Fritz Mauthner’s Beiträgezu einer Kritikder Sprache, whose first 3 elements seemed within the emblematic yr 1899. The short of those Contributions to a Critique of Language is key. The makes use of of speech and writing present in sleek Western societies are fatally infirm. The discourse which knits social associations, that of criminal codes, of political debate, of philosophic argument and literary build, the leviathan rhetoric of the general public media — all are.
Theological one. The ascription of good looks to fact and to which means is both a rhetorical flourish, or it's a piece of theology. it's a theology, particular or suppressed, masked or avowed, great or imaged, which underwrites the presumption of creativity, of signification in our encounters with textual content, with track, with artwork. The which means of which means is a transcendent postulate. To learn the poem responsibly (‘respondingly’), to be answerable to shape, is to guess on a reinsurance of feel. it truly is to.
William, 22, eighty four, 128, 157 Euripides, 15, 36, 225 Faulkner, William, 26, 220 Faust, 25, sixty three Feuerbach, Ludwig Andreas von, 227 Fichte, Johann Gottlieb, seventy one Flaubert, Gustave, 14, 163, 172 Foucault, Michel, 199 Fra Angelico, 143, 188 Frege, Gottlob, 102, 104 Freud, Sigmund, 46–7, seventy four, 107–10, 173, 220–1 Frost, Robert, 208 Gadamer, Hans-Georg, 131 Galileo Galilei, seventy eight, 114 Gast, Peter, sixty one Gauguin, Paul, 209 Genet, Jean, 15 Gesualdo, Carlo, 21 Gibbon, Edward, nine Gide, Andr6, 172.