This book seeks to develop a novel approach to literature beyond the conventional divide between realism/formalism and history/aestheticism. It accomplishes this not only through a radical reassessment of the specificity of literature in distinction from one of its others¿namely, philosophy¿but above all by taking critical issue with the venerable concept of the ¿text¿ and its association with the artisanal techniques of weaving and interlacing. This conception of the text as an artisanal fabric is, the author holds, the unreflected presupposition of both realist, or historicist, and…mehr
This book seeks to develop a novel approach to literature beyond the conventional divide between realism/formalism and history/aestheticism. It accomplishes this not only through a radical reassessment of the specificity of literature in distinction from one of its others¿namely, philosophy¿but above all by taking critical issue with the venerable concept of the ¿text¿ and its association with the artisanal techniques of weaving and interlacing. This conception of the text as an artisanal fabric is, the author holds, the unreflected presupposition of both realist, or historicist, and reflective, or ¿deconstructive,¿ criticism. Gasché argues that ¿the scenes of production¿ within literary works, created by their authors yet independent of those authors¿ intentions, stage a work¿s own production in virtual fashion and thus accomplish for those works a certain ideal ontological status that allows for both historical endurance and creative interpretation. In Gasché¿s construction of these scenes, in which literary works render visible within their own fabric the invisible conditions of their autonomous existence, certain images prevail: the fold, the star, the veil. By showing that these literary images are not simply the opposites of concepts, he not only puts into question the common opposition between literature and philosophy but shows that literary works perform a way of ¿argumentation¿ that, in spite of all its difference from philosophical conceptuality, is on a par with it. The argument progresses through close readings of literary works by Lautréamont, Nerval, de l¿Isle Adam, Huysman, Flaubert, Artaud, Blanchot, Defoe, and Melville.
Rodolphe Gasché is SUNY Distinguished Professor & Eugenio Donato Professor of Comparative Literature at the State University of New York at Buffalo. His interests concern the history of aesthetics, German Idealism and Romanticism, phenomenological and post-phenomenological thought, hermeneutics, and critical theory. His most recent books include Europe, or The Infinite Task: A Study of a Philosophical Concept (Stanford University Press, 2009); Un Arte Muy Fragile: Sobre la Retorica de Aristoteles, trans. Rogenio Gonzalez (Santiago, Chile: Ediciones Metales Pesados, 2010); The Stelliferous Fold: Toward a Virtual Law of Literature¿s Self-Formation (Fordham University Press, 2011); Georges Bataille: Phenomenology and Phantasmatology (Stanford University Press, 2012); Geophilosophy: On Gilles Deleuze and Félix Guattari¿s ¿What Is Philosophy?¿ (Northwestern University Press, 2014); Deconstruction, Its Force Its Violence (SUNY Press, 2016); Persuasion, Reflection, Judgment: Ancillae Vitae (Indiana University Press, 2017); Storytelling: The Destruction of the Inalienable in the Age of the Holocaust (SUNY Press, 2018); De l¿Éclat du Monde: La ¿valeur¿ chez Marx et Nancy (Editions Hermann, 2019); Locating Europe: A Figure, A Concept, An Idea? (Indiana University Press, 2020). His latest book-length study, Platös Stranger, will be forthcoming from SUNY Press in 2022.
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