By John McKeane, Hannes Opelz
The paintings of French author and essayist Maurice Blanchot (1907-2003) is definitely one of the so much demanding the 20th century has to supply. modern debate in literature, philosophy, and politics has but to completely recognize its discreet yet enduring effect. coming up from a convention that happened in Oxford in 2009, this booklet units itself an easy, if daunting, activity: that of measuring the effect and responding to the problem of Blanchot’s paintings by means of addressing its engagement with the Romantic legacy, particularly (but not just) that of the Jena Romantics. Drawing upon quite a lot of philosophers and poets linked without delay or in a roundabout way 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. studying Blanchot with or opposed to key twentieth-century thinkers (Benjamin, Foucault, de Man), in addition they research Romantic and post-Romantic notions of historical past, mind's eye, literary conception, depression, impact, love, revolution, neighborhood, and different principal issues that Blanchot’s writings installation around the century from Jean-Paul Sartre to Jean-Luc Nancy. This booklet comprises contributions in either English and French.
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The paintings of French author and essayist Maurice Blanchot (1907-2003) is definitely one of the so much tough the 20 th century has to supply. modern debate in literature, philosophy, and politics has but to completely recognize its discreet yet enduring effect. coming up from a convention that happened in Oxford in 2009, this e-book units itself an easy, if daunting, job: that of measuring the influence and responding to the problem of Blanchot’s paintings via addressing its engagement with the Romantic legacy, specifically (but not just) that of the Jena Romantics.
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Extra resources for Blanchot Romantique: A Collection of Essays
What literature has wanted or sought, since some such thing has existed, if it exists, is its end: the secret of its origin, the condition (rule, law, prohibition) it must undergo to be possible. What literature wants or seeks […] is the impossible’; ‘The Contestation of Death’, trans. by Philip Anderson, in The Power of Contestation: Perspectives on Maurice Blanchot, ed. 143; his emphasis). 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.
Entre les mains d’un auteur très conscient, elle est un exercice qui met en cause ce qu’il est et le propose à une condition nouvelle. Elle représente une aventure ou, plus exactement, une véritable expérience dont les résultats, si élaborées qu’en aient été les données, si réfléchie l’opération, ne peuvent être mesurés à l’avance, qu’il faut pousser jusqu’au bout pour savoir où elle conduit son auteur, à quelles transformations de soi elle aboutit. […] La littérature, par ses conventions bizarres, par ses rigueurs en apparence arbitraires, a une existence absolue.
143; his emphasis). 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).