Paul de Man's Aesthetic Ideology (Theory and History of Literature, Volume PDF


By Paul de Man

Editor note: Edited and with an creation through Andrzej Warminski
Publish yr note: First released in 1996

Paul De Man's popularity used to be irreparably broken via the revelation after his dying of his wartime anti-Semitism, obscuring a few legitimate highbrow contributions to the sector of aesthetics. This number of philosophical essays, compiled by way of Andrzej Warminski of the college of California, argues for the shut connections among paintings and politics and paintings and technology. He discusses Kant and Hegel, whose significant contributions to aesthetics are much less identified than their paintings on rationality and morality. And in an essay on Schiller he deplores, really naively, the poet/playwright's loss of philosophical crisis for the root of his artwork.

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Additional resources for Aesthetic Ideology (Theory and History of Literature, Volume 65)

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And the fact that whenever we say all we can say ("then") we cannot tell whether we are saying "then" as a temporal (or causal) indicator or as a mere placeholder that calls attention to the act of saying only accelerates the maddening vertiginousness of our predicament. But however overdetermined and potentially vertiginous the stutter of what we are actually saying may be, it is clear enough what its bottom line amounts to: the narrativization of a stutter, as it were, an allegory of reference that is necessarily also always an "ironic allegory" and "the systematic undoing, in other words, of understanding" (Allegories, p.

Something monstrous lurks in the most innocent of catachreses: when one speaks of the legs of the table or the face of the mountain, catachresis is already turning into prosopopeia, and one begins to perceive a world of potential ghosts and monsters. By elaborating his theory of language as a motion from simple ideas to mixed modes, Locke has deployed the entire fan-shape or (to remain within light imagery) the entire spectrum or rainbow of tropological totalization, the anamorphosis of tropes which has to run its full course whenever one engages, however reluctantly or tentatively, the question of language as figure.

28). Locke's own "passage" is bound to continue this perpetual motion that never moves beyond tautology: motion is a passage and passage is a translation; translation, once again, means motion, piles motion upon motion. It is no mere play of words that "translate" is translated in German as iibersetzen, which itself translates the Greek meta phorein or metaphor. Metaphor gives itself the totality which it then claims to define, but it is in fact the tautology of its own position. The discourse of simple ideas is figural discourse or translation and, as such, creates the fallacious illusion of definition.

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