By Colin Davis
ISBN-10: 0804763062
ISBN-13: 9780804763066
ISBN-10: 0804763070
ISBN-13: 9780804763073
The "ancient quarrel" among philosophy and literature turns out to were resolved as soon as and for all with the popularity that philosophy and the humanities should be allies rather than enemies. severe extra examines intimately the paintings of 5 thinkers who've had an immense, ongoing effect at the learn of literature and picture: Jacques Derrida, Gilles Deleuze, Emmanuel Levinas, Slavoj ?i?ek, and Stanley Cavell. Their techniques are very various from each other, yet they every one make unforeseen interpretive leaps that render their readings exhilarating and unnerving.But do they move too a ways? Does a scribbled notice left at the back of via Nietzsche rather let us know in regards to the nature of textuality? Can Hitchcock really let you know "everything you usually desired to learn about Lacan"? Does the blanket hung up in a hotel room invoke the Kantian divide among the knowable extra special international and the unknowable issues in themselves? Contextualizing the paintings of the 5 thinkers within the highbrow debates to which they give a contribution, this e-book analyzes the stakes and merits of "overreading."
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Extra info for Critical Excess: Overreading in Derrida, Deleuze, Levinas, Zizek and Cavell
Sample text
Derrida gives no sign of even a passing knowledge of Gadamer’s work, and he does not refer directly to any of the German philosopher’s voluminous writings. So Derrida seems to be trying to prove what some take to be his point, namely that no encounter can take place, by petulantly refusing to engage in dialogue. Since analyses of the exchange are nearly always partisan, taking the side of one or other of the protagonists, those who favour Gadamer can use Derrida’s non-engagement as evidence of the frivolity of deconstruction as compared to the philosophical seriousness of hermeneutics.
With the problem thus definitively resolved, Gadamer concludes: “The interpreter, who gives his reasons, disappears—and the text speaks” (Gadamer 1991a: 51). The aim of the interpreter is to efface himself by bringing forth arguments which allow the text’s meaning to emerge. Derrida, Hermeneutics and Deconstruction Gadamer exposes himself here, I think deliberately, by providing plenty of grist for a deconstructive mill. He foregrounds a number of moves with which it would be relatively easy to take issue: the attempt to eradicate ambiguity rather than to explore its resonance, the implication that all the broader contexts can be adequately pinned down and reconciled with one another, the concluding suggestion that the interpreter can stand aside and merely listen attentively as the poem speaks.
Nevertheless, de Man concedes that what he calls “Heidegger’s heresies against the most elementary rules of text analysis” (De Man 1983: 250) are manifestly deliberate. Heidegger is not interested in elaborating a consistent critical method; nor does he seek approval for his interpretations as “correct” in any conventional philological or literary critical sense. The “truth” that happens in the poem is not a proposition that can be re-formulated and then offered to others for their assent or dissent; it is what the thinker hears on encountering the poem.
Critical Excess: Overreading in Derrida, Deleuze, Levinas, Zizek and Cavell by Colin Davis
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