The paintings of French author and essayist Maurice Blanchot (1907-2003) is definitely one of the such a lot not easy the 20th century has to provide. modern debate in literature, philosophy, and politics has but to completely recognize its discreet yet enduring influence. bobbing 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 by means of addressing its engagement with the Romantic legacy, specifically (but not just) that of the Jena Romantics. Drawing upon a variety of philosophers and poets linked at once or in some way with German Romanticism (Kant, Fichte, Goethe, Jean Paul, Novalis, the Schlegels, Hölderlin), the authors of this quantity discover how Blanchot’s fictional, severe, and fragmentary texts rewrite and reconsider the Romantic call for in terms of questions of feedback and reflexivity, irony and subjectivity, narrative and style, the elegant and the neutre, the paintings and the fragment, citation and translation. interpreting Blanchot with or opposed to key twentieth-century thinkers (Benjamin, Foucault, de Man), additionally they research Romantic and post-Romantic notions of heritage, mind's eye, literary concept, depression, have an effect on, love, revolution, group, and different valuable 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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Extra resources for Blanchot Romantique: A Collection of Essays (Romanticism and after in France / Le Romantisme et après en France)
Considering these issues, Romanticism can no longer be viewed merely as something inflected psychologically as Sturm und Drang,53 and/or politically as ‘le désir de révolte’ (EI, 516). To do so would be to sail too close to 51 52 53 Novalis, quoted by Walter Benjamin in SW I, 133. 547). Such a Romanticism would be perhaps of less interest regarding Blanchot than its contemporary, Sade’s libertine. In fact, one could take the Sadean and the Romantic subject to reflect two instances where the Hegelian negative is infinitized.
And yet, as LacoueLabarthe maintains, ‘l’Auflösung […] de la littérature a laissé un reste, un résidu […]: la “littérature elle-même”, en tant qu’elle aura résisté, dans sa “propre” dissolution, à la dissolution philosophique’65 (his emphasis). 149. 55 (his emphasis). 60. 57. 55. 66 Whilst on the face of it this is to accept Hegel’s argument, it is in fact to turn that argument against itself, so as to show that ‘dans cette victoire, il y a une défaite, dans cette vérité, celle des formes, des notions et des noms, il y a un mensonge’ (EI, 47).
Et les motifs de Sade ne sont pas ceux qui ont mis en branle la puissance révolutionnaire. Ils les contredisent même. Et pourtant, sans eux, […] la révolution eût été privée d’une part de sa Raison. ’ This is the curiosity in the ‘très curieux échange’ taking place ‘entre […] le “politique” et le “littéraire”’, the paradoxical ana-logic governing the exchange. What this means – but we cannot attempt to explore this meaning in any detail here – is that ‘l’écriture,’ as Blanchot observed much later in L’Écriture du désastre, ‘[…] ne sait pas ce qu’il en adviendra politiquement d’elle: c’est là son intransitivité, cette nécessité de n’être qu’en relation indirecte avec le politique’ (ED, 126).