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Books > Language & Literature > Literature: history & criticism > Literary theory
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Literary Silences in Pascal, Rousseau, and Beckett (Hardcover, New)
Loot Price: R4,939
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Literary Silences in Pascal, Rousseau, and Beckett (Hardcover, New)
Series: Oxford Modern Language and Literature Monographs
Expected to ship within 12 - 19 working days
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To explore literary silence is to explore the relationships between
literary texts and the silence of the ineffable. It is to enquire
what dynamics texts develop as they strive to 'say the unsayable',
and it is to think literature as a silence that speaks itself. This
study describes these literary and silent dynamics through readings
of Pascal's Pensees, Rousseau's Reveries, and Beckett's trilogy
Molloy, Malone meurt, and L'Innommable. It contributes to our
understanding of three major writers and challenges our idea of
what silence is. The subject of silence and of the ineffable has a
long philosophical and critical tradition. A careful study of this
tradition reveals the dominance of a limiting dualistic
understanding of silence and its relationship to noise or language:
silence becomes the negative other, the beyond, about which there
remains nothing to say. The study of literary silence seeks rather
to trace a language that becomes its own silence. It compromises
the attempt to think a silence that moves within and through texts,
that is inherent to the literary expression. Central to this
theoretical endeavour are thinkers like Derrida, Deleuze, Gadamer,
and Vattimo (among several others). The theoretical understanding
of silence permits an effective methodology for reading literary
silence. Notions of repetition, the aporia and the implosion, which
are developed in reference to Kierkegaard and Bataille, describe
textual strategies of literary silence and structure the readings.
Finally, the reading of literary silence has its point of reference
in writers like Mallarme, Blanchot, and Beckett. It is their texts
that have taught us to become topological readers, to move in and
out of texts' movements; they have shown us how the literary
expression is irreducible to linear, meaning oriented language. As
readers of such texts we have been prepared to read the dynamics of
the unsayable, and finally to start discerning the silences of the
literary.
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