What if our existence is a product of its interruptions? What if
the words that structure our lives are themselves governed by the
periods and commas that bring them to a close, or our images by the
cinematic cuts that mark them off? Are we, like Chekhov's clerk,
who dreams of being pursued by angry exclamation marks, or
Scorsese's Jake LaMotta, bloodied by one violently edited fight
after another, the products of punctuation-or as Peter Szendy asks
us to think of it, punchuation? Of Stigmatology elaborates for the
first time a general theory of punctuation. Beginning with
punctuation marks in the common sense, Peter Szendy goes on to
trace the effects of punctuation more broadly, arguing that looking
and hearing are not passive acts of reception, but themselves
punctuate the images and sounds they take in. Szendy reads an
astonishing range of texts and traditions, from medical
auscultation to literature (Chekhov, Sterne, Kafka), philosophy
(Hegel, Nietzsche, Heidegger, Derrida), psychoanalysis (Lacan), and
film (Raging Bull, The Trial, Fight Club). Repeatedly, what Szendy
finds in these works is a punctuation that marks experience itself,
that seeks (and ultimately fails) to bind the subject to itself.
This is the stigmatology of the punctuation mark on the page that
structures texts from ancient to digital, as well as the
punchuation of experience, as though at the hands of a boxer.
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