By John McKeane, Hannes Opelz
The paintings of French author and essayist Maurice Blanchot (1907-2003) is definitely one of the so much hard the 20 th century has to supply. modern debate in literature, philosophy, and politics has but to totally recognize its discreet yet enduring impression. coming up from a convention that happened in Oxford in 2009, this ebook units itself an easy, if daunting, activity: that of measuring the impression and responding to the problem of Blanchot’s paintings by means of addressing its engagement with the Romantic legacy, particularly (but not just) that of the Jena Romantics. Drawing upon a variety of philosophers and poets linked at once or not directly 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 when it comes to questions of feedback and reflexivity, irony and subjectivity, narrative and style, the chic 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), in addition they learn Romantic and post-Romantic notions of heritage, mind's eye, literary thought, depression, have an effect on, love, revolution, neighborhood, and different principal topics that Blanchot’s writings install around the century from Jean-Paul Sartre to Jean-Luc Nancy. This e-book includes contributions in either English and French.
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Extra info for Blanchot Romantique: A Collection of Essays
Informed neither by the assertive precedence of past revolutionary experience, nor by the comforting promise of its future success, the time of revolution in Blanchot ticks to the radical void ushered in by the absence of both: ‘Il y a un vide absolu derrière nous et devant nous,’ he writes in December 1968, ‘et nous devons penser et agir sans assistance, sans autre soutien que la radicalité de ce vide’ (EP, 147). 248) and that requires a newly defined ethical response. And it is from such an affirmation and other inflexions of it that Blanchot readers like Shahrjerdi aspire today to draw a liberating impetus for political action and writing so as to engage current political events.
How did (Romantic) literature acquire this ontological status? The short answer is given in the opening paragraph (quoted above) of Blanchot’s 1964 essay: ‘la poésie, puissance de liberté absolue’ (EI, 515). More exactly, this freedom, Blanchot argues, lies in Romanticism’s self-reflexive power to reveal itself to itself – ‘force d’autorévélation’ (520), as he puts it. ‘[S]e manifester, s’annoncer, en un mot se communiquer’ (521) corresponds to ‘[un] acte inépuisable qui institue et constitue l’être de la littérature’ (521).
59 Introduction: The Absolute, the Fragmentary 39 gurated by Jena Romanticism (what Blanchot also refers to as ‘la passion de penser et l’exigence quasi abstraite, posée par la poésie, de se réfléchir et de s’accomplir par sa réflexion’ (EI, 518; his emphasis)) that literature presents itself, that its theory or concept establishes itself, in short, that it can impose itself, as Lacoue-Labarthe and Nancy put it, ‘comme l’au-delà (la vérité, ou la critique, ou la dissolution) de ce que la poétique ancienne et la rhétorique avaient constitué comme genres de la chose écrite ou parlée’61 (their emphasis).