Filosofia Literária: Uma Encruzilhada Entre os Caminhos de Harold Bloom e Richard Rorty

2018 ◽  
Vol 26 (51) ◽  
pp. 55-64
Author(s):  
Heraldo Aparecido Silva ◽  
Keyword(s):  
Literary Criticism ◽  
Richard Rorty ◽  
Harold Bloom ◽  
Primary Means

The aim of this article is to analyze the philosophy of Richard Rorty through the poetic theories of Harold Bloom. It is shown that redescription, the primary means by which Rorty addresses philosophy, pragmatism and culture, can be interpreted as misreading, a revisionist literary tool that implicates appropriation (revision), distortion (deviation), and correction (redirection). Finally, I propose a crossroad between the paths of Bloom and Rorty, a conversation between the Bloomian literary criticism and the Rortyan philosophy: the philosophy as a literary conversation.

scholarly journals Metaphysics, Universal Irony, and Richard Rorty’s “We Ironists”

Humanities ◽  
2021 ◽  
Vol 10 (4) ◽  
pp. 106
Author(s):  
Timo Airaksinen
Keyword(s):  
Social Sciences ◽  
Literary Criticism ◽  
Speech Acts ◽  
Richard Rorty ◽  
Scholarly Work ◽  
English Departments ◽  
Work And Life

Richard Rorty speaks of “we ironists” who use irony as the primary tool in their scholarly work and life. We cannot approach irony in terms of truth, simply because, due to its ironies, the context no longer is metaphysical. This is Rorty’s challenge. Rorty’s promise focuses on top English Departments: they are hegemonic, they rule over the humanities, philosophy, and some social sciences using their superior method of ironizing dialectic. I refer to Hegel, Gerald Doherty’s “pornographic” writings, and Gore Vidal’s non-academic critique of academic literary criticism. My conclusion is that extensive use of irony is costly; an ironist must regulate her relevant ideas and speech acts—Hegel makes this clear. Irony is essentially confusing and contestable. Why would we want to use irony in a way that trumps metaphysics? Metaphysics, as defined by Rorty, is a problematic field, but irony can hardly replace it. At the same time, I admit that universal irony is possible, that is, everything can be seen in ironic light, or ironized. The purpose of this paper is to evaluate and criticize Rorty’s idea of irony by using his own methodology, that is, ironic redescription. We can see the shallowness of his approach to irony by contextualizing it. This also dictates the style of the essay.

scholarly journals Alt-i-alt: Et gensyn med Poul Borums syn på Digteren Grundtvig

2009 ◽  
Vol 60 (1) ◽  
pp. 188-202
Author(s):  
Hans Hauge
Keyword(s):  
Literary Criticism ◽  
Full Length ◽  
Paul De Man ◽  
Scholarly Literature ◽  
Harold Bloom ◽  
Almost All ◽  
De Man ◽  
The Way

Alt-i-alt: Et gensyn med Poul Borums syn på Digteren Grundtvig[All in all: Poul Borum''s view of Grundtvig the poet revisited]By Hans HaugePoul Borum was a well-known poet and an influential critic. His book on poetic modernism was a milestone. Few contemporaries associated him with N. F. S. Grundtvig so it was perhaps something of a surprise when in 1983 he published a full-length study of Grundtvig’s texts, focusing upon and rehabilitating Grundtvig the poet. He was of the opinion that literary critics and writers at large as well as established Grundtvig-scholars lacked something.The literary critics knew too little about Grundtvig and did not adequately appreciate him, whereas the scholars were too unfamiliar with contemporary literary criticism. Borum attempted to mediate between the two groups. He was easily familiar with almost all the secondary and scholarly literature on Grundtvig and he was also well versed in contemporary literary criticism and referred to such names as Harold Bloom and Paul de Man. He uses Bloom’s theory of anxiety in his reading of one of Grundtvig’s best-loved hymns and demonstrates how Grundtvig struggled with the influence of the seventeenthcentury hymn-writer Kingo.Borum did not really succeed in achieving deconstructive readings of Grundtvig’s texts; however, he did successfully demonstrate the way in which all Grundtvig’s texts were self-reflexive and he showed how even brief fragments contained the whole - all in all. Whenever Grundtvig wrote something, the text contained poetological elements and he stressed the notion of contemporaneity.The article concludes by discussing how Borum took various critics to task and how he distanced himself from certain contemporary political uses of Grundtvig.

Black-white contrast of dislocation loops

1978 ◽  
Vol 36 (1) ◽  
pp. 328-329
Author(s):  
J. J. Hren ◽  
W. D. Cooper ◽  
L. J. Sykes
Keyword(s):  
Electron Microscopy ◽  
Transmission Electron Microscopy ◽  
Dislocation Loops ◽  
Major Premise ◽  
Burgers Vector ◽  
Transmission Electron ◽  
Primary Means ◽  
Contrast Analysis ◽  
Dot Product ◽  
Imaging Conditions

Small dislocation loops observed by transmission electron microscopy exhibit a characteristic black-white strain contrast when observed under dynamical imaging conditions. In many cases, the topography and orientation of the image may be used to determine the nature of the loop crystallography. Two distinct but somewhat overlapping procedures have been developed for the contrast analysis and identification of small dislocation loops. One group of investigators has emphasized the use of the topography of the image as the principle tool for analysis. The major premise of this method is that the characteristic details of the image topography are dependent only on the magnitude of the dot product between the loop Burgers vector and the diffracting vector. This technique is commonly referred to as the (g•b) analysis. A second group of investigators has emphasized the use of the orientation of the direction of black-white contrast as the primary means of analysis.

Verità, etica e religione in Richard Rorty

PARADIGMI ◽  
2013 ◽  
pp. 177-190
Author(s):  
Stefano Marino
Keyword(s):  
Richard Rorty

Richard Rorty Questions All, Including Us

2010 ◽  
Vol 7 (2-3) ◽  
pp. 347-356
Author(s):  
Randolph D. Pope
Keyword(s):  
Richard Rorty

Literature in Our Time, or, Loving Literature to Bits

CounterText ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 232-269 ◽  
Author(s):  
Ivan Callus
Keyword(s):  
Literary Criticism ◽  
Jacques Derrida ◽  
Anthony Trollope ◽  
Don Quixote ◽  
Time Machine ◽  
Paul Auster ◽  
Anne Michaels

In this essay Ivan Callus provides some reflections on literature in the present. He considers the tenability of the post-literary label and looks at works that might be posited as having some degree of countertextual affinity. The essay, while not setting itself up as a creative piece, deliberately structures itself unconventionally. It frames its argument within twenty-one sections that are self-contained but that also echo each other in their attempt to develop an overarching argument which draws out some of the challenges that lie before the countertextual and the post-literary. Punctuating the essay and contributing to its unconventional take on the practice of literary criticism is a series of exercises for the reader to complete, if so wished; the essay makes no attempt, however, to suggest that a countertextual criticism ought to make a routine of such devices. The separate sections contain reflections on a number of texts and writers, among them, and in order of appearance, Hamlet, Anthony Trollope, Jacques Derrida, The Time Machine, Don Quixote, Mark Z. Danielewski, Mark B. N. Hansen, Gunter Kress, Scott's Reliquiae Trotcosienses, W. B. Yeats, Kate Tempest, David Jones, Anne Michaels, Bernice Eisenstein, Paul Auster, J. M. Coetzee, Billy Collins, Deidre Shauna Lynch, Tim Parks, Tom McCarthy – and Hamlet again. The essay's length fulfils a performative function but also facilitates as extensive a catalogue of aspects of the countertextual in literature and elsewhere as is feasible or as might be dared at this stage.

From Deleuze and Guattari's Words to a Deleuzian Theory of Reading

2015 ◽  
Vol 9 (4) ◽  
pp. 529-557
Author(s):  
Daniel Haines
Keyword(s):  
Literary Criticism ◽  
Deleuze And Guattari ◽  
Transcendental Empiricism ◽  
Theory Of Reading ◽  
Open Question

While Deleuze and Guattari's passion for certain literature is well known, the nature of a ‘Deleuzian’ literary criticism remains an open question. However, most critics appear to agree that Deleuze and Guattari's comments on meaning and interpretation offer an ontological alternative to the textual focus of deconstruction. Through an interrogation of the difficult style of their books in relation to Plato, Nietzsche and Derrida, this paper offers a different reading of Deleuze and Guattari in relation to literary criticism. Despite appearances, transcendental empiricism and the project of ‘overturning Platonism’ provide a Deleuzian theory of reading that attends to textuality.

Un/Becoming Claude Cahun: Zigzagging in a Pack

2018 ◽  
Author(s):  
renée c. hoogland
Keyword(s):  
Literary Criticism ◽  
Art History ◽  
Gender Politics ◽  
High Modernism ◽  
Claude Cahun

Considered odd, obscene, a genius nonetheless, at the time she created her best-known works, French photographer and writer Claude Cahun (1894-1950) cuts a particularly unruly figure in literary criticism and art history. Her recalcitrant faux autobiography Aveux non avenus, [Disavowals, or, Cancelled Confessions] (1930), a book of essays and recorded dreams illustrated with photomontages, have encouraged the artist’s association with High Modernism and Surrealism while her photographic self-portraits have been claimed for an affirmative (feminist) gender politics. However, the proliferous and mercurial nature of Cahun’s disavowed confessions and self-stagings defy easy “domestication.” Instead she constructs a continuously shifting configuration of fragments and collages: assemblages of singularities that are always in a multiplicity, in a pack. Escaping dominant forms of expression, Cahun’s work has nothing to do with recognition or imitation, nor does it constitute a relation of representation. The chapter argues instead that Cahun presents us in both her writing and in her photographic work with the successful experience of becoming in the absence of any final term or form. A becoming-animal that moves beyond destruction into the zone of indiscernibility where a work, or, perhaps, an oeuvre comes into view—an oeuvre that nonetheless remains decidedly outlandish.

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