By Timothy Clark
Jacques Derrida is surely one of many most appropriate figures within the improvement of twentienth-century literary thought. the varsity of 'deconstruction' that has grown out of his paintings has been both absorbed into the corpus of recent literary conception, or criticized for its departures from the unique texts of Derrida in whose identify it really is practised. Timothy Clark's leading edge e-book lines in its place assets of Derrida's perform of 'literature' as a kind of philosophical considering, within the paintings of Heidegger and Blanchot. It bargains a welcome stylistic readability in a box beleaguered by means of its philosophical and linguistic trouble. Clark offers shut readings of key texts together with Heidegger's dialog on a rustic direction, Blanchot's L'attente l'oubli, and Derrida's Pas and Signsponge, and widens the scope of his dialogue of philosophical cultivation of 'literary' varieties to incorporate furthermore the problems of creativity, impression and accountability as they seem within the paintings of Lyotard and Levinas.
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Extra info for Derrida, Heidegger, Blanchot: Sources of Derrida's Notion and Practice of Literature
Most literature, he acknowledges, is as metaphysical through and through as any philosophical text. The name of Mallarrne serves to mark the 18 Derrida, Heidegger, Blanchot emergence of litterature in Derrida's limited, specialised sense (in referring to Mallarme in this way, Derrida follows Blanchot). Moreover, Derrida seeks to practise a form of 'literary' or heteronomic philosophical writing that would engage otherness in a way inaccessible to theoretical texts. This is also the most striking difference between Derrida's work and the seemingly similar work of Paul de Man, whose mode is clinically theoretical.
Another response, now frequently pursued, is to give minute analyses of the readings Heidegger actually performs ofTrakl, Holderlin and others. f! I propose, however, to follow a third possibility, namely to cut Heidegger at this point and consider what he says about Dichtung in relation to a poet he does not discuss. , this move (which is arguably just the sort of leap Blanchot and Derrida make in their own work with the literary) focuses the issues at stake in an immediate way. 22 The text, which I propose to exploit as a kind of test case, consists of five stanzas, opening as follows: POEM space window that looks in to itself a facing both and every way colon between green apple: and vase of green Two preliminary remarks are necessary before considering this text in detail.
Were Overcoming aesthetics: Heideggerian Dichtung 25 there no appearance/showing generally, no phenomena, and certainly no illusory phenomena, would be thinkable. It is a matter of a relatively indeterminate showing, in which' semblance' and 'objectivity' are of equal status insofar as both merely appear. This drifting realm is a precondition of all perception and representation and challenges the mode in which, after Descartes, 'reality' has become synonymous with certainty. This third sense of appearing is akin to aletheia in Heidegger's interpretation of the phenomenology latent in the ancien t Greek language.