
By Tilottama Rajan, Michael J. O'Driscoll
Every heritage of idea is at the same time a conception of historical past. Rajan and O'Driscoll's wide-ranging quantity tackles the difficulty of delivering an highbrow historical past of idea, given a substantial continuity among idea and the heritage of rules, and likewise given theory's personal wondering of conventional highbrow ancient versions. The editors handle this problem through supplying 13 essays on numerous theorists from Derrida to Zizek. below the paradigms of family tree, performativity, body structure, and know-how, the essayists discover metaphors for connecting the paintings of theorists from diversified occasions, which are drawn from components except historical past, and which could improve and revise our realizing of the histories of concept.
Not simply do those essays replicate the effect on writing approximately concept - and through extension on highbrow background - in components comparable to psychoanalysis, philosophy, literature, and cultural experiences, yet also they are an exploration of subject and scenario - the writing of highbrow heritage after the linguistic flip and the poststructuralist critique. Written for the speculation experts, in addition to highbrow historians and people within the humanities and social sciences who're inquisitive about serious thought, the essays symbolize a second look of the present nation of idea, as addressed by way of top students within the field.
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Additional resources for After Poststructuralism: Writing the Intellectual History of Theory
Sample text
If Hegel's counter-aesthetic had been evident to Hegel's readers, then the End of Art could never have been understood as the Death of Art, worthy of being mourned - 'death' being a very poor translation of even Hegel's explicit word Auflosung for dissolution. The End would have been understood as another way of emphasizing a late stage, a having come on the scene too late, a lateness that is in principle the motor of thought, that, indulging the freedom of its diremption, must forever thrust apart from its object - and not because it is too feeble a thing visa-vis its object, but because it is too great.
For 'If I emerge in nothingness beyond the world, how can this extramundane nothingness furnish a foundation for those little pools of nonbeing which we encounter each instant in the depths of being' (53)? II. The Language of Nothingness These little pools of non-being, by contrast, are the concern of Sartre, 48 Tilottama Rajan who finds them in the very microphysics of perception and language. Sartre's resistance to theory is often located in an insensitivity to language, of which Merleau-Ponty is seen as more aware.
As one expert reader of the Aesthetics puts it, pretending to surprise: 'What is peculiar about Hegel's theory is that it understands human institutions as subjects, most notoriously the State' (Bungay 217). In my own question 2,1 broached the question of the traditional, normalizing reception of Hegel's theory of comedy. How that matter might be developed could follow directly from the place in Aesthetic Ideology where de Man evokes the '"ideology of the symbol" as a defensive strategy aimed against the implications of Hegel's aesthetic theory' (AI190).