Abstract
Despite not being literary critics in the traditional sense of the term, Gadamer, Derrida and Blanchot are fundamentally concerned with responding to literature. However, their legacy is not a formulaic or easily replicable method of reading but an attention to the paradoxically-always-singular-demand that literature has on us. Trying to read their work with the aim of finding an approach or a method, which can then be applied to any text, would not only lead to frustration but also go against the grain of their thinking. The programmability of method and what Gadamer calls the ‘cult of the expert’ (GE 170) are key assumptions in certain practices of reading literature — belonging to what Derrida provocatively describes as the ‘library of poetics’ (CC 295) — that they problematise. In view of this, rather than attempting to provide a method to be validated elsewhere, the strategy of this chapter is to respond, almost exclusively, to the eventhood of style in one of Celan’s lyrics, ‘Flower’ (‘Blume’). Such exclusivity, however, will always have to remain tentative. For the purpose of comparison, the close-reading of Celan’s lyric is here preceded by several counter-textual (with and against) readings of style. We begin with Jameson’s analysis of Joseph Conrad’s style and an application of this method to an excerpt from Charles Dickens’s Bleak House.
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Notes
Ian Buchanan, Fredric Jameson: Live Theory (London: Continuum, 2007) 54–55.
Joseph Conrad, The Nigger of the ‘Narcissus’, Typhoon and Other Stories (Harmondsworth: Penguin, 1963) 168, 171.
Charles Dickens, Bleak House (New York: W. W. Norton & Company, 1977) 1.
Peggy Kamuf, The Division of Literature: Or the University in Deconstruction (Chicago and London: University of Chicago Press, 1997) 164.
For a representative overview of contemporary stylistics see Marina Lambrou and Peter Stockwell, Eds., Contemporary Stylistics (London and New York: Continuum, 2007). For a historical overview see Carter and Stockwell, Language and Literature.
See Peter Stockwell, ‘On cognitive poetics and stylistics’, in Harri Veivo, Bo Pettersson and Merja Polvinen, Eds., Cognition and Literary Interpretation in Practice (Helsinki: University of Helsinki Press, 2005) 267–282.
Donald C. Freeman, Linguistics and Literary Style (New York: Holt, Rinehart and Winston, 1970) 4.
See George Lakoff and Mark Turner, More than Cool Reason: A Field Guide to Poetic Metaphor (Chicago: University of Chicago Press, 1989) and George Lakoff and Mark Johnson, Metaphors We Live By (Chicago: University of Chicago Press, 1980).
Guy Cook, Discourse and Literature: The Interplay of Form and Mind (Oxford: Oxford University Press, 1994) 182.
Reuven Tsur, ‘Aspects of Cognitive Poetics’, in Elena Semino and Jonathan Culpeper, Eds., Cognitive Stylistics: Language and Cognition in Text Analysis (Amsterdam/Philadelphia: John Benjamins Publishing Company, 2002) 279–318 (281).
Lisa Zunshine, ‘Style Brings in Mental States’, Style 45.2 (2011): 349–356 (354).
Geoffrey Leech, ‘Style in Fiction Revisited: The Beginning of Great Expectations’, Style 41.2 (2007): 117–132 (117 my emphasis).
Geoffrey Leech, ‘“This bread I break”: Language and Interpretation’, in Donald C. Freeman, Ed., Linguistics and Literary Style (New York: Holt, Rinehart and Winston, 1970) 119–129 (122).
See, for example, David L. Hoover, Jonathan Culpeper and Bill Louw, Eds., Approaches to Corpus Stylistics (London: Routledge, 2008).
See Talbot J. Taylor and Michael Toolan, ‘Recent trends in stylistics’, in Jean Jacques Weber, Ed., The Stylistics Reader: From Roman Jakobson to the Present (London: Arnold, 1996) 87–91.
For a detailed formal and metrical analysis of ‘Blume’, see Peter Szondi, ‘Appendix C’, in Celan Studies, trans. Susan Bernofsky with Harvey Mendelsohn (Stanford, CA: Stanford University Press, 2003) 109–113.
Elena Semino and Jonathan Culpeper, Ed., Cognitive Stylistics: Language and Cognition in Text Analysis (Amsterdam: John Benjamins, 2002) ix.
Donald C. Freeman, ‘“According to my bond”: King Lear and re-cognition’, in Jean Jacques Weber, Ed. The Stylistics Reader: From Roman Jakobson to the Present (London: Arnold, 1996) 280–297 (281).
Hugo Huppert, ‘“Spirituell”: Gespräch mit Paul Celan’, in Werner Hamacher and Winfried Menninghaus, Ed., Paul Celan (Frankfurt am Mein: Suhrkamp, 1988), 319–324 (321).
Letter of 19 May 1961, partially quoted in Barbara Wiedemann-Wolf, Antschel Paul-Paul Celan Studien zum Frühwerk (Tübingen: M. Niemeyer, 1985) as cited in John Felstiner, Paul Celan: Poet, Survivor, few (New Haven and London: Yale University Press, 1995) 177.
Line Brandt and Per Aage Brandt, ‘Cognitive Poetics and Imagery’, European Journal of English Studies, 9.2 (2005): 117–130 (124, 127).
Nicholas G. Meyerhofer, ‘The Poetics of Paul Celan’, Twentieth Century Literature 27.1 (1981): 72–85 (81).
Friedrich Hölderlin, Selected Poems and Fragments, trans. Michael Hamburger (Harmondsworth: Penguin, 1998) 154.
Charles Bernstein, ‘Celan’s Folds and Veils’, Textual Practice 18.2 (2004): 200–201 (201).
See James K. Lyon, ‘Paul Celan and Martin Buber: Poetry as Dialogue’, PMLA 86.1 (1971): 110–120.
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© 2014 Mario Aquilina
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Aquilina, M. (2014). Of Stones and Flowers. In: The Event of Style in Literature. Palgrave Macmillan, London. https://doi.org/10.1057/9781137426925_6
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DOI: https://doi.org/10.1057/9781137426925_6
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