Introduction 1 Traditional Theories of Style

Notes

Introduction

1. Berel Lang, Ed., The Concept of Style (Ithaca and London: Cornell University Press, 1987) 14. 2. ‘style’, accessed at: www.merriam-webster.com (my emphasis). 3. ‘style’, accessed at: www.oxforddictionaries.com (my emphasis). 4. ‘style’, accessed at: www.merriam-webster.com 5. Maurice Merleau-Ponty, ‘Indirect Language and the Voices of Silence’, in Signs, trans. Richard C. McCleary (Illinois: Northwestern University Press, 1964) 39–83 (54). 6. Nelson Goodman, Ways of Worldmaking (Indianapolis, IA: Hackett Pub Co Inc., 1978) 26. 7. George Kubler, ‘Toward a Reductive Theory of Visual Style’, in Berel Lang, Ed., The Concept of Style 119–128 (119). 8. Giuseppe Stellardi, Heidegger and Derrida on Philosophy and Metaphor: Imperfect Thought (Amherst: Humanity Books, 2000) 21. 9. Stellardi, Heidegger and Derrida 21. 10. See, for example, Alain Badiou, Being and Event, trans. Oliver Feltham (London: Bloomsbury Academic, 2013) 11. Michael Marder, The Event of the Thing: Derrida’s Post-Deconstructive Realism (Toronto: University of Toronto Press, 2009) 4. 12. E. D. Hirsch Jr., The Aims of Interpretation (Chicago and London: The University of Chicago Press, 1976) 57. 13. Derek Attridge, The Singularity of Literature (London and New York: Routledge, 2004) 7. 14. Timothy Clark, The Poetics of Singularity: The Counter-Culturalist Turn in Heidegger, Derrida, Blanchot and the later Gadamer (Edinburgh: Edinburgh University Press, 2005) 35. 15. Clark, The Poetics of Singularity 34. 16. Dana Richard Villa, Arendt and Heidegger: The Fate of the Political (Princeton, NJ: Princeton University Press, 1995) 116. 17. Clark, The Poetics of Singularity 8. 18. David R. Olson¸ The World on Paper: The Conceptual and Cognitive Implications of Writing and Reading (Cambridge: Cambridge University Press, 1994). 19. Villa, Arendt and Heidegger 116.

1 Traditional Theories of Style

1. Susan Sontag, ‘On Style’, in Against Interpretation, and Other Essays (New York: Farrar, Strauss and Giroux, 1961) 15–37 (17). 2. Laurent Milesi, ‘St!le in Deconstruction’, in Ivan Callus, James Corby, Gloria Lauri-Lucente, Eds., Style in Theory: Between Literature and Philosophy (London and New York: Bloomsbury, 2013) 217–248 (241).

213 214 Notes

3. A. Richards, ‘Metaphor’, in The Philosophy of Rhetoric (Oxford: Oxford University Press, 1965) 89–114. 4. See Sister Miriam Joseph, Shakespeare’s Use of the Art of Language (Philadelphia: Paul Dry Books, 2005) 13–40. 5. Rodolphe Gasché, The Tain of the Mirror: Derrida and the Philosophy of Reflection (Cambridge, MA and London: Harvard University Press, 1986) 256. 6. Richard A. Lanham, A Handlist of Rhetorical Terms 2nd Edn (Berkeley: University of California Press, 1991) 45. 7. See Raymond A. Macdonald, ‘Pluralism in Classical Style Theory: From Rhetoric and Poetics to Art History’, Style 26.2 (1992): 165–198. 8. Lawson-Tancred, H. C., ‘Introduction’, in Aristotle, The Art of Rhetoric (Classics Series) (London: Penguin Books Ltd. 1991) 31. 9. Aristotle, Rhetoric, trans. W. Rhys Roberts (New York: Modern Library, 1954) III.1405a.14. 10. Aristotle, Rhetoric III.1403b.15–18. 11. For a brief summary of the different kinds of theories of style in classical antiquity see Lanham, 174–178. 12. In On Style, (Demetrius, On Style, trans. T. A. Moxon, in Aristotle’s Poetics, Demetrius on Style, Longinus on the Sublime [New York: Dutton, 1963]), Demetrius speaks of the Plain, Grand, Eloquent and Forceful styles. 13. John Monfasani, George of Trebizond: A Biography and a Study of his Rhetoric and Logic (Leiden: E. J. Brill, 1976) 253, as cited in Lanham 177. 14. Cicero, M. T. Cicero De Oratore: Or, His Three Dialogues Upon the Character and Qualifications of an Orator, trans. William Guthrie (Boston: R. P. & C. Williams, Cornhill Square, 1822) I.xlix. 15. Quintilian, Institutes of Oratory, VIII.Intr.19–20. Rhetoric and Composition. Accessed 1 September 2012 at: http://rhetoric.eserver.org/quintilian/ contents.pdf 16. Quintilian, VIII.iii.6. 17. Tacitus, ‘Dialogues about Oratory’, in Moses Hedas, Ed., Complete Works of Tacitus, trans. Alfred John Church and William Jackson Brodribb (New York: The Modern Library, 1942) 735–770 (XXVI.755). 18. Tzvetan Todorov, Theories of the Symbol, trans. Catherine Porter (Ithaca, New York: Cornell University Press, 1982) 74. 19. Demetrius I.xv. 20. Peter Steiner, Russian Formalism: A Metapoetics (Ithaca, NY and London: Cornell University Press, 1984) 47. 21. Steiner, Russian Formalism 50. 22. Gerard Genette, Fiction & Diction, trans. Catherine Porter (Ithaca, NY and London: Cornell University Press, 1993) 124. 23. Roman Jakobson, ‘Closing Statements: Linguistics and Poetics’, in Thomas A. Sebeok, Ed., Style In Language (Cambridge, MA: MIT Press, 1960) 350–377 (365). 24. M. A. K. Halliday, ‘Linguistic Function and Literary Style: An Inquiry into the Language of William Golding’s The Inheritors’, in Jean Jacques Weber, Ed., The Stylistics Reader: From Roman Jakobson to the Present (London: Arnold, 1996) 56–91 (65). 25. Halliday, ‘Linguistic Function and Literary Style’ 64. Notes 215

26. Ronald Carter and Peter Stockwell, ‘Stylistics: retrospect and prospect’, in The Language and Literature Reader (London and New York: Routledge, 2008) 291–302 (295–296). 27. Aristotle, Rhetoric III.1404b.21. 28. Aristotle, Rhetoric III.1403b.35–1404a.12. 29. Olson, The World on Paper 155. 30. Northrop Frye, The Great Code: The Bible and Literature (Toronto: Academic Press, 1982) 23. 31. Olson, The World on Paper 53. 32. Frye, The Great Code 23. 33. Francis Bacon, ‘The great instauration’, in S. Warhaft, Ed., Francis Bacon: A selection of his works (Toronto: Macmillan, 1965 [1620]) 298–324 (323). 34. K. F. Morrison, History as a Visual Art in the Twelfth Century Renaissance (Princeton, NJ: Princeton University Press, 1990) 54. 35. Olson, The World on Paper 57. 36. Olson, The World on Paper 279. 37. Olson, The World on Paper 156. 38. Thomas Sprat, The History of the Royal Society of London for the Improving of Natural Knowledge (London: J. Martyn, 1667) 16. Spelling and punctuation unchanged from original in all references. 39. Sprat, History of the Royal Society 15–16. 40. Sprat, History of the Royal Society 111. 41. Sprat, History of the Royal Society 113. 42. Sprat, History of the Royal Society 112. 43. Francis Bacon, The Advancement of Learning (Oxford: Clarendon Press, 1885) XVIII, 3. 44. Bacon, The Advancement of Learning XVIII, 5. 45. J.-P. Sartre and P. Verstraeten, ‘L’écrivain et sa langue’, Situations IX (Paris: Gallimard, 1972) 40ff as cited by Manfred Frank, ‘Style in Philosophy: Part 1’, Metaphilosophy 30.3 (1999) 145–167 (147). 46. Jean-Paul Sartre, What is Literature? trans. Bernard Frechtman (New York: Philosophical Library, 1949) 284. 47. George Orwell, Why I Write (Harmondsworth: Penguin, 2005) 10. 48. Frank Kermode, History and Value: The Clarendon Lectures and the Northcliffe Lectures 1987 (Oxford: Oxford University Press, 1988) 90–93. 49. Dorothea Franck, ‘Style and innocence – lost, regained – and lost again?’ in Caroline Van Eck, James Mcallister, Renée Van de Vall, Eds., The Question of Style in Philosophy and the Arts (Cambridge: Cambridge University Press, 1995) 220–234 (226). 50. Frank, ‘Style in Philosophy’ 147. 51. Frank, ‘Style in Philosophy’ 146. 52. In this context, Jack Selzer reminds us that for centuries scientific discourse was considered to be ‘a special kind of discourse operating outside the realms of rhetoric’ and ‘a rhetorical analysis of scientific prose would have been impossible to imagine’ until the 1970s (Understanding Scientific Prose [ Wisconsin: The University of Wisconsin Press, 1993] 4). 53. Gustave Flaubert, ‘Letter to Louise Colet, 16 February 1852’, in The Letters of Gustave Flaubert 1830–1857 Vol. 1, Ed. and trans. Francis Steegmuller (Harvard: Belknap Press, 1980). 216 Notes

54. Walter Pater, ‘Style’, in Appreciations: With an Essay on Style (London: Macmillan, 1890) 1–36 (29). 55. Pater, ‘Style’ 31. 56. Pater, ‘Style’ 32. 57. Pater, ‘Style’ 33. 58. Pater, ‘Style’ 6. 59. Oscar Wilde, Collected Works of Oscar Wilde: The Plays, the Poems, the Stories and the Essays Including De Profundis (Ware, UK: Wordsworth Editions Ltd, 1998) 932. 60. Wilde, Collected Works 929. 61. Wilde, Collected Works 930. 62. See James Sloan Allen, ‘Nietzsche and Wilde: An Ethics of Style’, Sewanee Review 114.3 (2006) 386–402. 63. Wilde, Collected Works 1052 64. Michael Toolan, ‘Stylistics and its discontents; or, getting off the Fish “hook”’, in Jean Jacques Weber, Ed., The Stylistics Reader: From Roman Jakobson to the Present (London: Arnold, 1996) 117–135 (121). 65. Attridge, Singularity of Literature 107. 66. Matthew Arnold, ‘The Study of Poetry’, in Hazard Adams, Ed., Critical Theory Since Plato (New York: Harcourt, Brace, Jovanovich, 1971) 600–603 (600). 67. Sontag, ‘On Style’ 34. 68. Meyer Schapiro, ‘Style’, in Anthropology Today: An Encyclopedic Inventory (Chicago, IL: University of Chicago Press, 1953) 287–312 (287). 69. Richard Ohmann, ‘Prolegomena to the Analysis of Prose’, in Harold C. Martin, Ed. Style in Prose Fiction (New York: Columbia University Press, 1959) 1–24 (2). 70. Lang, ‘Looking for the Styleme’, 178. 71. Hirsch, Aims of Interpretation 51. 72. Lang, ‘A Checklist of Questions about Style’, in Lang, Ed., The Concept of Style, 299–304 (301). 73. Richard Ohmann, ‘Generative Grammars and the Concept of Literary Style’, in Donald C. Freeman, Ed., Linguistics and Literary Style (New York: Holt, Rinehart and Winston, 1970) 258–278 (264). 74. August Wilhelm Schlegel, Lecture XXII, in Lectures on Dramatic Art and Literature, trans. John Black (Whitefish, Montana: Kessinger Publishing, LLC, 2004) 283–284. 75. Attridge, Singularity of Literature 108. 76. Todorov, Theories of the Symbol 80. 77. M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition (Oxford: Oxford University Press, 1971) 290–292. 78. Cleanth Brooks, ‘The Heresy of Paraphrase’, in The Well Wrought Urn: Studies in the Structure of Poetry (New York: Harcourt, Brace, 1947) 192–214 (195). 79. Schapiro, ‘Style’ 292. 80. Murray Krieger, A Reopening of Closure: Organicism Against Itself (New York: Columbia University Press, 1989) 3. 81. Brooks, ‘The Heresy of Paraphrase’ 200. 82. Bendetto Croce, The Aesthetic as the Science of Expression and of the Linguistic in General Part 1, trans. Colin Lyas (Cambridge: Cambridge University Press, 1992) 76. Notes 217

83. Murray Krieger, ‘Benedetto Croce and the Recent Poetics of Organicism’, Comparative Literature 7.3 (1955): 252–258 (254). 84. In English, Dichtung is perhaps closest to ‘poetry’ but, as Clark explains, it ‘is a strongly evaluative term, naming a work of language which has all the features of a genuine work of art’ (Timothy Clark, Martin Heidegger [London and New York: Routledge, 2002] 101). 85. Clark, Heidegger 103. 86. Timothy Clark, ‘Being in Mime: Heidegger and Derrida on the Ontology of Literary Language’, MLN 101.5 (1986): 1003–1021 (1009). 87. Attridge, 96. 88. Clark, ‘Being in Mime’ 1005. 89. Clark, Heidegger 148. 90. See G. W. F. Hegel, Aesthetics. Lectures on Fine Art Volume 1, trans. T. M. Knox (Oxford: Clarendon Press, 1998) 593ff. For Blanchot’s reading of Hegel, see BC 195–201. 91. Leslie Hill, Blanchot: Extreme Contemporary (London and New York: Routledge, 1997) 123. 92. Georges-Louis Leclerc, comte de Buffon. Discours sur le style: A Facsimile of the 12 Edition. Intr. Cedric E. Pickford (Hull: Hull French Texts, 1978) xvii. 93. Demetrius, iv.227. 94. Ben Jonson, Ben Jonson’s Timber: or, Discoveries, Ed., Ralph S. Walker (Westport, CT: Greenwood, 1976) 46. 95. George Puttenham, The Arte of English Poesie, Ed., Edward Arber (London: Bloombsury, 1869 [1589]) 160. 96. Strabo, The Geography of Strabo, Volume 1, trans. H.C. Hamilton and W. Falconer (London: Henry G. Bohn, 1854) I.ii.5. 97. Puttenham, The Arte of English Poesie 160. 98. Abrams, Mirror and the Lamp 230. 99. Jacques Lacan, Ecrits: The First Complete Edition in English, trans. Bruce Fink (New York: W. W. Norton & Company, 2005) 3. 100. Sprat, History of the Royal Society 36. 101. Rémy de Gourmont, Le Problème du style: Questions d’art, de littérature et de grammaire, avec une préface et un index des noms cités (Paris: Mercure de France, 1902) 154. 102. “bien écrire, c’est [...] bien penser” (Buffon, 15). 103. “Le style n’est que l’ordre et le mouvement qu’on met dans ses pensées” (Buffon, 6). 104. Edmond Arnould, Essai d’une théorie du style (Paris: Hachette, 1851) as cited and translated by Milesi 220. 105. Arnould, 54 as cited and translated by Milesi 222. 106. Genette, 128. The ‘Virgilian Wheel’ is a classical theory of style based on generic decorum. 107. Abrams, Mirror and the Lamp 228. 108. Abrams, Mirror and the Lamp 230. 109. Seymour Chatman, “On the Theory of Literary Style,” Linguistics 27 (1966): 13–25 (14, 24–25). 110. Nelson Goodman, Ways of Worldmaking (Indianapolis, Indiana: Hackett Pub Co Inc, 1978) 34. 218 Notes

111. Richard Wollheim, ‘Pictorial Style: Two Views,’ in Lang, Ed., The Concept of Style, 183–202 (197). 112. Michael McCarthy, ‘Introduction’ to Michaela Mahlberg, ‘A Corpus Stylistics Perspective on Dickens’ Great Expectations,’ in Marina Lambrou and Peter Stockwell, Ed., Contemporary Stylistics (London and New York: Continuum, 2007) 19. 113. See, for example, Kim Luyckx, Walter Daelemans and Edward Vanhoutte, ‘Stylogenetics: Clustering-based stylistic analysis of literary corpora,’ Proceedings of LREC 2006 5 International Conference on Language Resources and Evaluation (Genoa: Istituto di Linguistica Computazionale, 2006) 30–35. 114. McCarthy, ‘Introduction’ 19. 115. Louis T. Milic, ‘Rhetorical Choice and Stylistic Option: The Conscious and Unconscious Poles,’ in Seymour Chatman, Ed., Literary Style: A Symposium (London and New York: Oxford University Press, 1971) 77–94 (84). 116. Richard Ohmann, Shaw: The Style and the Man (Middletown, CT: Wesleyan University Press, 1962) 4. 117. Ohmann, Shaw 22. 118. Roger Fowler, Linguistics and the Novel (London: Methuen, 1977) 103. 119. Karen Lawrence, The Odyssey of Style in James Joyce’s Ulysses (Princeton, NJ: Princeton University Press, 1981) 9. 120. Raymond Queneau, Exercises in Style, trans. Barbara Wright (New York: New Directions, 1981). 121. Franck, ‘Style and Innocence’ 229. 122. Stephen Ullmann, Style in the French Novel (Cambridge: Cambridge University Press, 1957). 123. Véronique M. Fóti, Heidegger and the Poets: Poiēsis/Sophia/Technē (New York: Humanity Books, 1992) 45. 124. Wilde, Collected Works 929. 125. Karl Marx, ‘Preface,’ A Contribution to the Critique of Political Economy, trans. N. I Stone (Chicago: Charles H. Kerr and Company, 1904) 11–12. 126. Raymond Williams gives three definitions of ‘ideology’: a system of beliefs characteristic of a particular class or group; a system of illusory beliefs (false consciousness); the general process of the production of meanings and ideas. (‘Ideology’, in Marxism and Literature [Oxford: Oxford University Press, 1977]) 55–71. 127. Georg Lukács, The Meaning of Contemporary Realism, trans. John Mander and Necke Mander (London: Merlin Press Ltd., 1963) 17. 128. Lukács, Contemporary Realism 18. 129. Lukács, Contemporary Realism 19. 130. See Hayden White, The Content of the Form: Narrative Discourse and Historical Representation (Baltimore: Johns Hopkins University Press, 1987). 131. Terry Eagleton, Marxism and Literary Criticism (London: Methuen & Co Ltd, 1976) 22. 132. Eagleton, Marxism and Literary Criticism 22–23. 133. G. W. F. Hegel, The Introduction to Hegel’s Philosophy of Fine Art, trans. Bernard Bosanquet (London: Kegan Paul, Trench & Co. 1886) 134. Aristotle, Rhetoric III.1404a.3. 135. Jonathan Culler, Structuralist Poetics: Structuralism, Linguistics, and the Study of Literature (London and New York: Routledge, 2002) 135. Notes 219

136. The problem of the example, the exemplary, or exemplarity in relation to style will be discussed in Chapter 5. 137. Michael Riffaterre, ‘The Self-sufficient Text’, Diacritics 3.3 (1973): 39–45 (40). 138. Riffaterre, ‘The Self-sufficient Text’ 42. 139. Michael Riffaterre, ‘Review of Ullmann (1957)’, Word 15 (1959): 404–413 (409). 140. Stanley Fish, Is There a Text in This Class? The Authority of Interpretive Communities (Cambridge, MA and London: Harvard University Press, 1980) 65. 141. Michael Riffaterre, ‘Criteria for Style Analysis’, in Seymour Chatman and Samuel R. Levin, Ed., Essays on the Language of Literature (Boston: Houghton Mifflin, 1967) 412–430 (413). 142. Andrew Bowie, From Romanticism to Critical Theory: The Philosophy of German Literary Theory (London and New York: Routledge, 1997) 59. 143. Andrew Bowie, ‘The Philosophical Significance of Schleiermacher’s Hermeneutics’, in Jacqueline Mariña, Ed., The Cambridge Companion to Friedrich Schleiermacher (Cambridge: Cambridge University Press, 2005) 73–90 (83). 144. Friedrich Schleiermacher, Hermeneutics and Criticism: And Other Writings, Ed. Andrew Bowie (Cambridge: Cambridge University Press, 1998) 229. 145. Manfred Frank, ‘The Text and Style. Schleiermacher’s Hermeneutic Theory of Language’, trans. Richard Hannah and Michael Hays, boundary 2 11.3 (1983): 11–28 (19). 146. Schleiermacher, Hermeneutics and Criticism 91. 147. Frank, ‘The Text and its Style’ 22. 148. Schleiermacher, Hermeneutics and Criticism 14. 149. Schleiermacher, Hermeneutics and Criticism 11. 150. Bowie, From Romanticism 109. 151. Bowie, From Romanticism 111. 152. Bowie, From Romanticism 112. 153. Bowie, From Romanticism 113. 154. Schleiermacher, Hermeneutics and Criticism 96. 155. Schleiermacher, Hermeneutics and Criticism 91. 156. Schleiermacher, Hermeneutics and Criticism 95. 157. Frank, ‘The Text and its Style’ 24. 158. Frank, ‘The Text and its Style’ 25. 159. Timothy Clark, ‘The Impossible Lightness of Reading: Blanchot and the Communicational Model of Subjectivity’, Southern Review 28 (1995): 83–95 (86). 160. Bill Readings, Introducing Lyotard: Art and Politics (London and New York: Routledge, 1991) 128.

2 Gadamer and Style as Wor(l)d-Making

1. Johann Wolfgang von Goethe, ‘Simple Imitation of Nature; Manner; Style (1789)’, Lane Cooper, Ed., Theories of Style (New York: Burt Franklin, 1968) 192–198 (195). 2. Goethe, ‘Simple Imitation’ 196. 3. Fred Reinhard Dallmayr, In Search of the Good Life: A Pedagogy for Troubled Times (Kentucky: The University Press of Kentucky, 2007) 144. 220 Notes

4. Georgia Warnke, Gadamer: Hermeneutics, Tradition and Reason (Stanford, CA: Stanford University Press, 1987) 55. 5. Jean Grondin, ‘Gadamer’s Basic Understanding of Understanding’, in Robert J. Dostal, Ed., The Cambridge Companion to Gadamer (Cambridge: Cambridge University Press, 2002) 36–51 (40). 6. See Frank, ‘The Text and Its Style’, 11–28; Bowie, From Romanticism 124–125; Thomas Pfau, ‘Immediacy and the Text: Friedrich Schleiermacher’s Theory of Style and Interpretation’, Journal of the History of Ideas 51.1 (1990): 51–73. 7. Gadamer misinterprets Schleiermacher when he speaks of divination as a way of bridging the historical gap between interpreter and interpreted. Indeed, as Bowie shows, not only does Schleiermacher not endorse the idea of a ‘“congenial” or emphatic capacity form meaning-production on the part of the interpreter’, but he actually rejects this idea (Bowie, From Romanticism 47). 8. ‘invent’, ‘discover’, and ‘create’ Accessed 29 April at: http://oxforddictionar ies.com 9. Clark, The Poetics of Singularity 53. 10. Gadamer assimilates several aspects of Heidegger’s work on the ontology of the work of art, claiming that art is ‘its own origin’ and ‘affirms itself’ (TM 119). However, while for Gadamer art brings its own world into existence, it does not found a new historical ‘epoch’ (RB xii). 11. Clark, The Poetics of Singularity 71. 12. For Gadamer, philosophy holds a problematic and ambivalent status with respect to translatability. In ‘Philosophy and Poetry’, he writes that despite the fact that the language of both philosophy and poetry ‘can stand by itself, bearing its own authority in the detached text that articulates it’ (RB 132), the ‘proximity’ of poetry and philosophy ‘seems in the end to collapse into the extremes of the word that stands [poetry], and the word that fades into the unsayable’ (RB 133). However, while philosophy of the Hegelian kind might aim at this sublation, it does not, in practice, possess a language that is adequate to it because the language of proposition that it has to adopt suggests that the object of philosophy, which is presumably ‘nothing’ – in the sense that ‘the whole of being and its categorical conceptualisation is nowhere “given”’ (PL 257) – is known in advance. For this reason, a ‘verbal expression’ remains inextricable from ‘concept formation’ in philosophical discourse (GE 69). Gadamer rejects the tendency to consider stylistic aspects of philosophical language as a linguistic dimension that can be separated from ‘truth’, ‘logic’ or the ‘cognitive moment’; however, at the same time, philosophical language should not get ‘caught up in purely formal argumen- tation’ if it does not want to fail to live up to its own ideal (RB 139). 13. As Gadamer notes elsewhere, the autotelic being of poetry is mirrored in the meaning of the word beautiful (in Greek, kalon), which describes an attribute that enlightens ‘for no other reason than because of its own appearance’ (OTW 143). 14. See Chapter 1 for a discussion of Adorno and Goethe’s views on style and manner. Hegel’s relevant terminological distinction forms part of a tripartite structure that includes manner, style and originality. ‘Style’, for Hegel, is the artist’s expression of ‘an inherently necessary mode of representation’ while ‘manner’ is ‘subjective caprice which gives free play to his own whims’. Originality goes beyond ‘mere’ manner and style towards what can be Notes 221

described as a perfect integration of the material with the artist’s subjectivity in expressing the Ideal (Aesthetics: Lectures on Fine Arts Volume 1, trans. T. M. Knox [Oxford: Oxford University Press, 1975] 294). 15. Friedrich Wilhelm von Schelling, The Philosophy of Art, trans. Douglas W. Stott (Minneapolis: University of Minnesota Press, 1989) 94. 16. Gadamer defines the ‘inner ear’ (‘das innere Ohr’): ‘The inner ear apprehends the ideal meaning in language, something nobody ever can hear. The ideal form of language, then, demands something unattainable from the human voice, and that is exactly the mode of being of a literary text’ (PL 248). 17. Grondin, ‘Basic Understanding’ 43. 18. See TM 386ff. 19. Richard J. Bernstein, ‘The Constellation of Hermeneutics, Critical Theory and Deconstruction’, in Robert J. Dostal, Ed., The Cambridge Companion to Gadamer (Cambridge: Cambridge University Press) 267–282 (273). 20. Sheila Ross, ‘The Temporality of Tarrying in Gadamer’, Theory Culture Society 23.1 (2006): 101–123 (106). 21. Carter and Stockwell, Language and Literature 296. 22. Robert Bernasconi, ‘‘You don’t Know What I’m Talking About’: Alterity and the Hermeneutical Ideal’, in Lawrence K. Schmidt, Ed. The Specter of Relativism: Truth, Dialogue, and Phronesis in Philosophical Hermeneutics, (Evanston, IL: Northwestern University Press, 1995) 178–194 (186). 23. Clark, The Poetics of Singularity 63. 24. Clark, The Poetics of Singularity 64. 25. David P. Haney, ‘Aesthetics and Ethics in Gadamer, Levinas and Romanticism: Problems of Phronesis and Techne’, PMLA 114.1 (1999) 32–45 (38). 26. Ulrich Arnswald, ‘On the Certainty of Uncertainty: Language Games and Forms of Life in Gadamer and Wittgenstein’, in Jeff Malpas, Ulrich Arnswald and Jens Kertscher, Eds., Gadamer’s Century: Essays in Honor of Hans-Georg Gadamer (Boston, MA: MIT Press, 2002) 25–44 (36). 27. Bernstein, Constellation 279. 28. Grondin, ‘Basic Understanding’ 39. 29. ‘test case’; Accessed 29 April 2014 at: http://oxfordictionaries.com 30. Title cited in text will be abbreviated to Who Am I and Who Are You? 31. See Gerald L. Bruns, Maurice Blanchot: The Refusal of Philosophy (Baltimore, MD and London: Johns Hopkins University Press, 2005) 87–101 and 158–172. 32. Clark, The Poetics of Singularity 76. 33. Joanna Klink, ‘An Introduction to Paul Celan’, The Iowa Review 30.1 (2000): 1–18 (8). 34. Clark, The Poetics of Singularity 77–78. 35. According to Klink, ‘he inscribed Michael Hamburger’s copy of Die Niemandsrose with the phrase ganz und gar nicht hermetisch – “not in the least hermetic”’ (2).

3 Blanchot and the Anarchic Anachrony of Style

1. See Mario Aquilina, ‘“This Song to Come, This Reader to Become”: The Style of Paradoxical Anachrony in Blanchot’s “René Char”’, in Ivan Callus, James Corby, and Gloria Lauri-Lucente, Eds. Style in Theory: Between Literature and Philosophy (New York and London: Bloomsbury, 2013) 249–267. 222 Notes

2. Timothy Clark, The Theory of Inspiration: Composition as a Crisis of Subjectivity in Romantic and Post-Romantic Writing (Manchester and New York: Manchester University Press, 1997) 249. 3. Kenneth Douglas, ‘Blanchot and Sartre’, Yale French Studies 3 (1949): 85–95 (85). 4. Kevin Hart, The Dark Gaze: Maurice Blanchot and the Sacred (Chicago: University of Chicago Press, 2004) 155. 5. See, for example, Simon Critchley, Very Little, Almost Nothing: Death, Philosophy, Literature 2nd Edn (New York and London, Routledge, 2004) 125ff. 6. John Donne, ‘Annunciation’, in The Works of John Donne (Ware: Wordsworth Poetry Library, 1994) 244. 7. Philip Beitchman, “The Fragmentary Word,” SubStance 39 (1983): 58–74 (71). 8. Sartre, What is Literature? 12. 9. Sartre, What is Literature? 26. 10. Sartre, What is Literature? 296. 11. Simon Jarvis, Adorno: A Critical Introduction (New York: Routledge, 1998) 121. 12. Bruns, Maurice Blanchot: The Refusal of Philosophy 261. 13. Leslie Hill, ‘‘Not in Our Name’: Blanchot, Politics, the Neuter’, Paragraph 30.3 (2007): 141–159 (155). 14. See Lukács, ‘The Ideology of Modernism’, in The Meaning of Contemporary Realism 17–46. 15. Lars Iyer, Blanchot’s Communism: Art, Philosophy and the Political (New York: Palgrave Macmillan, 2004) 6. 16. Michael Syrotinski, Defying Gravity: Jean Paulhan’s Interventions in Twentieth– Century French Intellectual History (Albany: State University of New York Press, 1998) 82. 17. Jean Paulhan, The Flower of Tarbes: or, Terror in Literature, trans. Michael Syrotinski (Illinois: University of Illinois Press, 2006) 24. 18. Syrotinski 84. 19. Syrotinski 92. 20. Hill, Extreme Contemporary 75. 21. Since the word ‘narrative’, in English, may also refer to novel writing and there is no English equivalent to ‘récit’, ‘récit’ is being retained for clarity. 22. Timothy Clark, Derrida, Heidegger, Blanchot: Sources of Derrida’s Notion and Practice of Literature (Cambridge: Cambridge University Press, 1992) 84. 23. Lars Iyer, ‘Blanchot, Narration, and the Event’, Postmodern Culture 12.3 (2002) n.p. (paragraph 38). 24. Hill, Extreme Contemporary 143. 25. Iyer, ‘Blanchot, Narration, and the Event’ paragraph 38. 26. Hill, Extreme Contemporary 143. 27. Kevin Hart, ‘From the Star to the Disaster’, Paragraph 30.3 (2007) 84–103 (94). 28. Hill, Extreme Contemporary 168. 29. Hill, Extreme Contemporary 168. 30. Cf. Derrida: ‘what is reflected is split in itself and not only as an addition to itself of its image. The reflection, the image, the double, splits what it doubles’ (OG 36). Notes 223

31. Simon Critchley, Infinitely Demanding: Ethics of commitment, politics of resistance (London and New York: Verso, 2007) 11, 56. 32. Critchley, Infinitely Demanding 93. 33. Leslie Hill, ‘‘Distrust of Poetry’: Levinas, Blanchot, Celan’, MLN 120.5 (2005) 986–1008 (990). 34. See Derrida (SQ 135–163). 35. Iyer, Blanchot’s Communism 11. 36. Iyer, Blanchot’s Communism 11. 37. Clark, Singularity 107. 38. Clark, ‘The Impossible Lightness of Reading’ 84. 39. Hart, Dark Gaze 193. 40. Hart, Dark Gaze 206. 41. As Hart argues, this is a major point of divergence between Blanchot and Levinas since ‘the one [Levinas] regards being-for-the-other, ethics, as mark- ing an exit from the il y a, while the other [Blanchot] maintains that ethics can begin only if there is an Outside’ (Hart, Dark Gaze 209). 42. Iyer, Blanchot’s Communism 45. 43. Ginette Michaud, ‘Singbarer Rest: Friendship, Impossible Mourning (Celan, Blanchot, Derrida)’, The Oxford Literary Review 31.1 (2009): 79–114 (87). 44. Clark, The Poetics of Singularity 112. 45. Iyer, Blanchot’s Communism 41. 46. Iyer, Blanchot’s Communism 41. 47. Michaud 80. 48. Gilles Deleuze, ‘He Stuttered’, in Essays Critical and Clinical, trans. Daniel W. Smith and Michael A. Greco (London: Verso, 1997) 107–114 (113). 49. Michael Holland, ‘The Time of his Life’, Paragraph 30.3 (2007): 46–66 (59). 50. Hart, Dark Gaze 164.

4 Derrida and Counter- Institutional Style

1. Marian Hobson, Jacques Derrida: Opening Lines (New York and London: Routledge, 1998) 188. 2. John P. Leavey Jr., ‘French Kissing’, in Julian Wolfreys, John Brannigan and Ruth Robbins, Eds., The French Connections of Jacques Derrida (Albany: State University of New York Press, 1999) 149–164 (156). 3. Alan Roughley, Reading Derrida Reading Joyce (Gainesville: University Press of Florida, 1999) 6. 4. Hobson, Jacques Derrida 46. 5. Nicholas Davey, ‘Beyond the Mannered: The question of style in philosophy or questionable styles of philosophy’, in Caroline Van Eck, James Mcallister and Renée Van de Vall, Eds., The Question of Style in Philosophy and the Arts (Cambridge: Cambridge University Press, 1995) 177–200 (177). 6. Davey, ‘Beyond the Mannered’ 182. 7. Davey, ‘Beyond the Mannered’ 178. 8. Geoffrey Bennington, Legislations: The Politics of Deconstruction (London & New York: Verso, 1994) 277–278. 9. J. G. Ballard, ‘The Index’, in Martin Amis, Ed., The Complete Stories of J. G. Ballard (New York: W.W. Norton, 2010) 940–945 (940). 224 Notes

10. Ballard, ‘The Index’ 943. 11. The paronomastic play on HRH’s abbreviated name (reminding us of ‘His Royal Highness’) is another such instance. 12. Bennington, Legislations 289. 13. Bennington, Legislations 293. 14. ‘In no case does copyright protection for an original work of authorship extend to any idea, procedure, process, system, method of operation, concept, principle, or discovery, regardless of the form in which it is described, explained, illustrated, or embodied in such work’. Copyright Act of 1976, 17 U.S.C. §102(b) (1982). 15. Joseph G. Kronick, ‘Philosophy as Autobiography: The Confessions of Jacques Derrida’, MLN 115.5 (2000): 997–1018 (1000). 16. Aristide Marigo and Pier Giorgio Ricci, Eds., De Vulgari Eloquentia, in Opere di Dante Vol. 6. General editors Vittore Branca, Francesco Maggini, and Bruno Nardi (Firenze: Le Monnier, 1968). 17. J. L. Austin, How to do Things with Words (Cambridge, MA: Harvard University Press, 1962) 60–61. 18. Peter McMillan, Signature Stylometric System, accessed 15 October 2010 at: http://www.philocomp.net/humanities/signature 19. Nicholas Royle, The Uncanny (Manchester: Manchester University Press, 2003) 194. 20. See Genevieve Warwick, Ed., Caravaggio: Realism, Rebellion, Reception (Cranbury: Associated University Presses, 2010) 15. 21. Emily Apter, ‘What is Yours, Ours and Mine’, Angelaki 14.1 (2009): 87–100 (90). 22. Claire Colebrook, ‘On the Uses and Abuses of Repetition’, Angelaki 14.1 (2009): 41–49 (41). 23. Colebrook, ‘On the Uses’ 46. 24. Colebrook, ‘On the Uses’ 44. 25. Hobson, Jacques Derrida 127. 26. Francis Ponge, The Voice of Things, Ed. and trans. Beth Archer (New York: McGraw-Hill Book Company, 1971) 36. 27. Clark, Sources 158. 28. Clark, Sources 166. 29. Joseph G. Kronick, Derrida and the Future of Literature (Albany: State University of New York Press, 1999) 41. 30. Kronick, ‘Philosophy as Autobiography’ 1006. 31. William Strunk Jr., The Elements of Style (New York: Private printing, 1918) 1. 32. Denis Dutton, The Bad Writing Contest: Press Releases 1996–1998, accessed 13 May 2014 at: http://denisdutton.com/bad_writing.htm 33. Dutton, Denis. ‘Language Crimes: A Lesson in How Not to Write, Courtesy of the Professoriate’. The Wall Street Journal 5 February 1999, accessed 9 May 2014 at: http://denisdutton.com/language_crimes.htm 34. Domna C. Stanton, ‘Foreword’, MLA Style Manual and Guide to Scholarly Publishing 3rd Edn. (New York: The Modern Language Association of America, 2008) xi–xxi (xii). 35. Stanton, ‘Foreword’ xvii, citing Judith Butler, ‘Values of Difficulty’, in Jonathan Culler and Kevin Lamb, Eds., Just Being Difficult? Academic Writing in the Public Arena (Stanford: Stanford University Press, 2003) 199–215 (209). Notes 225

36. Stanton, ‘Foreword’ xix. 37. Bennington, Legislations 4. 38. Attridge, Singularity 107. 39. Ben Jonson, ‘To The Memory Of My Beloved, The Author Mr. William Shakespeare And What He Hath Left Us‘, The Works of Ben Jonson Vol. 3 (London: Chatto & Windus, 1910) 287–289. 40. See Nicholas Royle, After Derrida (Manchester: Manchester University Press, 1995) 85–123 for an original discussion of the ways Shakespeare (like Ponge) inscribes his proper name and signature into his work. 41. Percy Bysshe Shelley, ‘Ozymandias’, The Works of P. B. Shelley (Ware: Wordsworth Editions Limited, 1994) 302–303. 42. Rodrigo Levino, ‘“Ulysses” was harmful to literature, says Coelho’, Folha De S. Paolo. Accessed 13 May 2013 at: http://www1.folha.uol.com.br/internacional/en/culture/2012/08/1131885-ulysses-was-harmful-to-literature-says- coelho.shtml 43. Geoffrey Bennington, ‘Editorial’, The Oxford Literary Review 33.1 (2011): v–vi (v). 44. Kronick, Future of Literature 33. 45. Marjorie Perloff, The Use and Abuse of Literature (New York: Pantheon, 2011) 46. Geoffrey Hartman, Saving the Text: Literature/Derrida/Philosophy ( Baltimore: Johns Hopkins University Press, 1981) 24, 22. 47. Hartman, Saving the Text 22–23. 48. Hartman, Saving the Text xiv. 49. Hartman, Saving the Text 80. 50. G. W. F. Hegel, Phenomenology of Spirit, trans. A. V. Miller (Oxford: Clarendon Press, 1977) 431. 51. Francis Ponge, ‘Pages bis’, in Proêmes II (Paris: Gallimard, 1948) v, as cited by Derrida (SP 89). 52. Hobson, Jacques Derrida 127. 53. Stéphane Mallarmé, Un Coup de Dés Jamais N’Abolira Le Hasard. (Librairie Gallimard [copyright by Nouvelle Revue Française] July 1914.) This is the first publication of the poem in book form. Text available at: http://writing. upenn.edu/library/Mallarme-Stephen_Coup_1914.pdf 54. Hill, ‘Blanchot and Mallarmé’ 892. 55. Mallarmé, ‘Préface’, in Un Coup de Dés. 56. Culler, Structuralist Poetics 132. 57. In the various senses discussed by Royle in After Derrida 4, rather than in the chronological sense of the term. 58. Royle, After Derrida 4. 59. Clark, Sources 151. 60. Samuel Johnson, ‘Preface to Shakespeare’, in Walter Raleigh, Ed., Johnson on Shakespeare: Essays and Notes (Oxford: Oxford University Press, 1908) 9–63 (19). 61. Johnson, ‘Preface to Shakespeare’ 20. 62. Robert Frost, ‘Message to the Poetics of Korea (1957)’, in Mark Richardson, Ed. The Collected Prose of Robert Frost (Cambridge, MA: Belknap Press of Harvard University Press, 2007) 192. 63. Nicholas Royle, In Memory of Jacques Derrida (Edinburgh: Edinburgh University Press, 2009) 91. 64. Deleuze, ‘He Stuttered’ 113. 226 Notes

65. See Roman Jakobson, ‘On Linguistic Aspects of Translation’, in R. A. Brower, Ed., On Translation (Cambridge MA: Harvard University Press, 1959) 232–9 (233). Jakobson defines ‘intralingual’ translation as paraphrase. 66. Roman Jakobson, ‘On Linguistic Aspects of Translation’ 238. 67. Apter, ‘What is Yours, Ours and Mine’ 44. 68. Herman Rapaport, Later Derrida: Reading the Recent Work (Routledge: New York, 2003) 69. Hobson, Jacques Derrida 225. 70. Mark C. Taylor, ‘nO nOt nO’, in Harold Coward and Toby Foshay, Eds., Derrida and Negative Theology (Albany: State University of New York Press, 1992) 167–198 (168). 71. This paragraph is based on Mario Aquilina, ‘“Let Me (not) Read You”: Countersigning Shakespeare’s Sonnet 116’, Word and Text: A Journal of Literary Studies and Linguistics, 1. 2 (2011): 79–90 (85). 72. Clark, Sources 137. 73. Herman Rapaport, ‘Paronomasia’, in Heidegger & Derrida: Reflections on Time and Language (Lincoln and London: University of Nebraska Press, 1989) 104–174 (139). 74. Aristotle, Poetics 1457b6–7 as cited in (WM 31). 75. Gregory Ulmer, ‘Op Writing: Derrida’s Solicitation of Theoria’, in Displacement: Derrida and After (Bloomington: Indiana University Press, 1983) 29–55 (41). 76. Ian Maclachlan, Jacques Derrida: Critical Thought (Aldershot: Ashgate, 2004) 73. 77. Maclachlan, Jacques Derrida 79. 78. Philippe Lacoue-Labarthe, ‘Catastrophe’, in Aris Fioretos, Ed., Word Traces: Readings of Paul Celan (Baltimore and London: Johns Hopkins University Press, 1994) 130–156 (142). 79. Kronick, Future of Literature 32. 80. Werner Hamacher, ‘The Second of Inversion: Movements of a Figure through Celan’s Poetry’, trans. Peter Fenres, in Aris Fioretos, Ed., Word Traces, Readings of Paul Celan (Baltimore and London: Johns Hopkins University Press, 1994) 219–266. 81. As translated and cited in Hamacher, ‘The Second of Inversion’ 226. 82. Hamacher, ‘The Second of Inversion’ 252. 83. Amy Diana Colin, ‘Paul Celan’s Poetics of Destruction’, in Amy Diana Colin, Ed., Argumentum E Silentio: International Celan Symposium (New York: de Gruyter, 1987) 157–182 (171). 84. Aris Fioretos, ‘Nothing: History and Materiality in Celan’, in, Ed. Aris Fioretos, Word Traces 295–341 (303). 85. Hamacher, ‘The Second of Inversion’ 233. 86. Hamacher, ‘The Second of Inversion’ 236. 87. Jan Mieszkowski, ‘Ich, Ach, Auch: Certain Also-Ran Languages of Jacques Derrida’, The Oxford Literary Review 33.2 (2011): 207–230 (220). 88. Lacoue-Labarthe, ‘Catastrophe’ 137.

5 Of Stones and Flowers

1. Ian Buchanan, Fredric Jameson: Live Theory (London: Continuum, 2007) 54–55. 2. Joseph Conrad, The Nigger of the ‘Narcissus’, Typhoon and Other Stories (Harmondsworth: Penguin, 1963) 168, 171. Notes 227

3. Charles Dickens, Bleak House (New York: W. W. Norton & Company, 1977) 1. 4. Dickens, Bleak House 1. 5. Peggy Kamuf, The Division of Literature: Or the University in Deconstruction (Chicago and London: University of Chicago Press, 1997) 164. 6. 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. 7. 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. 8. Donald C. Freeman, Linguistics and Literary Style (New York: Holt, Rinehart and Winston, 1970) 4. 9. Fowler, Linguistics and the Novel. 10. Ohmann, ‘Generative Grammars and the Concept of Literary Style’. 11. 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). 12. Guy Cook, Discourse and Literature: The Interplay of Form and Mind (Oxford: Oxford University Press, 1994) 182. 13. 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). 14. Lisa Zunshine, ‘Style Brings in Mental States’, Style 45.2 (2011): 349–356 (354). 15. Carter and Stockwell, Language and Literature 296. 16. Carter and Stockwell, Language and Literature 294. 17. Carter and Stockwell, Language and Literature 293. 18. Carter and Stockwell, Language and Literature 296. 19. Geoffrey Leech, ‘Style in Fiction Revisited: The Beginning of Great Expectations’, Style 41.2 (2007): 117–132 (117 my emphasis). 20. Tsur, ‘Aspects of Cognitive Politics’ 310. 21. 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). 22. See, for example, David L. Hoover, Jonathan Culpeper and Bill Louw, Eds., Approaches to Corpus Stylistics (London: Routledge, 2008). 23. Tsur, ‘Aspects of Cognitive Politics’ 301. 24. 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. 25. 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. 26. Elena Semino and Jonathan Culpeper, Ed., Cognitive Stylistics: Language and Cognition in Text Analysis (Amsterdam: John Benjamins, 2002) ix. 27. Lakoff and Turner, More than Cool Reason xi. 28. Lakoff and Turner, More than Cool Reason 1. 29. Lakoff and Turner, More than Cool Reason 2. 228 Notes

30. Lakoff and Turner, More than Cool Reason 50. 31. Lakoff and Turner, More than Cool Reason 54. 32. Lakoff and Turner, More than Cool Reason 55. 33. Lakoff and Turner, More than Cool Reason 109. 34. 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). 35. Capital letters are being used for schemata as is customary in cognitive stylistics. 36. Freeman, ‘“According to my bond”’ 292. 37. Freeman, ‘“According to my bond”’ 293. 38. More than Cool Reason includes examples from poems, plays, proverbs and the Bible. Other studies also extend the approach to popular culture, journal- ism and other non-literary sources. 39. Hugo Huppert, ‘“Spirituell”: Gespräch mit Paul Celan’, in Werner Hamacher and Winfried Menninghaus, Ed., Paul Celan (Frankfurt am Mein: Suhrkamp, 1988), 319–324 (321). 40. 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, Jew (New Haven and London: Yale University Press, 1995) 177. 41. Felstiner, Paul Celan 106. 42. Freeman, ‘“According to my bond”’ 292. 43. Freeman, ‘“According to my bond”’ 293. 44. Bowie, From Romanticism 56–58. 45. Line Brandt and Per Aage Brandt, ‘Cognitive Poetics and Imagery’, European Journal of English Studies, 9.2 (2005): 117–130 (124, 127). 46. Michael B. Naas, ‘Introduction: For Example’, in OR vii–lix. 47. Nicholas G. Meyerhofer, ‘The Poetics of Paul Celan’, Twentieth Century Literature 27.1 (1981): 72–85 (81). 48. Letter of 19 May 1961, partially quoted by Wiedemann-Wolf and cited in Felstiner, Paul Celan 177. 49. Lacoue-Labarthe, ‘Catastrophe’ 130. 50. Celan’s working title for the poem was ‘Fleur’, ‘flower’ in French, Eric’s mother tongue. See Felstiner, Paul Celan 105. 51. Friedrich Hölderlin, Selected Poems and Fragments, trans. Michael Hamburger (Harmondsworth: Penguin, 1998) 154. 52. Lacoue-Labarthe, ‘Catastrophe’ 141. 53. Charles Bernstein, ‘Celan’s Folds and Veils’, Textual Practice 18.2 (2004): 200–201 (201). 54. Szondi, ‘Appendix C’ 31. 55. Lacoue-Labarthe, ‘Catastrophe’ 151. 56. Szondi, ‘Appendix C’ 30. 57. See James K. Lyon, ‘Paul Celan and Martin Buber: Poetry as Dialogue’, PMLA 86.1 (1971): 110–120. 58. Lacoue-Labarthe, ‘Catastrophe’ 131. 59. Hamacher, ‘The Second of Inversion’ 240. 60. Bowie, From Romanticism 177. 61. Lacoue-Labarthe, ‘Catastrophe’ 136. Notes 229

62. Lacoue-Labarthe, ‘Catastrophe’ 142. 63. Lacoue-Labarthe, ‘Catastrophe’ 143.

Conclusion

1. Quentin Meillassoux, After Finitude, trans. Ray Brassier (London: Continuum, 2008) 1. For a critical discussion of the implications of Meillassoux’s work to style, see James Corby, ‘Style is the Man: Meillassoux, Heidegger, and Finitude’, in Ivan Callus, James Corby and Gloria Lauri-Lucente, Eds., Style in Theory: Between Literature and Philosophy (London: Bloomsbury, 2013) 163–186. 2. Ina Blom, On the Style Site: Art, Sociality, and Media Culture (Berlin: Sternberg Press, 2007) 111. 3. Andrew Benjamin, Style and Time: Essays on the Politics of Appearance (Evanston, IL: Northwestern University Press, 2006) ix. 4. See, for example, Dick Hebdige, Subculture: The Meaning of Style (London and New York: Routledge, 1988); Virginia Postrel, The Substance of Style: How the Rise of Aesthetic Value is Remaking Commerce, Culture, and Consciousness (New York: Harper Perennial, 2004); Barry Brummett, A Rhetoric of Style (Carbondale: Southern Illinois University, 2008); Richard A. Lanham, The Economics of Attention: Style and Substance in the Age of Information (Chicago and London: The University of Chicago Press, 2006). Bibliography

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Abrams, M. H., 27, 34–5 Bacon, Francis, 16–18 actio, see parts of rhetoric bad writing, bad styles, 136, 151 adaequatio (truth as correspondence), The Bad Writing Contest, 151–2 29, 54, 133 Bakhtin, Mikhail, compare alētheia dialogism, dialogic, 44–5, 92 Adorno, Theodor, 42, 104 Ballard, J. G., (‘The Index’), 134–5 art as political, 100–2, Barthes, Roland, 8, 12–13, on Celan, 206 read by Blanchot, 89–90 style in culture industry, 45–7 style ‘degree zero’, 36–7 aléa, aleatory, 32, 64, 129, 188, 195, Bennington, Geoffrey, 133, 135, 140, 204–5, 207, 210, 212 153, 158 see also Derrida, aléa, aleatory Bernasconi, Robert, 73 alētheia,(truth as unconcealment), 54, Bernstein, Richard J., 71, 75 60, 66, 84 Blake, William, 48 compare adaequatio Blanchot, Maurice anachrony, anachronic, 4–5, 87, anarchy, anarchic 102–5, 112–13, 122 130–1, 162, 179, 188–90, 211 Ars Nova, 104 Blanchot and, 87–97, 109–10, community, 104, 123 122 contestation, 19, 101–2, 107 Celan and, 204 essential solitude, 33, 89 Derrida and, 155–6 fascination, 129, 172 see also Blanchot, paradoxical the fragmentary, 87–98, 104, 108, anachrony 112–17 analytic philosophy, 133 the impossible, 87–92, 95–7, 104–5, anarchy, anarchic, 4–5, 52, 118–19, 118, 121, 129 146, 155, 161, 188, 211 the infinite, 27, 88–9, 92, 94, see also Blanchot and anarchy, 114–22 passim anarchic interruption, 95–6, 103–4, 108, aphorism, aphoristic, 94, 126, 112–16, 125 155–7 neuter, 108, 110, 120, 133 Apter, Emily, 141, 170 non-dialectical contrariety, 96–7, Arendt, Hannah, 5 113 Aristotle paradoxical anachrony, 87–96, 104, metaphor and, 174 109, 122, 162, on phronesis and techne, 75 radical exteriority, 89, 119 on style and rhetoric, 10–18 passim , refusal, absolute refusal, 89, 99, 47 102–4, 112–13, 117–21, 126 Arnold, Matthew, 24 revolution, 102–7, 111, 146 Arnould, Edmond, 34 Bowie, Andrew, 49–51, 200, 206 art history, 46, 58 Brandt, Line and Per Aage, 200–1 attribution studies, 36, 137, 142 Broch, Hermann, 90, 111, 116 Attridge, Derek, 4, 23, 32, 154 Brooks, Cleanth, 27–8

244 Index 245

Bruns, Gerard, 103 Coelho, Paulo, 157 Buber, Martin, 205 cognitive stylistics, 6, 37, 47, 49–50, Buffon, Comte de, 33–4, 98 72–76 passim, 122, 189–211 Butler, Judith, 152 Colebrook, Claire, 141 Colin, Amy D., 180 Caravaggio, Michelangelo Merisi, competence 138–9, 144 academic competence, 163 Carter, Ronald, 14, 72, 191 cognitive competence, 48, 53, 162 Celan, Paul literary competence, 190, 194, 211 ‘Counter-light’, 180–1 computational stylistics, 14, 36, 90, ‘Deathfugue’, 194, 197, 201 137 ‘Flower’, 192–208 conceptual metaphor theory (cogni- ‘Huhediblu’, 176 tive stylistics), 26, 74, 124, 159 ‘In Rivers’, 81–3, 86, 121 applied to Celan, 190–206 ‘Psalm’, 176 Conrad, Joseph, 183–8 ‘Rest [Remainder] Singable’, 120 content, see form and content ‘Shibboleth’, 167–8 contingency, contingent, 74 ‘Speech-Grille’, 124, 206 see also Derrida, contingency ‘Stretto’, 120 Cook, Guy, 190 ‘The Meridian’, 82, 120, 182, 204–5 copyright, copyright law, 136–7, ‘With the Persecuted’, 83, 182 154, 163 ‘Word-deposit’, 84 creation, 19, 63–4, 84, 97, 107–8, 162, Blanchot and, 118–29 188, 198–9, 203–4 caesura in, 83, 86, 125, 176–82, compare invention 194, 204 Critchley, Simon, 118 Derrida and, 166–8, 176–82 Culler, Jonathan, 48, 162 encounter, poetry as, 81, 177–8, 205 Culpeper, Jonathan, 194 event of style in the poetry of, 201–8 Dallmayr, Fred Reinhard, 59 Gadamer and, 77–86 Dante, 136 German, relation to, 166–7 Davey, Nicholas, 132 hermeticism, 66, 85–6, 177, 206 De Gourmont, Rémy, 34 imagery, 124–6, 193 De Man, Paul, 23–4, 28, 39–41, 202 interruption, 131, 161, 172, 176–82 decorum, 5, 10–11, 46–7, 55–7, 136 metaphor, 80, 83, 193–202, 205 Demetrius, 12, 33, 35 neologisms, 84, 176, 180 Derrida, Jacques silence, discretion, 66, 85, 206 aléa, aleatory, 130, 134, 140, 156, stylistics and, 189–201 159–61, 164, 174, 176 translatability, untranslatability of, antonomasia, 131, 134, 143–4, 160, 177 175 Char, René, 90–8, 113, 121 autobiography, 134–6, 159 Chatman, Seymour, 135 contingency, contingent 131, 134, Cicero, 10–11, 17 135, 152–3, 160, 170–1, 173, 175, citation, 95, 127, 135, 172, 198, 202 212 see also quotation community, 163 Clark, Timothy, 30–1, 53, 63, 65, 73, countersignature and signature, 32, 80, 82, 91, 109, 125, 144, 172 53, 69, 136–40, 146–7, 156–63, on singularity 4, 5, 121, 164 170–2, 176–7 246 Index

Derrida, Jacques – continued Freeman, Donald C., 189, 196–200 interruption, 131, 161, 176–82 French, Alain, 116–17 passim Frost, Robert, 164–5 iterability, iterable, 138, 145–6, 150, Frye, Northrop, 15 157 œuvre, 139, 161 Gadamer, Hans-Georg paronomasia, 131–4, 143, 147, 151, community, 80, 123 165, 169, 171–82 passim contemporaneity, 71–2 undecidability, undecidable, 4, dialogue, 59, 70, 73–4, 78, 80–1, 84 133–5, 143, 147–8, 151, 158–61, fashion, 56 170, 172, 178–82 fusion of horizons, 55, 58–9, 63, Descartes, René, 39 70, 76 deviation, 6, 12–14, 20, 31, 48, 105, normativity, 32, 55–9, 67, 71, 75, 79 155, 189–90, 193 ontological valence of the work, dialogism, dialogic, see Bakhtin 59–61 Dickens, Charles, 187–8 prejudice, prejudgment, 58, 74, 81 dispositio, see parts of rhetoric statement, poetry as, 59–64 Donne, John, 97 tarrying, 55, 63, 65–75 passim, 80, 84–6 Eagleton, Terry, 44 understanding, 51–61 passim, 70, elocutio, see parts of rhetoric 73–7, 82–6 ethics, 22, 53, 171 unity of the work of art, 66–70, 86 of reading, 72–4, 178 unity, style as, 55–9, 79 exemplarity, exemplary, example, Gasché, Rodolphe, 9 29, 77–9, 86, 110, 144, 156, 201 Genet, Jean, 12, 175 Genette, Gerard, 13, 35 Felstiner, John, 81, 179, 198, 201 genius, 64, 88, 111 Fioretos, Aris, 181 genre, 38, 58–9, 65–6, 76–7, 105, Fish, Stanley, 48–9, 190 108–12, 146, 154, 158, 196 Flaubert, Gustave, 20–1 Goethe, Johann Wolfgang von, 57 forensic stylistics, 137, 142 Goodman, Nelson, 2, 35 forgery, 9, 36, 137, 140–1 Grondin, Jean, 60, 70, 75 form, see form and content form and content, 12–13, 20–33, Hamacher, Werner, 179–81, 205 43–8, 89, 94, 100–1, 108, 127, Haney, David P., 73 147–8, 155, 158, 164, 184–5, 191, Hart, Kevin, 94, 122, 128 194, 204 Hartmann, Geoffrey, 158 formalism, formalist theories of style, Hegel, G. W. F., 33, 44, 69, 132, 160, 6, 12–14, 30–2, 42–4, 88–9, 111, 220n14 127, 130, 142, 153, 189–94 Heidegger, Martin, 5, 7, 19, 24, 29–33, Foti, Veronique M., 41 41, 43, 53–64, 66, 112 Fowler, Roger, 37, 189, 191 alētheia, 30, 54, 60 fragment, fragmentation, 26–9, 84, Blanchot and, 32–3, 91 140, 149, 155–6, 193 Derrida and, 32, 147–8, 162, 171–3 see also Blanchot, fragmentary Dichtung, 31 Franck, Dorothea, 19, 38 Gadamer and, 31, 54–64 passim, Frank, Manfred, 19, 50, 51 71, 85 freedom, unfreedom, 20, 46, 52, 73–4, saying, language as, 31, 62 103–7 work of art, 30, 41, 60, 63–4, 206 Index 247

Heraclitus, 92, 112–13 Lakoff, George, 26, 190, 196 Hermogenes, 11 Lang, Berel, 1, 25 Hill, Leslie, 33, 108–10, 114–15, 119, Lanham, Richard A., 10 160, 187 law, 48, 52, 74–7, 103–5, 136–7, Hirsch, E. D., 4, 25 140–1, 144, 146, 149, 152–4, Hobson, Marion, 131, 142, 160, 171 160–1, 164, 166, 169, 188 Hölderlin, Friedrich, 202 Lawrence, Karen, 37 Holland, Michael, 93–4, 128 Leavey, John P., 131 Husserl, Edmund, 56, 131, 141, 171 Leech, Geoffrey, 192–3 Levinas, Emmanuel, 53, 118–20, 123, ideology, 42–4, 101, 111, 134, 184–9 126 idiom, idiomatic, idiomaticity, 38, Lukács, Georg, 42–3, 104, 185 127, 130, 143–5, 160, 164–6, Lyotard, Jean-Francois, 53, 165 169, 176–7 lyric (poetic genre), 54, 62, 65–70, 80, imitation, 3, 5, 9, 22, 32, 37, 39, 44–6, 85–6, 177, 197, 203 57, 105, 149, 163, 184, 206 see also mimesis Maclachlan, Ian, 175 interruption, 52, 81–3, 204, 206–8 Mallarmé, Stephan, 32, 66, 87–8, 160, see also Blanchot, interruption; 173 Derrida, interruption Mandell, Charlotte, 121 inventio, see parts of rhetoric mannerism, mannerist, 13, 36, 51, invention, inventive, 40, 52, 63–5, 69, 188 140, 146–9, 153 Marder, Michael, 4 Iyer, Lars, 105, 109–10, 120, 123, Marx, Karl, 42 126–7 Marxism, Marxian theory, 37, 42–5 McCarthy, Michael, 36 Jakobson, Roman, 13, 67, 167, 169 memoria, see parts of rhetoric Jameson, Frederic, 43–4, 111, 183–9 Merleau-Ponty, Maurice, 2 Johnson, Barbara, 173 metaphor, 3, 8–10, 15, 23–4, 27, Johnson, Mark, 26, 190, 196 34, 36–7, 67, 80, 83–4, 174, 193, Johnson, Samuel, 164 197 Jonson, Ben, 33, 157 see also conceptual metaphor theory Joyce, James, 37, 43, 90, 111, 131, see also Celan, metaphor 139–41, 157–8, 164–5 Michaud, Ginette, 125, 127 Mieszkowski, Jan, 182 Kamuf, Peggy, 188 Milesi, Laurent, 8, 34 Kant, Immanuel, 9, 30, 49, 51–2, 56, Milic, Louis T., 36 58, 64, 67–8, 71, 200, 210 Millican, Peter, 137 Keats, John, 193 mimesis, mimetic, mimeticism, Kermode, Frank, 19 mimetologism, 9, 22–3, 29–30, Klink, Joanna, 81 32, 55, 60, 143, 174 Krieger, Murray, 27–8 mind style, 37, 189, 191 Kronick, Joseph G., 136, 146, 149, modernism, modernist, 43, 46–7, 66, 158 87, 89, 104, 110–1, 183–4 Kubler, George, 3 Moore, A. W., 133 Morrison, K. F., 16 Lacan, Jacques, 34, 165 Lacoue-Labarthe, Philippe, 128, 177, Naas, Michael B., 201 182, 202–3, 205, 207 nationalism, 166 248 Index

New Criticism, 6, 27–8, 185, 194 Rapaport, Herman, 38 Nietzsche, Friedrich, 19, 22, 29, reader-response theory, 48–50, 88, 112–13, 132, 147–9 122 reader, reading, 6, 13–14, 19, 24, 31, Ohmann, Richard, 25, 37, 189 33, 40–2, 47–53, 60, 64, 68, 72–3, Olson, David R., 5, 15–16 77–98 passim, 120–9, 139, 141, organicism, organicist theories, 27–30 150–3, 158, 162–5, 173, 177–82, origin, origins, original, originality, 187–212 1, 4–6, 16, 28, 30–3, 39–41, 44, Readings, Bill, 53 47, 52, 60–7, 76–7, 84, 89, 91–2, reification, 185 105–6, 109–11, 119, 127–8, rhetoric, 4, 9–19, 23, 27, 35, 47, 57, 137–50 passim, 156–7, 160–4 85, 99, 106–8, 132, 150, 184 passim, 169–71, 183 Richards, I. A., 8 Orwell, George, 18–19 Riffaterre, Michael, 48–9 OuLiPo (Ouvroir de littérature Royal Society of London, 15–17, 85 potentielle), 38 Royle, Nicholas, 138, 155, 163, 165 paraphrase, 27, 82, 92, 95 sacred, sacralisation, sacrality, 92, 128, parataxis, 194 129, 134, 158, 169, 188 parody, 3, 5, 140, 148 Sartre, Jean-Paul, 18–19, 99–100 parts of rhetoric (actio, dispositio, saying, said, saying-being, 30–2, 53–4, elocutio, inventio, memoria), 62–3, 80, 84, 119, 126 17–18 Schapiro, Meyer, 24–25, 27 Pater, Walter, 21–2, 29 schema, schemata, 6, 26, 49–52, 74, Paulhan, Jean, 106–8 122–3, 190–2, 196–206 performative, 7, 33, 81, 87–8, 92–8, Schlegel, August, Wilhelm, 26 130–5, 161, 163, 167–70, 176–82, Schlegel, Friedrich, 26, 94 188–9, 198, 203–4, 209, 212 Schleiermacher, Friedrich, 47, 50–2, Perloff, Marjorie, 158 58, 60–1 phronesis, 75 secondarity (of style), 6, 18, 21, 26, 63 plagiarism, 137, 139–41, 154 Semino, Elena, 194 Plato, 17, 20, 34, 173–4 Shakespeare, William, 22, 137, 155–7, poetic, 7, 13–15, 19, 27, 30–1, 49, 52, 164, 196–7 54–5, 62, 64–9, 79–86 passim, 95, Shaw, George Bernard, 37 117–22, 129, 134, 165–9, 176–9, singularisation, 55, 66–9, 78, 80, 188, 191, 195–6, 201–7 passim 83–6, 124–5, 157, 202, 206, 209, poiesis, 64, 68, 70, 84, 203 211 Ponge, Francis, 134, 139, 142–5, 160, singularity, singular 3–7, 29, 53, 163–5, 175 77–83, 86, 88, 105, 110, 121–31, postmodernism, postmodern, 137–8, 141–5, 149, 153, 157–79 postmodernist, 6, 66, 132 passim, 191, 196, 202–12 passim Poulet, Georges, 28, 40–1, 44 Sontag, Susan, 24 Proust, Marcel, 90 Sprat, Thomas, 16–18 Puttenham, George, 33–4 Stanton, Domna C., 152–3 Stellardi, Giuseppe, 3 Queneau, Raymond, 38 Stockwell, Peter, 14, 72, 191 Quintilian, 11 Strabo, 34–5 quotation, 96, 148 Strunk, William Jr, 150–2 see also citation style guides, style manuals, 150–3 Index 249 styleless, stylelessness, 8–9, 17–19, translation, translatability, 107, 132 untranslatability, 25, 28–9, 55, stylish, stylishness, 18, 106, 115 65–70, 82–3, 124–8, 131–4, stylogenetics, 36 138–9, 154–69, 176–7, 192, stylometrics, 36, 90, 137 200–1 synoynymity, 25–6, 179 Tsur, Reuven, 190, 192, 194 Syrotinski, Michael, 106–7 Turner, Mark, 26, 190, 195 Szondi, Peter, 203, 205 Ullmann, Stephen, 39 Tacitus, 21 Ulmer, Gregory, 174 taste, 21, 47, 56 Taylor, Mark C., 171 Valery, Paul, 39, 67 techne, 75 Villa, Dana Richard, 5, 7 temporality of style, 5, 13, 40–2, 59, 64, 70–1, 104–5, 136, 146, 155, Warnke, Georgia, 60 159, 161, 184, 204, 209–11 Wilde, Oscar, 21–4, 41–2, thematic criticism, 27, 29, 130, 158 184 Todorov, Tzvetan, 12, 26 Wordsworth, William, 27 transformational-generative linguistics, 25, 37 Zunshine, Lisa, 191