University of Florida Thesis Or Dissertation Formatting

APPARATUS THEORY AND HEURETICS OF LITERARY ENCOUNTERS By GARY M. HINK, JR A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Gary M. Hink, Jr. 2 For my family 3 ACKNOWLEDGMENTS I am profoundly grateful for the experience working with Gregory Ulmer the past four years and for the opportunity to develop a extensive project, which this dissertation is the start of and which he has guided as an inspirational and encouraging Chair. As he wrote to me, “Don't expect to be knocked down in the public thoroughfare by an illumination! Not that you were. The increments of satisfaction are more subtle, as you probably already know. When you are on to something, the tension of rising action emerges all on its own. It is wonderful! We want more of that! And then graduate school seems like this enormous (infinite?) detour” (12 Feb 2008). We have been on to something and it has been an exhilarating process, an on-going endeavor indeed: not following in footsteps but still seeking what was sought (to paraphrase your motto). With signature Keys of G: Rock, Tree, Spiderweb; Spiral, Choragraphy, Oblio; Conatus. I thank my committee members Phil Wegner, Marsha Bryant, and Jack Stenner, who have been supportive and challenging readers—and whose participation has helped me maintain both the theoretical innovation and rigor of this project. As a Graduate Teaching Associate in the Department of English for five years, I also appreciate the professional and personal support of Kenneth Kidd, Sidney Dobrin, Laurie Gries, and Terry Harpold. And for their feedback at various stages, I thank Jacob Riley, Kevin Sherman, John Tinnel, and Elise Takehana. Finally, and fundamentally, my family’s support can not be overstated, as they have constantly assisted me throughout graduate school in many ways. Thank you most dearly to my mother Donna, my father Gary, my brothers Brian and Andrew, and my partner Alexia. You have continually helped me toward what the greatest philosophers of life have sought: “because no one knows ahead of time the affects one is capable of,” experimentation while having prudence and wisdom—increasing my capacity to be affected and to affect others, perpetually. Resonating. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 ABSTRACT.....................................................................................................................................8 CHAPTER 1 CONSTRUCTIVISM IN THE AESTHETIC PARADIGM ..................................................10 Apparatus Theory: Discourse and Conditions of Possibility..................................................15 Project Frame and Approach (Apparatus Theory) ..........................................................16 Fundamental for Method: Understanding the Dispositif.................................................21 Multiple Regimes ............................................................................................................28 Engaging the Dispositif: Introducing Pragmatics of the Aesthetic Paradigm .................33 Paradigm Thinking ..........................................................................................................38 The Problem of a Concept ......................................................................................................42 Apparatus Theory: Philosophy, Science, Art—Constructivism......................................43 Target for Method (Introduction) ....................................................................................48 Methodological Perspective: Problematics, Pragmatics, Invention (Introduction).........51 2 “PHILOSOPHY AS OPERA” WHEN WORKING WITH ART..........................................55 Encounters and Problematized Concepts................................................................................55 Empirical Orientation ......................................................................................................59 Revised Image of Thought ..............................................................................................62 “Pedagogy of the Concept” .............................................................................................69 Art Encounters........................................................................................................................76 Pragmatics of Aesthetic Figures—Percepts ....................................................................78 Affects and the Language of Sensations .........................................................................82 Affirming Possibility ..............................................................................................................87 Mediators—Lessons (Introduction).................................................................................89 Target for Method (Continued) .......................................................................................91 3 PRAGMATICS OF LITERARY ENCOUNTERS ................................................................95 Developing Encounter Pragmatics (Methodological Study) ..................................................95 Deleuze’s Literary Mediators..........................................................................................97 The “problem of writing” ..............................................................................................103 Twists, seizes, rends, and wrests—philosophical discourse..........................................107 Literary Encounters 2: From Series to Assemblage in Pynchon’s Early Novels .................112 Pynchon Mediators: Serial Detectives, Transversal Signs............................................116 “Irresolvable” Counter-series ........................................................................................122 Deleuzean Method for Literary Pragmatics (Scholarship Lessons) .....................................128 Pragmatics—Literary Percepts......................................................................................132 Pragmatics—Literary Affects .......................................................................................138 5 Encountering Sensation and Deframing Style...............................................................144 4 DIAGRAMMING A NOVELISTIC ASSEMBLAGE ........................................................150 Study: Invention in Practice..................................................................................................152 Artisanal Praxis Observed 1: The Logic of Sense..........................................................155 Serial Poetics and “reading for sense”...........................................................................157 Lessons for Method .......................................................................................................162 Pynchon Mediators: Shift from Discovery to Invention.......................................................164 Encountering Temporal Logics: Hothouse, Street, Null, Projectile..............................165 Generative Lessons........................................................................................................168 Literary Encounter 3: Inventive Poetics, Gravity’s Rainbow Dis-mantling. .....................172 Diagramming Assemblage Edges..................................................................................173 Artisanal Practice: Ellipsistic Bandwidth......................................................................176 Paralipsis (review for praxis)........................................................................................181 5 ASSEMBLAGE INTERFACE—THEORY AND PRACTICE ..........................................186 Novelistic Philosophy...........................................................................................................186 Reading Poetics .............................................................................................................187 Exemplar Study 2: Kafka Experimentation...................................................................189 Abstract Machine, Concrete Lessons ............................................................................194 (Reprise) Working at “the frontiers of our knowledge”................................................198 Literary Encounters Assemblage: Atemporal Historiography .............................................202 Writing the Timeless Disaster—Outside the Slaughterhouse.......................................203 Historical Rhetorical Choices (1945-2001)...................................................................206 Small-Scale History (Writing Time at the Frontier)......................................................211 Imipolexia Interface: Invention Testfire (Pynchon Mediator Concluded) ...........................217 Imipolectique Writing....................................................................................................222 Choragraphy 1: Decision Paths (Discovered and Invented).........................................227 6 AFFECTIVE ENCOUNTERS, RESONANCE ASSEMBLAGE........................................232 Literary Encounters (6-8): Inventing with Three Machines of Temporality........................234 Time-lost in Acker’s Senseless Empire—serial fragments ...........................................237 (Choragraphy 2) “Pirate(d)

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