DOCSLIB.ORG

Duke University Dissertation Template

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Duke University Dissertation Template Beautiful Annoyance: Reading the Subject by Margaret A. Ozierski Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Michael Hardt, Supervisor ___________________________ Fredric Jameson ___________________________ David Bell ___________________________ Françoise Gaillard, External Member Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2011 iv ABSTRACT Beautiful Annoyance: Reading the Subject by Margaret A. Ozierski Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Michael Hardt, Supervisor ___________________________ Fredric Jameson ___________________________ David Bell ___________________________ Françoise Gaillard, External Member An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2011 Copyright by Margaret Alice Ozierski 2011 Abstract This dissertation examines the pair subject-subjectivity embedded in the problematic of the end of art, as it is figured in exemplary fashion by film and literature. The analysis examines critically the problem of the subject vis-à-vis subjectivity by opening a dialogue that allows the necessary double terms of this discussion to emerge in the first place from the encounter with selected filmic and literary texts: Jacques Rivette‟s La belle noiseuse and Samuel Beckett‟s Film, The Unnamable and The Lost Ones. These texts are analyzed on an equal footing with the thought of Michel Foucault, Roland Barthes, Gianni Vattimo, Giorgio Agamben, and Gilles Deleuze who have written on both subjectivity and art. The study thus proposes a real movement – in terms and through art – that treats the metaphor of anamorphosis on the level of praxis: the image of subjectivity appears on the screen that is the filmic or literary text as the result of a passage in terms. The subject that emerges at the end of the analysis puts in perspective a certain practice of metonymic reading as renewed political potential of subjectivity. iv Dedication To Florian and Valentin, my two “unnamables” who name me v Contents Abstract .............................................................................................................................. iv Chapter 1: “D’Un sujet l’autre” ......................................................................................... 1 0: The Frame ................................................................................................................. 1 Frame I: The Eye of the Other ...................................................................................... 4 Frame II: The “I” of the Other .................................................................................... 28 Frame III: Return: The Eye of the Other .................................................................... 31 Frame IV: Return: The “I” of the Other (The terms…and their doubles) .................. 35 Frame V: Timeliness of the Project ............................................................................ 41 Chapter Outlines ......................................................................................................... 47 Excursus Eye I: Un-framing the Reader ........................................................................... 54 Chapter Two: From Kitsch to the Split Subject ................................................................ 59 1. The Weak Origin of the Work of Art...................................................................... 59 2. Rivette and Agamben: Poiesis ................................................................................ 63 3. Rivette: The Beautiful Annoyance, a Scandal ........................................................ 70 4. Rivette: The Beautiful Annoyance, a Revolution ................................................... 71 5. Rivette: The Beautiful Annoyance, or the Split Subject Filmed ............................ 77 6. Rivettes‟s Auteur (action-image) and Subjectivity (time-image) ........................... 78 Chapter Three - From Silence to the Witness: The Authorial Subject ............................. 87 1. The Impossible Space of the Narrator .................................................................... 87 2. Beckett‟s The Unnamable: Toward a “Fabula” Rasa ............................................. 90 3. Michel Foucault: “What is an Author?” ............................................................... 105 vi 4. Beckett and Foucault: Chiasmic Scissioning ........................................................ 118 5. (Beckett‟s) “Return” to Foucault: a Critique of the Author-Function .................. 123 6. “I am Matthew and I am the Angel.” (Return to Beckett II) ................................ 132 7. “Profaning” the Subject: Agamben‟s Account of Foucault‟s Author-Function ... 137 8. If the Trousers Don‟t Fit….. Wear Them ............................................................. 168 Excursus Eye II: Framing Beckett .................................................................................. 170 IV: From Utopia to Dystopia: the Subject Remnant ....................................................... 178 0. If the Trousers Fit….. Don‟t Wear Them ............................................................. 178 1. The Lost Ones: Narrative Voice ........................................................................... 183 2. The Scriptor .......................................................................................................... 190 3. Barthes/Foucault: Neutral Scription ..................................................................... 196 4. The Lost Ones: the Scriptor-Witness .................................................................... 205 5. The Reader ............................................................................................................ 214 6. Agamben‟s Concept of the Witness ...................................................................... 217 7. Reading the Subject Remnant ............................................................................... 226 8. The Political Space of the Subject ........................................................................ 242 V. Conclusion ................................................................................................................. 259 1. The Remnant Reader............................................................................................. 259 2. The Political Subject ............................................................................................. 266 Works Cited and Consulted ............................................................................................ 270 Samuel Beckett works and criticism ....................................................................... 270 Jacques Rivette films and criticism ......................................................................... 273 Secondary Sources .................................................................................................. 274 vii Biography ........................................................................................................................ 278 viii Chapter 1: “D’Un sujet l’autre” 0: The Frame The aim of this dissertation is to examine the problem of the pair subject- subjectivity embedded in the problematic of the end of art and figured with it in an exemplary fashion by film and literature. Looking at subjectivity figured in art necessitates a focused and productive encounter with the work of philosophers who have written on both subjectivity and art, and who include Michel Foucault, Roland Barthes, Gianni Vattimo, Giorgio Agamben, and Gilles Deleuze. The proposed study examines critically the problem of the subject vis-à-vis subjectivity, not by proposing the terms of discussion of human subjectivity and then turning to art for verification or illustration, but rather by opening a dialogue that allows the necessary double terms of this discussion to emerge in the first place from the encounter with the films and literature under discussion. In particular, it is Samuel Beckett‟s Film (1965) that in a cogent and concrete manner displays the dying subject indissociable from the dying medium of the cinematic art, as I show in the next section (Frame I) of the introductory chapter. This initial analysis of Film becomes the occasion for the emergence of the terms of discussion of the subject – split subject, witness, dystopia – that are embedded in the problematic of the death of art. The latter discourse gives rise to its own terms proposed by Gianni Vattimo in his 1985 study The End of Modernity: kitsch, silence and utopia. It is therefore not only possible but necessary to consider the terms as resonating with one another, as double terms in a complex relation that resembles and unfolds the pair subject/subjectivity staged by Beckett‟s Film. 1 In other words, the passage through the filter or prism of art of the initial terms of discussion, those dealing with the death of art, puts us in a position not so much to „distill‟ new terms for opening a new perspective on subjectivity, as it allows us to unfold pairs of terms that emerge simultaneously in a relation that deserves careful analysis. The study thus proposes a real movement
Load more

Recommended publications
  • Habemus Papam
    Fandango Portobello presents a Sacher Films, Fandango and le Pacte production in collaboration with Rai and France 3 Cinema HABEMUS PAPAM a film by Nanni Moretti Running Time: 104 minutes International Fandango Portobello sales: London office +44 20 7605 1396 [email protected] !"!1!"! ! SHORT SYNOPSIS The newly elected Pope suffers a panic attack just as he is due to appear on St Peter’s balcony to greet the faithful, who have been patiently awaiting the conclave’s decision. His advisors, unable to convince him he is the right man for the job, seek help from a renowned psychoanalyst (and atheist). But his fear of the responsibility suddenly thrust upon him is one that he must face on his own. ! ! ! ! ! ! ! ! ! ! ! ! !"!2!"! CAST THE POPE MICHEL PICCOLI SPOKESPERSON JERZY STUHR CARDINAL GREGORI RENATO SCARPA CARDINAL BOLLATI FRANCO GRAZIOSI CARDINAL PESCARDONA CAMILLO MILLI CARDINAL CEVASCO ROBERTO NOBILE CARDINAL BRUMMER ULRICH VON DOBSCHÜTZ SWISS GUARD GIANLUCA GOBBI MALE PSYCHOTHERAPIST NANNI MORETTI FEMALE PSYCHOTHERAPIST MARGHERITA BUY CHILDREN CAMILLA RIDOLFI LEONARDO DELLA BIANCA THEATER COMPANY DARIO CANTARELLI MANUELA MANDRACCHIA ROSSANA MORTARA TECO CELIO ROBERTO DE FRANCESCO CHIARA CAUSA MASTER OF CEREMONIES MARIO SANTELLA CHIEF OF POLICE TONY LAUDADIO JOURNALIST ENRICO IANNIELLO A MOTHER CECILIA DAZZI SHOP ASSISTANT LUCIA MASCINO TV JOURNALIST MAURIZIO MANNONI HALL PORTER GIOVANNI LUDENO GIRL AT THE BAR GIULIA GIORDANO BARTENDER FRANCESCO BRANDI BOY AT THE BUS LEONARDO MADDALENA PRIEST SALVATORE MISCIO DOCTOR SALVATORE
    [Show full text]
  • 125 from the End of Man to the Art of Life: Rereading Foucault's
    © Kenneth Berger DOI: https://doi.org/10.22439/fs.v0i24.5529 ISSN: 1832-5203 Foucault Studies, No. 24, pp. 125-150, June 2018 From the End of Man to the Art of Life: Rereading Foucault’s Changing Aesthetics Kenneth Berger, Brown University ABSTRACT: In Foucault’s writing throughout the 1960s, in which he foregrounds the critical function of language and signification, works of art and literature – and works of avant-garde art and literature in particular – appear prominently and are the objects of sustained theoretical investment. In the 1970s, however, as Foucault moves away from his earlier concern with language’s capacity to dissolve “man” and begins to concentrate instead on the ways in which man is governed, works of art and literature no longer possess the same political promise for him and drop out almost completely from his writing. Yet the question of aesthetics does not disappear for him entirely, and, in his final years, he returns to it, though with his analysis now directed at what he calls an “art” or “aesthetics of life.” In this paper, I examine these developments with the aim of drawing out the connections between Foucault’s changing view of aesthetics and the larger transformations that take shape within his overall project. Against this background, I argue that Foucault’s call for an art of life, in which the individual develops techniques for continually reinventing his or her existence, does not necessitate abandoning the avant- garde aesthetic practices that he had previously advocated. Rather, I assert, his conception of an art of life – when read in conjunction with his theoriZation of critique as a “permanent” questioning of the limits imposed on us – offers a new framework for reimagining both the function of those practices and their legacies in culture today.
    [Show full text]
  • Foucault Studies © Lisa Weems, 2005 ISSN: 1832-5203 Foucault Studies, No 3, Pp
    foucault studies © Lisa Weems, 2005 ISSN: 1832-5203 Foucault Studies, No 3, pp. 144-149, Nov 2005 REVIEW Sara Mills, Michel Foucault (London: Routledge, 2003). ISBN: 0415245680 One difficult task for educators is the struggle to decide what should be included in the curriculum. All teachers, regardless of disciplinary field or level of education, grapple with the selection of topics and texts to organize discussions of a particular subject. What is not common to all teachers, perhaps, is the problem that arises when the “subject” (multiple meanings intended) specifically writes against the academic practices typically utilized in making curricular decisions. Foucault rejected many standard academic practices, such as canonization, biographical reading, and attempts to totalize an author’s theoretical contribution by reading her “oeuvre.” Given these constraints, how does one write a book intended to serve as an accessible introduction to a critical theorist whose scholarship and political affiliations were prolific and complex? This was the challenge Sara Mills faced as she wrote the text at hand. Overall, the author has successfully produced a straightforward and instructive examination of the work of Michel Foucault that is mindful of the potential theoretical pitfalls of such an endeavor. I highly recommend this book to anyone interested the work of Foucault, but especially to persons who have little prior exposure to the philosopher, and/or who want a brief survey of his ideas. It will make an excellent textbook for undergraduate or graduate courses that deal with issues of power, culture and social problems. The book will also be a good sourcebook for policy makers or professionals in the human services interested in linking critical theory, practice and activism.
    [Show full text]
  • Appendix Wuthering Heights Screen Adaptations
    Appendix Wuthering Heights Screen Adaptations Abismos de Pasión (1953) Directed by Luis Buñuel [Film]. Mexico: Producciones Tepeyac. Arashi Ga Oka (1988) Directed by Kiju Yoshida [Film]. Japan: Mediactuel, Saison Group, Seiyu Production, Toho. Cime Tempestose (2004) Directed by Fabrizio Costa [Television serial]. Italy: Titanus. Cumbres Borrascosas (1979) Directed by Ernesto Alonso and Karlos Velázquez [Telenovela]. Mexico: Televisa S. A. de C. V. Dil Diya Dard Liya (1966) Directed by Abdul Rashid Kardar [Film]. India: Kary Productions. Emily Brontë’s Wuthering Heights (1992) Directed by Peter Kosminsky [Film]. UK/USA: Paramount Pictures. Emily Brontë’s Wuthering Heights (1998) Directed by David Skynner [Television serial]. UK: ITV, Masterpiece Theatre, PBS. Hihintayin Kita Sa Langit (1991) Directed by Carlos Siguion-Reyna [Film]. Philippines: Reynafilms. Hurlevent (1985) Directed by Jacques Rivette [Film]. France: La Cécilia, Renn Productions, Ministère de la Culture de la Republique Française. Ölmeyen Ask (1966) Directed by Metin Erksan [Film]. Turkey: Arzu Film. ‘The Spanish Inquisition’ [episode 15] (1970). Monty Python’s Flying Circus [Television series]. Directed by Ian MacNaughton. UK: BBC. Wuthering Heights (1920) Directed by A. V. Bramble [Film]. UK: Ideal Films Ltd. Wuthering Heights (1939) Directed by William Wyler [Film]. USA: United Artists/ MGM. Wuthering Heights (1948) Directed by George More O’Ferrall [Television serial]. UK: BBC. Wuthering Heights (1953) Directed by Rudolph Cartier [Television serial]. UK: BBC. Wuthering Heights (1962) Directed by Rudolph Cartier [Television serial]. UK: BBC. Wuthering Heights (1967) Directed by Peter Sasdy [Television serial]. UK: BBC. Wuthering Heights (1970) Directed by Robert Fuest [Film]. UK: American International Pictures. Wuthering Heights (1978) Directed by Peter Hammond [Television serial].
    [Show full text]
  • Gilles Deleuze's American Rhizome by Michelle Renae Koerner the Graduate Program in Literature
    The Uses of Literature: Gilles Deleuze’s American Rhizome by Michelle Renae Koerner The Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Kenneth Surin, Co-Chair ___________________________ Priscilla Wald, Co-Chair ___________________________ Wahneema Lubiano ___________________________ Frederick Moten ___________________________ Michael Hardt Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in Literature in the Graduate School of Duke University 2010 i v iv ABSTRACT The Uses of Literature: Gilles Deleuze’s American Rhizome by Michelle Renae Koerner The Graduate Program in Literature Duke University Date:_______________________ Approved: ___________________________ Kenneth Surin, Co-Chair ___________________________ Priscilla Wald, Co-Chair ___________________________ Wahneema Lubiano ___________________________ Frederick Moten ___________________________ Michael Hardt An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in Literature in the Graduate School of Duke University 2010 Copyright by Michelle Renae Koerner 2010 Abstract “The Uses of Literature: Gilles Deleuze’s American Rhizome” puts four writers – Walt Whitman, Herman Melville, George Jackson and William S. Burroughs – in conjunction with four concepts – becoming-democratic, belief in the world, the line of flight, and finally, control societies. The aim of this
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • Bibliothèque François Villon Liste Des Films Classés Par Réalisateur
    Bibliothèque François Villon liste des films classés par réalisateur Sommaire Nom des réalisateurs commençant par la lettre : Cliquez sur la lettre pour atteindre la page correspondante A J S B K T C L U D M V E N W F O X - Y G P Z H Q Elaborée au mois de mars 2013, cette liste a une portée indicative. Elle ne peut I R refléter à l’exact notre fonds au moment où vous la consultez, notre fonds étant rythmé par de nouvelles acquisitions ou de dvd retirés pour cause de vétusté ou de vol. A Territoires Abbou, Olivier TER La vierge, les coptes et moi Abdel, Namir messeh VIE L'iceberg Abel, Dominique ICE Rumba Abel, Dominique RUM Garage Abrahamson, Lenny GAR Mission impossible 3 Abrams, J. J. MIS Star Trek Abrams, J.J. STA SUPER 8 Abrams, Jeffrey Jacob SUP Madame Brouette Absa, Moussa Sene MAD Paradise now Abu-Assad, Hany PAR Le hérisson Achache, Mona HER Dernière séance Achard, Laurent DER Le dernier des fous Achard, Laurent DER Numéro 9 Acker, Shane NUM Le monde de Narnia Adamson, Andrew MON Le monde de Narnia Adamson, Andrew MON Shrek Adamson, Andrew SHR Under the skin Adler, Carine UND Bagdad Café Adlon, Percy BAG New York Masala Advani, Nikhil NEW Gone baby gone Affleck, Ben GON The town Affleck, Ben TOW I'm Still Here Affleck, Casey IMS Pédale douce Aghion, Gabriel PED Rencontres Agostini, Philippe REN Entre deux rives Agresti, Alejandro ENT Une nuit avec Sabrina love Agresti, Alejandro NUI Haute tension Aja, Alexandre HAU Mirrors Aja, Alexandre MIR Piranha Aja, Alexandre PIR Golden eighties Akerman, Chantal GOL Jeanne Dielman 23 quai du commerce, 1080 Bruxelles Akerman, Chantal JEA La captive Akerman, Chantal CAP De l'autre côté Akin, Fatih DEL Head-on Akin, Fatih HEA Soul kitchen Akin, Fatih SOU 8th wonderland Alberny, Nicolas EIG La petite Jérusalem Albou, Karin PET Coup d'éclat Alcala, José COU Les maîtres de l'animation russe Aldashin, M.
    [Show full text]
  • Michel Foucault and Judith Butler: Troubling Butler’S Appropriation of Foucault’S Work
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Warwick Research Archives Portal Repository University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/1965 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Michel Foucault and Judith Butler: Troubling Butler’s Appropriation of Foucault’s Work by Kathleen Ennis A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Philosophy University of Warwick, Department of Philosophy July 2008 Contents Acknowledgements iv Declaration v Abstract vi Note on the Translation of Key Terms in Foucault‘s Work vii Introduction 1 Interpreting Butler‘s Work 7 Power-Knowledge, Discourse and Norms 10 Interpreting Foucault‘s Work 15 1 Butler: Power and Genealogy 23 Foucault, Hegel and Nietzsche 25 Foucault and Psychoanalysis 34 Genealogy and the Naturalization of Sex 41 Subjugated Knowledges, Genealogy and Discourse 50 2 Butler: Performativity and Psychoanalysis 63 From Inscription to Performativity 66 Power, Interpellation, Resistance and Hate Speech 77 A Psychoanalytic Critique of Foucault 86 Repression, Subject and Psyche 98 3 Discursive Practice and Archaeological Method: The Archaeology of Knowledge
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • Archaeology of Knowledge and the Discourse on Language
    THE ARCHAEOLOGY OF KNOWLEDGE &: THE DISCOURSE ON LANGUAGE THE ARCHAEOLOGY OF KNOWLEDGE Also by Michel Foucault Madness and Civilization: A History ofInsanity in the Age of Reason The Order of Things: An Archaeology of the Human Sciences The Birth of the Clinic: An Archaeology of Medical Perception I, Pierre Riviere, having slaughtered my mother, my sister, and my brother. .. A Case of Parricide in the Nineteenth Century Discipline and Punish: The Birth of the Prison The History of Sexuality, Volumes 1, 2, and 3 Herculine Barbin , Being the Recently Discovered Memoirs of a Nineteenth-Century French Hermaphrodite Power/Knowledge: Selected Interviews and Other Writings, 1972-1977 The Foucault Reader (edited by Paul Rabinow) MICHEL FOUCAULT THE ARCHAEOLOGY OF KNOWLEDGE AND THE I)ISCQURSE ON LANGUAGE Translated from the French by A. M. Sheridan Smith PANTHEON BOOKS, NEW YORK Copyright © 1972 by Tavistock Publications Limited All rights reserved under International and Pan-American Copyright Conventions. Pub­ lished in the United States by Pantheon Books, a division of Random House, Inc., New York. Originally published in Great Britain by Tavistock Publications, Ltd. Originally published in France under the title L'Archeologie du Savoir by Editions Gallimard. © Editions Gallimard 1969 The DiscllUrse un Language (Appendix) was,originally published in French under the title L'ordre du discllUrs by Editions Gallimard. © Editions Gallimard 1971. English translation by Rupert Swyer. Copyright © 1971 by Social Science Informatiun. Library of Congress Cataloging in Publication Data Foucault, Michel. The archaeology of knowledge. (World of man) Translation of�archeologie du savoir. Includes the author's The Discourse on Language, translation of�ordre du discours I.
    [Show full text]
  • Dealing with Authorship
    Dealing with Authorship Dealing with Authorship: Authors between Texts, Editors and Public Discourses Edited by Sarah Burnautzki, Frederik Kiparski, Raphaël Thierry and Maria Zannini Dealing with Authorship: Authors between Texts, Editors and Public Discourses Edited by Sarah Burnautzki, Frederik Kiparski, Raphaël Thierry and Maria Zannini This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Sarah Burnautzki, Frederik Kiparski, Raphaël Thierry, Maria Zannini and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0560-X ISBN (13): 978-1-5275-0560-5 TABLE OF CONTENTS Acknowledgements .................................................................................. viii Introduction ................................................................................................ ix Dealing With Authorship Sarah Burnautzki, Frederik Kiparski, Raphaël Thierry and Maria Zannini Part I: Theoretical Approaches to Authorship Chapter One ................................................................................................. 2 Contemporary French-Language Theories of Literary Authorship Frederik
    [Show full text]
  • Feminist Literary Criticism and the Author Cheryl Walker Scripps College
    Claremont Colleges Scholarship @ Claremont Scripps Faculty Publications and Research Scripps Faculty Scholarship 1-1-1990 Feminist Literary Criticism and the Author Cheryl Walker Scripps College Recommended Citation Walker, Cheryl. “Feminist Literary Criticism and the Author.” Critical Inquiry. 16.3 (1990): 551-571. This Article is brought to you for free and open access by the Scripps Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Feminist Literary Criticism and the Author Walker, Cheryl Critical Inquiry; Spring 1990; 16, 3; Periodicals Archive Online pg. 551 Feminist Literary Criticism and the Author Cheryl Walker In the late 1960s French theorists began to take account of the phenom­ enon we now know familiarly as "the death of the author." Writers like Michel Foucault raised startling questions about the voice or voices in a text, asking, "What difference does it make who is speaking?"' In the days of author criticism, the author was thought to be the speaker whose presence behind the text signaled his (or her, though usually his) capacity as originator. Textual interpretations often alluded to this historical personage as a genius whose subjectivity, once understood, provided a set of principles for discovering the underlying unity of a great work of literature. According to Foucault, in his essay "What Is an Author?" (1969), this authorial presence has disappeared. In the modern period the author is an effacement, an absence of the personal, who writes him- or herself out of the text through the strategies of fictive composition.
    [Show full text]