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Reading De guy examining used to be first released in 1989. Minnesota Archive variants makes use of electronic know-how to make long-unavailable books once more available, and are released unaltered from the unique college of Minnesota Press editions.

Paul de guy, from the outset of his profession, involved himself with the act of analyzing and with studying what a rigorous mode of studying can produce. The participants to this volume—conceived no longer lengthy ahead of de Man's dying in 1983—address his concept and perform of examining: the character of these readings and what they symbolize for interpreting typically, not only for literary texts. De guy explored the act of analyzing simply because in it he may carry together—in order to cancel—the topics referred to as reader and author, the referent often called fact, and the medium often called language.

In the act of analyzing de guy, the authors of this e-book ask the place his paintings leaves us, what alterations he made on the earth of feedback and writing typically, and what we do in a different way as a result of him.

Lindsay Waters is basic Editor at Harvard collage Press. Wlad Godzich is professor of comparative literature on the Université de Montréal and co-editor of the idea and historical past of Literature sequence.

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Extra resources for Reading De Man Reading (Theory and History of Literature, Volume 59)

Sample text

3. And finally, a passage bringing these two inverted mirror images together in their sameness: "Irony is a synchronic structure, while allegory appears as a successive mode capable of engendering duration as the illusion of a continuity that it knows to be illusionary. Yet the two modes, for all their profound distinction in mood and structure, are the two faces of the same fundamental experience of time" (226, my emphasis). Fable, then: an allegory stating ironically the truth of allegory that it is in the present, and doing so while stating it through a play of persons and masks.

This Ponge writes in Promemes (Part II, "Poges Bis," V, 167). As for Paul de Man, he does name Psyche, not the mirror, but the mythical character. And he does so in a passage that matters much to us since it also points up the distance between the two "selves," the subject's two selves, the impossibility of seeing oneself and touching oneself at the same time, the "permanent parabasis" and the "allegory of irony": This successful combination of allegory and irony also determines the thematic substance of the novel as a whole [La Chartreuse de Parme], the underlying mythos of the allegory.

And of that which in the fable depends on language (/an, fable). It is the impossible mourning of truth in and through the word. For you have seen it well, if the mourning is not announced by the breaking of the mirror, but consists in the mirror, if it comes with the specularization, well then, the mirror comes to be itself solely through the intercession of the word. It is an invention and an intervention of the word, and here even of the word meaning "word," mot. " The silvering (tain), which excludes transparency and authorizes the invention of the mirror, is a trace of language (langue): Par le mot par commence done ce texte Dont la premiere ligne dit la verite, Mais ce tain sous 1'une et 1'autre Peut-il etre tolere?

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