By Colin Davis
The "ancient quarrel" among philosophy and literature turns out to were resolved as soon as and for all with the popularity that philosophy and the humanities could be allies rather than enemies. severe extra examines intimately the paintings of 5 thinkers who've had a big, ongoing impression at the learn of literature and movie: Jacques Derrida, Gilles Deleuze, Emmanuel Levinas, Slavoj ?i?ek, and Stanley Cavell. Their techniques are very various from each other, yet they every one make unforeseen interpretive leaps that render their readings exhilarating and unnerving.But do they pass too a long way? Does a scribbled word left in the back of through Nietzsche rather let us know concerning the nature of textuality? Can Hitchcock really inform you "everything you usually desired to learn about Lacan"? Does the blanket hung up in a inn room invoke the Kantian divide among the knowable out of the ordinary global and the unknowable issues in themselves? Contextualizing the paintings of the 5 thinkers within the highbrow debates to which they give a contribution, this publication analyzes the stakes and benefits of "overreading."
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Additional info for Critical Excess: Overreading in Derrida, Deleuze, Levinas, Zizek and Cavell
Thought may be poetic, but it is not poetry; poetry may be thoughtful, but it is not thought. The poet and the thinker stand on separate peaks, at equal heights and in close proximity to one another, but distinct in their capabilities and roles. The list of poets whose work Heidegger discusses in detail is in fact far from extensive, and it consists exclusively of authors writing in German. 9 Hölderlin (1770–1843) left behind a body of difficult and often unfinished work. The last half of his life was blighted by mental illness, and his poetry was largely overlooked through the nineteenth century.
The situation is further complicated by the problem of delimiting the frontiers of the text. Eco’s rejection of overinterpretation discussed in the Preface relies on the sense that there is something in the text which readers should not falsify by imposing on it associations which are entirely their own. But by what cri- Derrida, Hermeneutics and Deconstruction teria do we decide what is genuinely present in the text and what is added by the reader? For Derrida, this question is much more difficult than for opponents of overinterpretation.
But the responding in which man authentically listens to the appeal of language is that which speaks in the language of poetry. The more poetic a poet is—the freer (that is, the more open and ready for the unforeseen) his saying—the greater is the purity with which he submits what he says to an ever more painstaking listening, and the further what he says is from the mere propositional statement that is dealt with solely in regard to its correctness or incorrectness. (Heidegger 1971: 214) Poets are poets insofar as they listen attentively to the appeal of language.
Critical Excess: Overreading in Derrida, Deleuze, Levinas, Zizek and Cavell by Colin Davis