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By Henry Sussman

Today's critic needs to be anything of a thinker in addition to a poet. but her workremains specially that of the shut reader, and the emergence of the valuesembodied via the shut reader to face along these of the thinker andthe poet could be probably the most major highbrow advancements to emergein the post-World conflict II years.This ebook analyzes the language poets, Deleuze and Guattari, and above allBenjamin and Derrida, to track some of the dimensions of the duty of the critic.It concludes with an immense bankruptcy at the value of Derrida's contemporary workfor the conceptualization of faith, and with an Afterword reading therole of the Romantic discourse of the fragment within the archeology of all thesediscursive strands.The activity of the critic, now invited to go through the discourses ofphilosophy, poetry, and faith past that of shut studying, has neverbeen harder-nor have we ever been extra wanting it.

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The Task of the Critic: Poetics, Philosophy, Religion

Today's critic has to be whatever of a thinker in addition to a poet. but her workremains specially that of the shut reader, and the emergence of the valuesembodied via the shut reader to face along these of the thinker andthe poet should be some of the most major highbrow advancements to emergein the post-World warfare II years.

Extra resources for The Task of the Critic: Poetics, Philosophy, Religion

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As persons we are born into language and world; they exist before us and after us.

With topotropography, the act of mapping, goes topology, the knowledge of places. . This book investigates a cluster of related concepts as they gather around the central question of topography. How do topographical descriptions or terms ................. 11311$ $CH1 04-26-05 13:50:21 PS PAGE 31 32 The Task of the Critic function in novels, poems, and philosophical texts? Just what, in a given text, is the topographical component and how does it operate? ’’41 The occasion of Topographies is a map, at once of certain spatial issues in literature and of Miller’s singular aesthetic and methodological sensibilities.

In place of the Begriff, a magical tool or instrument, variable while always handy, part idea, part form, that became applicable, since the onset of German idealism, to every conceptual situation or predicament, Derrida has substituted a certain off-center, off-hours, contrapuntal positionality. But in his dedication to this placement (or stage blocking), his bearing up under the weight of the philosophical tradition that his work continues to question and correct, not to mention of his own gargantuan production, he remained, in the sense of the registers of memorable discourse, a philosopher.

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