Ellipsis: Of Poetry and the Experience of Language after Heidegger, Holderlin, and Blanchot

SUNY Press
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What is the nature of poetic language when its experience involves an encounter with finitude; with failure, loss, and absence? For Martin Heidegger this experience is central to any thinking that would seek to articulate the meaning of being, but for Friedrich Hölderlin and Maurice Blanchot it is a mark of the tragic and unanswerable demands of poetic language. In Ellipsis, a rigorous, original study on the language of poetry, the language of philosophy, and the limits of the word, William S. Allen offers the first in-depth examination of the development of Heidegger’s thinking of poetic language—which remains his most radical and yet most misunderstood work—that carefully balances it with the impossible demands of this experience of finitude, an experience of which Hölderlin and Blanchot have provided the most searching examinations. In bringing language up against its limits, Allen shows that poetic language not only exposes thinking to its abyssal grounds, but also indicates how the limits of our existence come themselves, traumatically, impossibly, to speak.
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About the author

William S. Allen is an independent scholar who received his PhD from the University of Warwick, England.

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Additional Information

Publisher
SUNY Press
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Published on
Feb 1, 2012
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Pages
254
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ISBN
9780791479704
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Language
English
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Genres
Philosophy / General
Philosophy / Movements / Phenomenology
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Content Protection
This content is DRM protected.
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Available on Android devices
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Eligible for Family Library

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Antifragile is a standalone book in Nassim Nicholas Taleb’s landmark Incerto series, an investigation of opacity, luck, uncertainty, probability, human error, risk, and decision-making in a world we don’t understand. The other books in the series are Fooled by Randomness, The Black Swan, Skin in the Game, and The Bed of Procrustes.

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In The Black Swan, Taleb showed us that highly improbable and unpredictable events underlie almost everything about our world. In Antifragile, Taleb stands uncertainty on its head, making it desirable, even necessary, and proposes that things be built in an antifragile manner. The antifragile is beyond the resilient or robust. The resilient resists shocks and stays the same; the antifragile gets better and better.

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Praise for Antifragile

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Maurice Blanchot and Theodor W. Adorno are among the most difficult but also the most profound thinkers in twentieth-century aesthetics. While their methods and perspectives differ widely, they share a concern with the negativity of the artwork conceived in terms of either its experience and possibility or its critical expression. Such negativity is neither nihilistic nor pessimistic but concerns the status of the artwork and its autonomy in relation to its context or its experience. For both Blanchot and Adorno, negativity is the key to understanding the status of the artwork in post-Kantian aesthetics, and although it indicates how art expresses critical possibilities, albeit negatively, it also shows that art bears an irreducible ambiguity such that its meaning can always negate itself. This ambiguity takes on an added material significance when considered in relation to language, as the negativity of the work becomes aesthetic in the further sense of being both sensible and experimental. But in doing so the language of the literary work becomes a form of thinking that enables materiality to be thought in its ambiguity. In a series of rich and compelling readings, William S. Allen shows how an original and rigorous mode of thinking arises within Blanchot's early writings and how Adorno's aesthetics depends on a relation between language and materiality that has been widely overlooked. Furthermore, by reconsidering the problem of the autonomous work of art in terms of literature, a central issue in modernist aesthetics is given a greater critical and material relevance as a mode of thinking that is abstract and concrete, rigorous and ambiguous. While examples of this kind of writing can be found in the works of Blanchot and Beckett, the demands that such texts place on readers only confirm the challenges and the possibilities that literary autonomy poses to thought.
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