摘要:

SummarySo dominant has binary thinking become in contemporary theory and practice, that the problems with which it cannot deal have either been ignored or denied reality. The nearly ontological status accorded the binary opposition within linguistics makes itself felt also in literary studies, especially in work oriented towards Structuralism. Recent analyses of the metaphor/metonymy opposition and its transformations provides an exemplary case. Even the deconstructionist critique of binarism ‐ a demonstration of the way in which apparently stable oppositions lose their balance and project themselves forward in a chain of hierarchical oscillations and replacements ‐ remains conditioned by the horizons of a binary imagination. The fluctuating poles of an opposition ‐ be it of the structuralist or deconstructionist variety ‐ are two in number and self‐exclusive. Ambiguity, it will be seen, is the rhetorical correlative of binary thinking; paradox escapes all two‐term figures which provide neither a logical nor a figurative point of fusion. Only the introduction of a synthetic third term can transform the binary structure into one capable of representing paradox. Whereas Hegelian and deconstructionist dialectics might seem to provide such a third term, they actually fail to do so because they immediately reabsorb it into a new hierarchical opposition which denies the stasis of paradox. There is, however, a hermeneutic system native to Western culture which does accomodate the structure of paradox. After defining the limitations of binary interpretation, this paper will elaborate upon the unique functions of this three‐term typo

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1983.tb01064.x

出版商:Blackwell Publishing Ltd    

年代:1983

数据来源: WILEY

摘要:

SummaryMan hat dem Verhältnis Baggesens zu Fichte bisher nur wenig Beachtung geschenkt. Dabei kommt ihm schon deshalb eine besondere Bedeutung zu, weil Baggesen die Bekanntschaft Fichtes zu einem Zeitpunkt machte, als dieser sich mühte, die Philosophie auf eine völlig neue Grundlage zu stellen. Als fast einziger unmittelbarer Zeuge hat er die »Wissenschaftslehre« gleichsam in statu nascendi kennengelernt. Seine ‐ weitgehend bisher nicht veröffentlichten ‐ Briefe und Aufzeichnungen sind für die Erforschung der Genese der »Wissenschaftslehre« von großem Wert.Er war von der Persönlichkeit Fichtes bis zuletzt und zunächst auch von seinem Werk außerordentlich beeindruckt, doch nach einigem Schwanken betrachtete er diesen neuen Idealismus mit zunehmender Skepsis. Zeit seines Lebens hat er sich immer wieder mit der »Wissenschaftslehre« auseinandergesetzt, deren epochale Bedeutung er sehr wohl erkannte, in deren Subjektivismus er aber eine falsche, gefährliche Tendenz erblickte.Von Anfang an war das Verhältnis von einer Ambivalenz bestimmt, die durch das unterschiedliche Naturell begründet ist, aber auch durch eine unterschiedliche Denkungsart, ein unterschiedliches Interesse. Insofern kann eine Untersuchung dieses Verhältnisses nicht nur zur Erhellung der Anfänge der Fichteschen Philosophie beitragen, sondern auch zum Verständnis Baggesens, seiner Philosophie, die ihren Motiven nach als der berechtigte Protest des natürlichen Bewußtseins gegen einen spekulativen Ideal

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1983.tb01065.x

出版商:Blackwell Publishing Ltd    

年代:1983

数据来源: WILEY

摘要:

SummaryThis study proposes to explore the relationship between Camus and his fiction and the popular tradition of carnival and the grotesque (as presented by Mikhail Bakhtin). The analysis focuses first on the material principle ‐ the “debasement” of abstract concepts to the level of the body, of the concrete. In Camus, this principle most often takes the form of a fusion of body and environment. Secondly, the study analyzes the principle of ambivalence ‐ the presence of “poles” which function simultaneously rather than in opposition. This principle, which is the prerequisite for humor (a neglected side of Camus), appears in “two‐in‐one images,” in bi‐level space, and in the ritual process of crowning‐discrowning. The presence of this literary tradition in Camus gives his work the immediate impact ofritual, and makes a full understanding and appreciation of him impossible if

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1983.tb01066.x

出版商:Blackwell Publishing Ltd    

年代:1983

数据来源: WILEY

摘要:

SummaryCertain constant trends in Duras' career link her novelistic and cinematic production to make it deeply personal and original beyond the confines of specific genres. Her films are characterized by an emphasis upon the word rather than on the image and a strong anti‐realistic stance. Their development is briefly examined fromDestroy, she said, her first one, toIndia‐Song, her acknowledged masterpiece, then to the voluntary deconstruction of cinematographic art that leads her fromLe Camionto the predominantly dark screen ofL'Homme atlantique. With this latest work to‐date shown in Paris in 1982, Duras seems to have come full circle having more or less retraced in her career as a cineast since 1968 the steps that had led her from mastery of structure and style to fragmentation and rejection of literary de

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1983.tb01067.x

出版商:Blackwell Publishing Ltd    

年代:1983

数据来源: WILEY