Gracia nicely illustrates how meaning can go beyond authorial intention with a reference to games: “one of the plays makes a move the significance of which he does not quite grasp. For the player is the author of the move, and wins or loses accordingly, by virtue of the fact that he is a . . . . Continue Reading »
Finally getting around to Jorge Gracia’s Theory of Textuality . It’s got a lot of strengths. Gracia recognizes the strengths and weaknesses of various theories of textual meaning, and sensibly tests theories by their ability to explain our actual experience of texts. Postmodern . . . . Continue Reading »
Considering the plural pronoun at the beginning of the Lord’s Prayer, Chrysostom says that it announces a moral and social revolution: “by this He at once takes away hatred, and quells pride, and casts out envy, and brings in the mother of all good things, even charity, and exterminates . . . . Continue Reading »
Athenagoras condemns worship of the creation using a musical analogy ( A Plea for Christians ): “If therefore the world is an instrument in tune, and moving in well-measured time, I adore the Being who gave its harmony, and strikes its notes, and sings the accordant strain, and not the . . . . Continue Reading »
Gregory of Nyssa explains in On the Making of Man that the human body is like a musical instrument, designed for reason. This is itself a striking image, but Nyssa expounds on the analogy by looking at the specific contours of the human body. The passage reminds me of Leon Kass’s discussion . . . . Continue Reading »
Clement of Alexandria begins his Exhortation to the Heathen by reviewing various myths about music, and then introduces the gospel as God’s new song. By the time he’s done, he’s told the history of the world musically: “Behold the might of the new song! It has made men out . . . . Continue Reading »
In his study of children’s literature ( Stars, Tigers, and the Shape of Words ), JH Prynne mounts a critique of Saussure designed to show that “the methodology of practical literary criticism habitually contradicts Saussure’s theory of language by assuming that acoustic or graphic . . . . Continue Reading »
That’s Barthes not Barth. As in Roland. Prickett suggests that Barthes’ proclamation of the death of the author, his manumission of interpretation from the obsession with the limited, final, “secret” meaning, and his hope for a liberated “anti-theological” and . . . . Continue Reading »
Poststructuralism likes to think itself radical, but Stephen Prickett (Words and the Word) points out that it excludes the possibility of novelty. Barthes says that a text is “a tissue of quotations drawn from the unnumerable centres of culture.” And Kristeva’s notion of . . . . Continue Reading »
A few highlights from James Wood’s chapter on language in How Fiction Works . Early on, he mentions the “old modernist hope” that prose can be “as well written as poetry.” This will require readers and novelists to develop what Nietzsche called a “third . . . . Continue Reading »
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