Leon Surette

Marjorie Perloff is a distinguished commentator on the literature of this century, best known for her work on Futurism, one of the pre-First War international and inter-art avant garde movements. Radical Artifice takes on the avant garde since 1960, observed from the angle of the institutions of popular culture -- in particular television talk shows, and graphic advertisements. The project of the book is to respond to Charles Bernstein's decree: "There is no natural look or sound to a poem. Every element is intended, chosen. That is what makes a thing a poem" (qtd. 35). "Why, Perloff asks, "is the natural now regarded with such suspicion?" (35).

Poetic influence—when it involves two strong, authentic poets—always proceeds by a misreading of the prior poet, an act of creative correction that is actually, and necessarily, a misinterpretation. The history of fruitful poetic influence, which is to say the main tradition of Western poetry since the Renaissance, is a history of anxiety, and self-saving caricature, of distortion, of perverse, wilful revisionism without which modern poetry as such could not exist.1Jacques Derrida is a philosopher, not a poet, but his co-optation of the semiotic theories of Ferdinand de Saussure and Charles Sanders Peirce is a clear case of Bloomian misprision, as I hope to demonstrate in the following pages. I shall argue that...

In lieu of an abstract, here is a brief excerpt of the content:Richard Rorty Lays Down the LawLeon SuretteRichard Rorty has found a large cross-disciplinary academic audience for his argument that philosophy ought to abandon its self-appointed role as a foundational discipline and adopt the “ironic” and “conversational” practices of literary criticism. Explicitly invoking early pragmatism—which argued that philosophy should join the natural sciences and regard itself as “the workshop of being, where we catch fact in the making” 1 —Rorty argues that philosophers should now abandon the natural sciences, and become “edifiers” and “ironist theorists” on the model of literary criticism. 2Rorty’s pragmatism amounts to the claim that philosophy ought to wind up and put away its long preoccupation with metaphysics, ontology, and epistemology and abandon the pretense of deductive rigor to become “dialectical.” This newly reformed philosophy would, as Rorty puts it, “play off vocabularies against one another, rather than merely... infer propositions from one another” (CIS, p. 78). Rorty’s belief in philosophy as a form of conversation may owe less to American pragmatism, however, than to Continental hermeneutics (particularly Hans Georg Gadamer’s Truth and Method). Nevertheless, I intend to take him at his word, and apply the fundamental tenet of pragmatism to his own theorizing. I take the following remark by William James as definitional of American pragmatism: “What practical difference would it make to any one if this notion rather than that notion were true? If no practical difference whatever can be traced, then the alternatives mean practically the same thing, and all dispute is idle. Whenever a dispute is serious, we ought to be able to show that some practical difference that must follow from one side or the other’s being right” (PR, p. 26).In the light of this pragmatic principal, most philosophical and [End Page 261] literary theories make little if any practical difference to the practice of literary criticism, although philosophy and theory can displace, occlude, or banish it. The whole issue turns on what is meant by the term, literary criticism. Rorty assumes that criticism is an interpretive activity, and that nothing further need be said. Yet interpretation is not the sole activity of literary criticism, nor is the practice of literary interpretation sufficiently well formulated to serve as a model upon which philosophy could reform itself.Although Rorty’s proposed reformation of philosophy on the model of literary criticism is seen by many literary critics as a friendly takeover, it can just as easily be seen as hostile, as an updating and domestication of Hans Georg Gadamer’s philosophical hermeneutics, which would make interpretation foundational for all of the knowledge industries. With respect to his paternalistic attitude toward literary criticism, Rorty is very much within a philosophical tradition of foundationalism that begins, as far as literary criticism is concerned, with Plato’s Ion. Whereas Plato argued that literary criticism is a misguided or unworthy form of discourse, Rorty turns it into an approved variety of philosophical discourse. But he can achieve this end only by occluding (through misrepresentation) the praxis of literary criticism as it has been constituted both within and without the academy.Rorty’s project of “edification” through the reform of philosophy as “conversation” was first proposed in Philosophy and the Mirror of Nature (pp. 360, 371) and has subsequently been refined in Contingency, Irony, and Solidarity, where it becomes the Nietzschean project of “making the best selves for ourselves that we can” (p. 80). This goal is said to be achieved through “literary criticism,” which he describes as “the attempt to play off vocabularies against one another” (pp. 78–79). Such an idea is enormously flattering to literary critics, and, not surprisingly, has garnered Rorty many admirers in literature departments. But it rests upon a highly selective characterization of literary criticism—a characterization which conforms roughly to New Critical and Deconstructive practice, though not to longer-standing critical practices.Rorty ignores literary criticism’s long standing self-definition as the reinterpretation or redescription of object texts. Instead, he assumes that the practice of Harold Bloom, in which both “creative” and critical discourse are regarded as varieties of usurpation or “misprision,” is standard. Rorty speaks of “literary discourse” as a...

My title is derived from Heidegger's 1936-37 lectures, The Will to Power as Art, and my discussion is keyed to two of the Nietzschean remarks on art which Heidegger discusses. The first is: "The phenomenon 'artist' is still the most perspicuous" (Nietzsche 69), and the second is: "The will to semblance, to illusion, to deception, to becoming and change is deeper, more 'metaphysical,' than the will to truth, to reality, to Being" (Nietzsche 74). Heidegger reformulates them respectively as: "Art is the most perspicuous and familiar configuration of will to power," and "Art is worth more than the truth" (75). I propose to tease out what these aphorisms imply for Heidegger's answer to the panel question: "What is a work of art?/Was ist ein Kunstwerk?

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ethics, Theory and the NovelLeon SuretteEthics, Theory and the Novel, by David Parker; x & 218 pp. Cambridge: Cambridge University Press, 1994, $54.95.David Parker’s stated purpose in Ethics, Theory and the Novel is to ground the value of “canonical works” of literature in the “ethical interest,” which each of them embodies in the meditation and exploration of “the clashes of moral value” (p. 38). He is self-consciously responding to the strictures of neo-Marxism, feminism, and deconstruction which allegedly see “the canon simply as the repository of conservative values” and therefore reject it (p. 51). In order to demonstrate this capacity of imaginative literature Parker provides ethical analyses of scenes in George Eliot’s Middlemarch, Tolstoy’s Anna Karenina, and D. H. Lawrence’s The White Peacock, Women in Love, and Lady Chatterley’s Lover. The book divides into two projects, since Parker also argues for the pertinence of ethics itself quite apart from the value of imaginative literature as a repository of serious ethical thought. Part one makes the theoretical case, and part two applies the theory.For the theory he takes as his champions Martha Nussbaum, Iris Murdoch, the late Australian critic, S. L. Golberg, and the Canadian political scientist, Charles Taylor. From Nussbaum he derives the claim that “literature can be moral philosophy” (p. 34). From Taylor he takes a triadic schema of Western [End Page 247] culture: Judeo-Christian-Kantian, Liberal-Enlightenment-rational, and Romantic-irrational-egoistic (p. 20) as the sources of our ethical thinking. Murdoch and Goldberg are deployed as predecessors in his own practice of ethical analysis of literary works. Parker’s claim is that imaginative literature exhibits the dynamic tensions of these conflicting ethical discourses.Parker’s discussion is intelligent and well-informed. His position is, in my view, perfectly defensible—indeed traditional. That said, this book seems to be as much a symptom of the malaise afflicting literary criticism as a cure. To this reader the theoretical portion is not faithful to any of his champions, but is a dog’s breakfast of “theoretical” postures gathered from Derrida, Cavell, de Man, Rorty, Foucault, and Frederic Jameson—as well as from those named above. The problem is not that Parker misunderstands or misrepresents their thought, but rather that he treats theoretical discourse as a flea market from which he can assemble pre-owned furniture for his own residence.The practice of literary criticism encourages such rummaging among other people’s belongings. It is appropriate for commentators on a literary work of art to select from previous commentary those observations and insights they regard as sound, and to reject or ignore those viewed as unsound. Nonetheless it is difficult to understand how a discourse which finds one leg in Marxist discourse, a second in Freudian, a third in phenomenological, and a fourth in Heideggerean or Derridean discourse can be expected to stand four square.Ethics, Theory and the Novel can be defended as an exercise in bricolage—and quite an impressive one in its own way. Like the handyman, Parker has cobbled together an ethicist criticism out of what is available or ready-at-hand in other discourses. But—as with many a home project—one can still see its flea market provenance. In his critical analysis of the novels, Parker shows himself to be a careful and perceptive reader. But I must confess that his ethical analyses seemed very like old-fashioned moral analysis of character motivation. I would not disagree with his claim that “an ethical vocabulary... is essential to the full understanding of the created fictional situation” (p. 191). However, his argument for a dialogic plurivocity in the ethical discourse of Western fiction is one that has been previously put by Mikhail Bakhtin from within Marxism. It is, I think, a serious oversight that Bakhtin is never mentioned—even though Parker’s position is distinguishable from Bakhtin’s in that his dialogue is between perennial ethical schemata and Bakhtin’s is between hegemonic and subversive discourses.Leon SuretteUniversity of Western OntarioCopyright © 1996 The Johns Hopkins University Press...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Introduction to Philosophical HermeneuticsLeon SuretteIntroduction to Philosophical Hermeneutics, by Jean Grondin; foreword by Hans-Georg Gadamer, trans. Joel Weinsheimer; xv & 231 pp. New Haven: Yale University Press, 1995, $25.00.Introduction to Philosophical Hermeneutics, a commissioned study for the Yale Studies in Hermeneutics, provides a comprehensive historical survey of interpretive theory from antiquity to the present. In addition it has a sixty-page bibliography subdivided into no fewer than thirty categories. Unfortunately, the translator, Joel Weinsheimer (himself the translator of Gadamer and general editor of the series) has not added English translations to the bibliography, though he does cite from English translations. The index is inadequate—especially for a quasi-textbook.Grondin sets out to revise and correct the standard view of the development of philosophical hermeneutics: that it began with the formulation of fragmentary hermeneutic rules in the classical and patristic period, was refined with the systematic hermeneutics of Protestant theologians, then broadened into a universal methodology of the human sciences by Schleiermacher and Dilthey, culminating in Hans Georg Gadamer’s philosophical hermeneutics, which extended its reach into a critique of ideology, theory of science, and practical philosophy (p. 3).In place of this story, Grondin presents a single aperçu, “the ancient and perhaps antiquated doctrine of the verbum interius: the ‘inner word’ that is never spoken but nevertheless resounds in everything that is said,” and which he traces to the Stoics via St. Augustine (p. 119). Grondin reveals in his preface that he learned of the centrality of the inner word from Gadamer himself in a Heidelberg pub in the fall of 1988 while he was working on this book (pp. xiii–xiv). Gadamer told him that the claim to universality of philosophical hermeneutics is founded on the recognition of the primordiality of the inner word, to which the uttered word must strive to be adequate (pp. xiv and 123). This interior meaning can never be fully grasped, but it nonetheless provides a prophylactic against relativism. As Grondin puts it in a happy phrase, “original meaning... remains at best the asymptote of understanding, the telos that the interpreter is trying to reach behind the words” (p. 127). In this way philosophical hermeneutics turns philosophy away from epistemology—the concern with the outside, that to which language points, its propositional content—toward hermeneutics—the concern with that from which language emerges, “the conversation of the soul with itself” (p. 139), and the question (p. 119). If Grondin’s account is accepted, Richard Rorty is explicitly renouncing Gadamer when he asserts in Contingency, Irony, and Solidarity (p. 21) that “it is essential to my view that we have no pre-linguistic consciousness to which language needs to be adequate.”The historical survey is broken down into seven chapters: the first four cover [End Page 249] Classical, Patristic, Protestant, Romantic, and Historicist hermeneutics. Heidegger, Gadamer have one each, while Betti, Habermas, and Derrida are discussed in the last chapter. The historical survey is subdivided into authors too numerous to list. Grondin’s explication is uniformly clear and cogent; both novices and experts will find material for thought in his story.Grondin might be faulted for ignoring the Dutch, Italian, and English humanists, and for leaving Paul Ricoeur largely out of account. The only post-Medieval non-Germans to receive extended consideration are Emilio Betti and Jacques Derrida; the former because his hermeneutic theory precedes Gadamer’s by a few years, and the latter because he is a Heideggerean.Grondin sees deconstruction as “a regression into the propositional logic of metaphysics that dominated the entire West” because it is founded on a destructive critique of propositional logic—whereas Gadamerian philosophical hermeneutics is founded upon its replacement by the doctrine of the verbum interius (p. 138). Interestingly, he is also hostile to “historicism,” which—in contrast to Karl Popper—he sees as a positivistic effort to overcome the historicity of understanding (pp. 107–11).Leon SuretteUniversity of Western OntarioCopyright © 1996 The Johns Hopkins University Press...

W. J. T. Mitchell's "Spatial Form in Literature: Toward a General Theory" (Critical Inquiry 6 [Spring 1980]: 539-67) raises some fundamental questions about the concept of form itself and makes some large claims for the centrality of spatial form not only in modern criticism but in our entire culture. I wish to address a few of the questions raised by his discussion. First, Mitchell posits an identity between spatial form and "synchronic structural models" as if all explanatory models abstracted from temporal alteration were necessarily spatial.