Wayne Stables

Our actions, even the quietest, are liable to become occasions for inculpation. But what kind of action would remain immune to the act of judgement? Such an action is made manifest in Michelangelo’s Moses. Freud’s cinematic reading of the sculpture yields a concern with what Moses does not do. Neither the origin nor the outcome of an action proves decisive but rather “the remains of a movement that has already taken place.” Such a remainder troubles the ascription of agency to action by undermining the fantasy of homogenous time which underlies it. Continuity is revealed as the semblance of an imperceptible series of temporal omissions. The paper aims not only to bring to light the radical potential harboured in Freud’s approach to the Moses but to account for the reason he arrests its appearance.

The interest of this paper is to discover the precondition of experience. It is suggested that Walter Benjamin's meditations on Proust, as well as on the origin of the novel, lead to the verge of that discovery. A la recherche du temps perdu is less a monumental work of fiction in this view than the limit of experience – the intransmissible fact of the transience of the present – made manifest in writing. While in Proust transience gives way to its recuperation as image, Thomas Bernhard's post-Proustian masterpiece Extinction mobilizes the present's destructive potential with compelling effect, and turns it upon the work of historical experience itself.