Abstract
The profoundly anti-Hegelian or Nietzschean gesture of twentieth-century French thought has been emphasized numerous times. Not only does this gesture signify a critique of the idea of a system, of the concept of totality, and of the conceptual instrument of dialectics (or sublation), it also calls attention to the desire for the establishment of an antifoundationalist and antiessentialist culture that leaves the individual room for postmetaphysical and genuinely idiosyncratic forms of self-creation. This kind of culture, bringing the histrionic and the idiosyncratic together, highly values the constant change of, or play with, (final) vocabularies and the invention of new ways of speaking or new sets of metaphors. Not presenting itself as frivolously irresponsible and insisting on the complexity of certain moral and ethical imperatives, a postmetaphysical and antifoundationalist culture urges us to recognize the crucial nature of the attempt creatively to redescribe our predecessors and, moreover, it strives to make us see the importance of innovative conceptual revolutions. As we have already seen, Richard Rorty calls this kind of postmetaphysical culture, which no longer needs the reliability and certainty of what is more than another human creation, a literary or poeticized culture.
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Notes
On Barthes’s reading of Proust, see Peter Bürger, “Von der Schwierigkeit, ich zu sagen: Roland Barthes,” Das Verschwinden des Subjekts: Eine Geschichte der Subjektivität von Montaigne bis Barthes (Frankfurt am Main: Suhrkamp, 1998), 203–16;
Ottmar Ette, Roland Barthes: Eine intellektuelle Biographie (Frankfurt am Main: Suhrkamp, 1998), 428–44;
Malcolm Bowie, “Barthes on Proust,” Yale Journal of Criticism 14.2 (2001): 513–18;
Lawrence D. Kritzman, “Barthes’s Way: Un Amour de Proust,” Yale Journal of Criticism 14.2 (2001): 535–43;
and Jonathan Culler, Barthes: A Very Short Introduction (New York: Oxford University Press, 2002), 116–20.
Regarding the role that literature plays for Rorty’s notion of a poeticized culture, David L. Hall’s Richard Rorty: Prophet and Poet of the New Pragmatism (Albany, NY: SUNY Press, 1994) is particularly valuable.
In addition, see Christoph Demmerling, “Philosophie als literarische Kultur: Bemerkungen zum Verhältnis von Philosophie, Philosophiekritik und Literatur im Anschluss an Richard Rorty,” Hinter den Spiegeln: Beiträge zur Philosophie Richard Rortys, ed. Thomas Schäfer, Udo Tietz, and Rüdiger Zill (Frankfurt am Main: Suhrkamp, 2001), 325–52;
and Christian Kohlross, “Jenseits von Philosophie und Philologie: Der literarische Epistemologe Richard Rorty,” Pragmatismus und Hermeneutik: Beiträge zu Richard Rortys Kulturpolitik, ed. Matthias Buschmeier and Espen Hammer (Hamburg: Felix Meiner, 2011), 160–72.
See Maurice Blanchot, “Literature and the Right to Death,” in The Work of Fire (1995: 300–44).
In addition, see Michel Foucault, “Le Langage à l’infini,” Tel Quel 15 (1963): 44–53;
and Peter Bürger, “Annäherung an den Ursprung: Blanchot, Hegel und der Surrealismus,” Ursprung des postmodernen Denkens (Weilerswist: Velbrück, 2000), 87–105.
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© 2015 Ulf Schulenberg
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Schulenberg, U. (2015). Roland Barthes, Marcel Proust, and the “désir d’écrire”. In: Romanticism and Pragmatism. Palgrave Macmillan, London. https://doi.org/10.1057/9781137474193_4
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