- Paperback: 128 pages
- Publisher: Prentice-Hall (1 Mar 1992)
- Language English
- ISBN-10: 0745011500
- ISBN-13: 978-0745011509
- Amazon Bestsellers Rank: 4,699,863 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Product Description
Product Description
This book offers a series of striking textual studies of major literary figures and "emergent" authors. Written in an accessible, direct style the texts can be read as inspiration for Helen Cixous's fictional and critical practices. They not only introduce readers to writings from Brazil, Russia and Eastern Europe, they also give new, incisive insights into classic works such as Joyce's "Portrait of the Artist" and Kafka's "Before the Law". While the selection of texts reflects Cixous's ongoing concern with the origin of writing, with questions of love and the gift, and her insistence on pleasure, they also reveal her interest in problems of history. The juxtaposition of texts across centuries and national boundaires opens up exciting possibilities of multiple and fluid readings. Drawing on philosophy and psychoanalysis, this volume of readings can be read side by side with "Reading With Clarice Lispector" as an ongoing meditation on ethics and poetics.
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1 review
from seminars in Paris in 1980 through 1986
26 Dec 2011
Format:Paperback
Mental bankruptcy in a culture of loss. We don't have the paradise that Adam and Eve had in the Garden of Eden because there was no way for them to know about evil until they had eaten the fruit of the Tree of Knowledge. Cixous gives readings of stories that involve a fall from innocence and explains grace as a momentary experience, not a possession that anyone can retain. The desire for innocence as a character trait does not conform to times, people, or places we experience.
This book uses the Yid word when Cixous is not satisfied with a translation of "Poem of the End" by Tsvetayeva.
Would it be more equal for one person to use the Yid word or for everyone to use the Yid word? The poem asks about being forbidden:
Life is a place where it's forbidden
to live. Like the Hebrew quarter. (p. 149).
Life is for converts only
Judases of all faiths. (p. 150).
Her association of poet and Jew -
she actually uses the term "Yid" (p. 150).
Law is a form of oppression when it is being used to make some poor wretched fool to pay. Kleist's story "Michael Kohlhaas," makes it perfectly clear:
At that moment Kohlhaas has a
premonition. He knows before
really knowing and starts on a
slow fall. His knowledge of law is
insufficient for a social being.
He has not understood yet that
the law does not forgive. He still
believes that law and justice go
together and that one can ask the law,
like the Father - since we are entering
afterward in infinite relays of figures
of the law, imperial, regal - for something
that, in reality, it will never be able to give.
One can ask something legitimate of it but
not something just. That is going to be
Kohlhaas's experience. This alteration
takes place over a thousand steps. (p. 59).
One of the readings is phrased as a question in the text being read:
we would have to eat again
of the Tree of Knowledge
in order to return to the state
of innocence? (p. 49).
The analysis involves a pendulum. On one side is joy and thirst, which then moves to loss within a context of distraction, division, separation and gaps of displacement. "The expression itself is obscure and escapes the reader's perception or appropriation." (p. 50). When it is all over, they are on the side of admiration admiring itself.
"Until everything transformed itself into denial." (p. 51).
"The wasteland of waiting has already disconnected the wires." (p. 51).
This book uses the Yid word when Cixous is not satisfied with a translation of "Poem of the End" by Tsvetayeva.
Would it be more equal for one person to use the Yid word or for everyone to use the Yid word? The poem asks about being forbidden:
Life is a place where it's forbidden
to live. Like the Hebrew quarter. (p. 149).
Life is for converts only
Judases of all faiths. (p. 150).
Her association of poet and Jew -
she actually uses the term "Yid" (p. 150).
Law is a form of oppression when it is being used to make some poor wretched fool to pay. Kleist's story "Michael Kohlhaas," makes it perfectly clear:
At that moment Kohlhaas has a
premonition. He knows before
really knowing and starts on a
slow fall. His knowledge of law is
insufficient for a social being.
He has not understood yet that
the law does not forgive. He still
believes that law and justice go
together and that one can ask the law,
like the Father - since we are entering
afterward in infinite relays of figures
of the law, imperial, regal - for something
that, in reality, it will never be able to give.
One can ask something legitimate of it but
not something just. That is going to be
Kohlhaas's experience. This alteration
takes place over a thousand steps. (p. 59).
One of the readings is phrased as a question in the text being read:
we would have to eat again
of the Tree of Knowledge
in order to return to the state
of innocence? (p. 49).
The analysis involves a pendulum. On one side is joy and thirst, which then moves to loss within a context of distraction, division, separation and gaps of displacement. "The expression itself is obscure and escapes the reader's perception or appropriation." (p. 50). When it is all over, they are on the side of admiration admiring itself.
"Until everything transformed itself into denial." (p. 51).
"The wasteland of waiting has already disconnected the wires." (p. 51).
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