Philosophy and Poetry by Ranjan Ghosh

Author:Ranjan Ghosh
Language: eng
Format: epub
Publisher: Columbia University Press

NOTES

  1.  Kenneth Burke, The Philosophy of Literary Form (Berkeley: University of California Press, 1941), 110.

  2.  Burke, 110–11.

  3.  Henry James, “The Middle Years,” in Tales of Henry James, ed. Christof Wegelin and Henry B. Wonham (New York: Norton, 2004), 212–13. Hereafter cited parenthetically in the text as MY.

  4.  Maurice Blanchot, “Literature and the Right to Death,” in The Work of Fire, trans. Lydia Davis (Stanford: Stanford University Press, 1995), 306. Hereafter cited parenthetically in the text as LRD.

  5.  Maurice Blanchot, The Space of Literature, trans. Ann Smock (Lincoln: University of Nebraska Press, 1982), 203. Hereafter cited parenthetically in the text as SL.

  6.  Donald G. Marshall, “History, Theory, and Influence: Yale Critics as Readers of Maurice Blanchot,” in The Yale Critics: Deconstruction in America, ed. Jonathan Arac, Wlad Godzich, and Wallace Martin (Minneapolis: University of Minnesota Press, 1983), 148.

  7.  Henry James, The Art of the Novel, ed. R. P. Blackmur (Chicago: University of Chicago Press, 2011), 349. For a more extended discussion of James and Blanchot, see Daniel Rosenberg Nutters, “The Madness of the Master: Henry James and Maurice Blanchot at the Limit,” Henry James Review 37, no. 4 (2016): 261–73.

  8.  Maurice Blanchot, Thomas the Obscure, trans. Robert Lamberton (New York: Station Hill, 1973), 104.

  9.  Blanchot directly references the phrase “the madness of art” in a short essay that studies James’s creative practice by examining the germ for The Turn of the Screw. See Maurice Blanchot, The Book to Come, trans. Charlotte Mandell (Stanford: Stanford University Press, 2003).

10.  Geoffrey Hartman, “The Fulness of Nothingness of Literature,” Yale French Studies 16 (1955): 70.

11.  Burke, The Philosophy of Literary Form, 63.

12.  See Geoffrey Hartman, The Unmediated Vision (New Haven: Yale University Press, 1954).

13.  In addition to Hartman’s and Marshall’s essays already cited, see Geoffrey Hartman, “Maurice Blanchot: Philosopher-Novelist,” in Beyond Formalism (New Haven: Yale University Press, 1970), 93–110.

14.  Kenneth Burke, Language as Symbolic Action (Berkeley: University of California Press, 1966), 44.

15.  Burke, 44.

16.  Maurice Blanchot, “Poetry and Language,” in Faux Pas, trans. Charlotte Mandell (Stanford: Stanford University Press, 2001), 137.

17.  We should note that Burke does not seem to repudiate the kind of thought we see in Blanchot but simply has other interests. See the essay “Poetics in Particular, Language in General” and note Burke’s use of Edgar Allan Poe, surely a precursor to Blanchot, in Language as Symbolic Action.

18.  Maurice Blanchot, The Infinite Conversation, trans. Susan Hanson (Minneapolis: University of Minnesota Press, 1993), 35–36. Hereafter cited parenthetically in the text as IC.

19.  Barbara Johnson, The World of Difference (Baltimore: Johns Hopkins University Press, 1987), 11.

20.  See Geoffrey Hartman, Criticism in the Wilderness: The Study of Literature Today (New Haven: Yale University Press, 1980).

21.  Geoffrey Hartman, Scars of the Spirit: The Struggle Against Inauthenticity (New York: Palgrave, 2002), 219.

22.  See Geoffrey Hartman, “The Voice in the Shuttle,” in Beyond Formalism (New Haven: Yale University Press, 1970), 337–55. On the Philomela project, see Geoffrey Hartman, Minor Prophecies: The Literary Essay in the Culture Wars (Cambridge, MA: Harvard University Press, 1991).

23.  Geoffrey Hartman, The Fate of Reading (Chicago: University of Chicago Press, 1975), 105.

24.  Hartman, Criticism in the Wilderness, 94.

25.  Hartman, 98.

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