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Specters of marks: Elements of Derridean hauntology and Benjaminian politico-historical eschatology in 'Frankenstein', 'Heart of Darkness', and 'The French Lieutenant's Woman'.

机译:标记的幽灵:《弗兰肯斯坦》,《黑暗之心》和《法国中尉的女人》中的德里达缠身术和本杰明政治政治末世论的内容。

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摘要

The present work explicates the concept of "the messianic" as it figures in the work of Jacques Derrida and Walter Benjamin in order to establish the foundation of a useful (and, one hopes, potentially innovative) critical approach to the works of Mary Shelley, Joseph Conrad, John Fowles, as well as to novelistic fiction generally. This foundation rests on a common quality of the messianic as it figures in Derrida and Benjamin's respective corpora. In their conception the messianic refers not to some individual of divine, semi-divine, or even mortal origin who is charged with functioning as the world-historical agent by whose deeds history itself comes to an end, and a new holy, paradisiacal order is thereby founded, but to the aspirational tenor to humankind's orientation to futurity. The messianic finds expression in the myriad instantiations of human beings' future-oriented activity. As such, it achieves a sort of spectrality---or, to borrow the term Marx applies to the commodity, a phantom-like objectivity---having a somewhat intuitive apprehensibility, if in fact not form or substance.;Novelistic fiction, which exploits its own spectrality in a bid for arranging impossible arrangements, realizing impossible realities, ordering impossible orders, attempts to occupy an impossible-to-occupy space between on one hand, the catastrophic present and the messianic future, and on the other hand, the future to come and the future as it is wished to be. Wracked by the tension created by its allegiance to chance, the contingent, and the aleatory on one side, and to the deterministic, the necessary, and the climactic or teleological on the other side, novelistic fiction achieves its particular character precisely through pursuit of its abortive program, just as humanity achieves its character, to the extent that such a notion is legitimate, precisely through its abortive program, which is nothing more no less than survival, than living on.
机译:本作品阐释了雅克·德里达(Jacques Derrida)和沃尔特·本杰明(Walter Benjamin)在作品中所用的“弥赛亚”概念,以便为玛丽·雪莱的作品建立一种有用的(并且希望是具有潜在创新性的)批判方法的基础,约瑟夫·康拉德,约翰·福尔斯以及小说小说。该基础基于在德里达和本杰明各自的语料库中得出的弥赛亚的共同品质。在他们的观念中,弥赛亚并不是指某些神圣,半神圣甚至是凡人血统的人,这些人被控以世界历史代理的身份行事,其行为史本身就此终结,新的神圣,天堂般的秩序正在这样就建立了,但是对于人类对未来的定位是雄心勃勃的。弥赛亚可以在人类面向未来的活动的无数实例中找到表达。这样一来,它就达到了某种光谱上的可理解性-或借用马克思这个术语适用于商品的幻象般的客观性-具有某种直觉上的可理解性,即使实际上不是形式或实质。它利用自身的频谱来安排不可能的安排,实现不可能的现实,命令不可能的订单,试图在一方面,灾难性的现在和弥赛亚的未来之间占据一个不可能占据的空间,另一方面,未来和希望的未来。一方面由于对机会,偶然性和偶然性的忠诚,另一方面对确定性,必要性以及气候或目的论的拥护所产生的张力,小说小说通过其追求而达到了其特殊的性格。就像人类实现其特性一样,堕胎计划正是在这种观念是合法的范围内,恰恰是通过堕胎计划,生存就是生存。

著录项

  • 作者

    Montgomery, Erwin B., III.;

  • 作者单位

    The University of Arizona.;

  • 授予单位 The University of Arizona.;
  • 学科 Literature English.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 394 p.
  • 总页数 394
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:36:56

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