Literature, Ethics, and Aesthetics: Applied Deleuze and Guattari
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Sabrina Achilles. Literature, Ethics, and Aesthetics: Applied Deleuze and Guattari. Pallgrave Macmillan, 2012. 230 Pages.
Release date: March 27, 2012 | ISBN-10: 023034089X | ISBN-13: 978-0230340893
This book is a conceptualization of the literary aesthetic in relation to ethics, in particular, an ethics for a concern for the Self. Bringing Gilles Deleuze and Félix Guattari's constructivist thinking into a practical domain, Sabrina Achilles rethinks the ways in which literature is understood and taught. Through an interdisciplinary approach, literature is viewed from the position of a problem without any pre-given frame.
Sabrina Achilles is a lecturer of English at the University of Western Sydney.
Hardcover: 230 pages
Publisher: Palgrave Macmillan (March 27, 2012)
Printed book Dimensions: 5.7 x 0.7 x 8.8 inches
Note: a bookmarked vector pdf; pages numbered. Pages 145-145 of different quality (presumably converted to pdf from snapshots).
own hyperrhetoric for electronic literacy, Ulmer repeats Hesiod’s experiment, “formally and conceptually” (348). He follows the example of Hesiod whose conceptual thinking uses three registers: In the same way that alphabetic literacy made conceptual thinking possible, electronic literacy requires another means for arranging diverse particulars into classes and sets (1). The new arrangement has to be invented out of the old one, involving a new form and a new style of reasoning (2). The process
forms (complaint, sonnet, ode), that covers either a broad sweep of historical time or confines itself to one of the chronological periods into which the cultural past has been typically divided. (1990:250)9 Such approaches capture the literary and/or inhibit an exploration of the relationship between the aesthetic and society, as is the case with some formalist and postmodern criticism. However, I am critical of Olsen’s methodology, believing that it does not take us beyond literary history, as
meaning come what may, overriding the notion in postmodern theory of fundamental meaninglessness of the text, Olsen concludes that there is a contradiction “in the idea of the postmodern at the levels of ontology, politics, and aesthetics” (121). In other words, the aesthetic differs from the ontological and political reality of postmodernism. (Postmodern) criticism, then, for Olsen, comes down to mere aesthetics and it is these “ideas” that are typically “airy play toys to fool with freely”
is not a structure into which I am made to fit—a text—as with MacLean’s scene of performance, but a pragmatic moment in which the community, multiplicity, is kept afloat, alive. For MacLean, the text is significant for its “force,” it is a structure that beats the reader into submission (1988:174–175). The best the reader can do is take the reins off the writer and “knock out the next set of readers” (174–175). In this case, says MacLean, “the donor and recipient of the message have established
or slightly changed sounds—the artist produces a line. Or, a line is produced when the artist meanders back along his or her own pathway. The pathway is more than a recounting of personal experience. It is in fact not a recounting at all but an acting upon our experience. Our own “never-repeatable ‘place’ in being” (Bakhtin, 1993:xxii) means we must act upon events according to “a unique answerability’ ” (Bakhtin, 1993:xxii). That is, we must carry out something in relation to the world and