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Simon Critchley

Very Little … Almost Nothing: Death, Philosophy, Literature

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  • neutronwaveje citiralaпре 4 године
    In modernism, as we have already seen, autonomy is a problem because it is no longer underwritten or legitimated by tradition, ‘by the conventions of an art’. Thus, the modernist artist ‘has continually to question the conventions upon which his art has depended’. From an Adornian perspective, the problem initially raised by Cavell’s essay–although it disappointingly disappears after the opening couple of pages–is the right one: modernist artworks put meaning on the agenda.
  • neutronwaveje citiralaпре 4 године
    Having critically discredited the traditional claims of religion, can art become a therapy for religious desire? My view, which I discuss in with particular reference to Hegel’s, Lukács’s and Carl Schmitt’s critiques of romanticism, is that it cannot. What I see as the tragic quality of modernity resides in the fact that the form of our questions about the meaning and value of human life is still religious, but that we find the claims of religion increasingly incredible and hence move our faith elsewhere, into the aesthetic, the philosophical, the economic, or the political, without any of these spheres being able to provide the kind of response we require. Thus, therapy does not silence the critical voice, and, moreover, such a silence would not be therapeutic: after such knowledge, what forgiveness? But this does not mean that romanticism is redundant or uninteresting, it means rather that we have to expect less from the imagination and accustom ourselves to more minimal transfigurations of reality.
  • neutronwaveje citiralaпре 4 године
    However, the second task of poetry is to give ‘to life the supreme fictions without which we are unable to conceive of it’. Beyond the critical function described above, we might describe this as the therapeutic task of poetry. To put in bluntly, poetry is ‘one of the enlargements of life’. One of Stevens’s most telling remarks, I believe, is the following: ‘After one has abandoned a belief in God, poetry is that essence which takes its place as life’s redemption.’ Poetry offers a possible form of redemption, a redemption that brings us back to the fictionality of the world as fictional, and which saves the sense of the world for us (and it goes without saying that only the world is saved: the realm of appearance, semblance and visibility). In Kermode’s words, poetry enables us to continue ‘living without God and finding it good, because of the survival of the power (i.e. the imagination) that once made him suffice’.
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