Gracia nicely illustrates how meaning can go beyond authorial intention with a reference to games: “one of the plays makes a move the significance of which he does not quite grasp. For the player is the author of the move, and wins or loses accordingly, by virtue of the fact that he is a player engaged in the game. Likewise, an author is a player in the textual game and, in authoring a text, is to be taken as intending... Read more
Finally getting around to Jorge Gracia’s Theory of Textuality . It’s got a lot of strengths. Gracia recognizes the strengths and weaknesses of various theories of textual meaning, and sensibly tests theories by their ability to explain our actual experience of texts. Postmodern diffusion can’t explain the fact of daily communication; Hirsch and his cohorts who speak in terms of single strictly limited meaning have a hard time explaining what goes on in literature classes – or, they simply condemn... Read more
Considering the plural pronoun at the beginning of the Lord’s Prayer, Chrysostom says that it announces a moral and social revolution: “by this He at once takes away hatred, and quells pride, and casts out envy, and brings in the mother of all good things, even charity, and exterminates the inequality of human beings, and shows how far the equality reaches between the king and the poor man, if at least in those things which are greatest and most indispensable,... Read more
Athenagoras condemns worship of the creation using a musical analogy ( A Plea for Christians ): “If therefore the world is an instrument in tune, and moving in well-measured time, I adore the Being who gave its harmony, and strikes its notes, and sings the accordant strain, and not the instrument. For at the musical contests the adjudicators do not pass by the lute-players and crown the lutes.” Read more
Gregory of Nyssa explains in On the Making of Man that the human body is like a musical instrument, designed for reason. This is itself a striking image, but Nyssa expounds on the analogy by looking at the specific contours of the human body. The passage reminds me of Leon Kass’s discussion of human diet in The Hungry Soul . “Now since man is a rational animal, the instrument of his body must be made suitable for the use of... Read more
Clement of Alexandria begins his Exhortation to the Heathen by reviewing various myths about music, and then introduces the gospel as God’s new song. By the time he’s done, he’s told the history of the world musically: “Behold the might of the new song! It has made men out of stones, men out of beasts. Those, moreover, that were as dead, not being partakers of the true life, have come to life again, simply by becoming listeners to this song.... Read more
In his study of children’s literature ( Stars, Tigers, and the Shape of Words ), JH Prynne mounts a critique of Saussure designed to show that “the methodology of practical literary criticism habitually contradicts Saussure’s theory of language by assuming that acoustic or graphic properties of the sign do contribute to the apprehension of meanings.” As summarized by Robin Purves, Prynne’s argument is as follows: (more…) Read more
That’s Barthes not Barth. As in Roland. Prickett suggests that Barthes’ proclamation of the death of the author, his manumission of interpretation from the obsession with the limited, final, “secret” meaning, and his hope for a liberated “anti-theological” and “revolutionary” reading that refuses “to fix meaning” in fact opens the way to a transcendental argument for the existence of God. Barthes recognizes that meaning is guaranteed ultimately by God, and that if there is no God there is no meaning.... Read more
Poststructuralism likes to think itself radical, but Stephen Prickett (Words and the Word) points out that it excludes the possibility of novelty. Barthes says that a text is “a tissue of quotations drawn from the unnumerable centres of culture.” And Kristeva’s notion of intertextuality, on Prickett’s reading, encloses a text “within a sealed system from which the possibility of the ‘new’ is seemingly excluded by definition.” Prickett recognizes that this is linked with poststructuralism’s anti-theological stance: “The idea of the... Read more
A few highlights from James Wood’s chapter on language in How Fiction Works . Early on, he mentions the “old modernist hope” that prose can be “as well written as poetry.” This will require readers and novelists to develop what Nietzsche called a “third ear”: “We have to read musically, testing the precision and rhythm of a sentence, listening for the almost inaudible rustle of historical association clinging to the hems of modern words, attending to patterns, repetitions, echoes, deciding... Read more
Leithart
Ad-Free & Subscriber Log-In