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).
paraphrasing James: “ ‘True’ resembles ‘good’ or ‘rational’ in being a normative notion, a compliment paid to sentences that seem to be paying their way and that fit in with other sentences which are doing so” (1982:xxv).5 Rorty’s position on language, then, means abandoning the limitations of language, that is, its ubiquity, by favoring actions over vocabularies. In Rorty, the act, or the practice, solves the problem of the vicissitudinous nature of language, and vocabularies become redundant.
10.1057/9781137015785 - Literature, Ethics, and Aesthetics, Sabrina Achilles RETHINKING THE PERFORMATIVE IN PRAGMATICS 45 consistency is the abolition of all metaphor” (Deleuze and Guattari, 69). This is significant in that it places the existential refrain beyond description and in a virtual realm since the relationship between things is not representational and there is therefore no point of origin—only movement. For Deleuze and Guattari, what makes for a consistency between things is that
formulate alternatives works according to the principles being contested’ ” (Ulmer quoting Jonathan Culler, 5). Thus, “a review of Derrida’s program at the level of grammatology will reveal a mode of writing, and ultimately of pedagogical practice, that is designed to overcome the logocentric limitations of discourse” (Ulmer, 5). As though taking his cue from Derrida’s grammatological project, J. David Bolter has said that “electronic writing will require a simpler, more positive literary theory”
non-beautiful, whatever it is (and remember that structure is always a combination of the thing and the perceiving of it) and see where there are small points, gaps, unarticulated or un-mapped places within it (the non-beautiful) which must be the very places where beauty can be planted. (Ulmer quoting Richard Foreman, 346) 10.1057/9781137015785 - Literature, Ethics, and Aesthetics, Sabrina Achilles LITERARY FUNCTION AND THE CARTOGRAPHIC TURN 71 Ulmer’s new writing, his conductive
by the demands of the audience—the social and cultural situation and audience context2—as much as it is determined by the inclusive and/or exclusory codes the teller employs. For example, gender may be the governing factor brought to bear upon a narrative audience, excluding from the narrative either men or women. MacLean draws upon a variety of interactive instances to explain the scene of (narrative) performance. For MacLean the “arena of play” can in part be attributed to narrative oral