Do poems speak to you? Consider poems in which you encounter the signature version of excited Romantic poetic address that begins with a single letter adorned with its own exclamation mark: “O!” Don’t you imagine that someone is saying (or shouting or whispering or gasping) “O!”? Does it matter that you don’t know who that person might be? Don’t you feel moved to respond, if only silently? Don’t you want to imagine that overseeing or overhearing that address brings you into (...) its range, thus making you feel as if you were joining a collective of such responsive silences? Nineteenth-century American poets often hoped you would feel this way, and most modern versions of poetics still do. But many Black poets in the US in the nineteenth century came to recognize that the lyricizing ambition of the apostrophic address that would come to be identified with Romantic and modern lyric threatened to make lyric poetry’s addressees universally White. Black Romantic poets repeatedly expressed anxieties about apostrophe’s racialized ambitions, though the history and theory of American poetics have both been premised on an ignorance of that expression. (shrink)

Les pensées contemporaines de l’événement, tout comme la langue de tous, déterminent l’événement comme étant une exception sur l’ordre normal du monde. À la différence des faits, les événements ont un caractère exceptionnel qui provient pour l’essentiel de leur caractère assigné, adressé. Alors que les faits intramondains sont ouverts à tous, l’événement est toujours vécu à la première personne, de façon unique et non-itérable. Grâce à une lecture comparée des théories de l’événement de Claude Romano, Alain Badiou et Jean-Luc Marion, (...) nous questionnons ce problème de l’adresse et posons une adestination essentielle de l’événement, nous obligeant par là à penser non pas une exceptionnalité de l’événement mais au contraire sa grande banalité. (shrink)

Die lyrische Apostrophe wurde bisher anhand eines dyadischen Kommunikationsmodells rekonstruiert. Ausgehend von einer Diskussion von Grundsatzfragen der Lyriktheorie und der literarischen Rhetorik sowie von einer Analyse der frühen Ode Klopstocks Von der Fahrt auf der Zürcher-See wird dafür argumentiert, dass nur ein triadisches Modell der kommunikativen Komplexität der lyrischen Apostrophe gerecht zu werden vermag.

The pragmatics underlying Paul Grice’s analysis of utterance-meaning provide a powerful framework for investigating the commitments arguers undertake. Unfortunately, the complexity of Grice’s analysis has frustrated appropriate reliance on this important facet of his work. By explicating Cicero’s use of apostrophe in his famous “First Catilinarian” this essay attempts to show that a full complex of reflexive gricean speaker intentions in essentially to seriously saying and meaning something.

This article focuses on three memoirs written by physicians who are specifically reflecting on their time in medical school to propose that the authors of these memoirs write not only to the reading audience, but also to their present and past selves. By addressing these former selves through the rhetorical figure of apostrophe, the authors write a new subjectivity into being. These memoirs serve as the material evidence of the formation what I call a bioaffective attachment, or, the way (...) an individual physician's subjectivity is affectively attached to their own sense of self and to the larger healthcare industry. (shrink)

À travers deux études de cas, on montre comment le travail sur corpus permet de prendre en compte la variabilité de la langue tout en donnant accès par la mise en paradigme de nombreuses occurrences à la valeur abstraite de marqueurs ou d'opérations énonciatives. L'attention à la diversité lexicale et syntaxique des contextes devient un atout pour déterminer ce qui favorise le recours à tel marqueur plutôt que tel autre. Par ailleurs certains faits apparaissent comme relevant à la fois de (...) l'orientation argumentative et de l'organisation textuelle et au-delà de la multiplicité des faits de discours se dégagent des spécificités génériques et des valeurs énonciatives stables. (shrink)

À travers deux études de cas, on montre comment le travail sur corpus permet de prendre en compte la variabilité de la langue tout en donnant accès par la mise en paradigme de nombreuses occurrences à la valeur abstraite de marqueurs ou d'opérations énonciatives. L'attention à la diversité lexicale et syntaxique des contextes devient un atout pour déterminer ce qui favorise le recours à tel marqueur plutôt que tel autre. Par ailleurs certains faits apparaissent comme relevant à la fois de (...) l'orientation argumentative et de l'organisation textuelle et au-delà de la multiplicité des faits de discours se dégagent des spécificités génériques et des valeurs énonciatives stables. (shrink)

L’auteure se donne pour objectif d’étudier le fonctionnement syntaxique et plus encore, le rôle énonciatif et textuel de l’apostrophe nominale, encore peu explorée par la linguistique et pourtant tout à fait remarquable en ce qu’elle transforme un nom en une forme qui désigne directement la deuxième personne. Laissant volontairement de côté les pronoms en apostrophe, aux emplois plus limités que les noms, C. Détrie étudie l’apostrophe nominale à partir d’un corpus de textes écrits (littéraire..

L’auteure se donne pour objectif d’étudier le fonctionnement syntaxique et plus encore, le rôle énonciatif et textuel de l’apostrophe nominale, encore peu explorée par la linguistique et pourtant tout à fait remarquable en ce qu’elle transforme un nom en une forme qui désigne directement la deuxième personne. Laissant volontairement de côté les pronoms en apostrophe, aux emplois plus limités que les noms, C. Détrie étudie l’apostrophe nominale à partir d’un corpus de textes écrits (littéraire...

"Philosophe polémiste, souvent apostrophé par ses commentateurs, Zénon d'Elée fait l'objet depuis l'antiquité d'un " procès de parole " sans précédent dans l'histoire des idées : Cruel Zénon, Palamède d'Elée, Amphotéroglôsse... Invectives, louanges et blâmes prolifèrent autour de Zénon d'Elée, dessinant en creux la réception d'une pensée atypique, toujours fortement investie. C'est le récit de ce traitement singulier que, de surnom en surnom, ce livre entreprend de retracer.".

English possessives with apostrophe mark.

The difficulty in the apostrophe of the has been noticed by commentators. So Barrett : ‘/ this cannot mean that the Amazon from Hipp, now that he is exiled: in all the forms of her legend … she meets a violent death at a time which cannot be long after Hipp.'s birth, and it is inconceivable that Eur. should mean his audience to think of her as still alive in Trozen or Athens.’ What seems to have passed unnoticed is (...) that there are, in this choral ode , two other passages which also suffer from at least prima facie incongruities with details of the story well known to the audience. (shrink)

« "...le mot qu'Aristote avoit tres-familier : 'O mes amis, il n'y a nul amy'." (Montaigne, De l'amitié.)Dernier mot, dernière volonté, cette sentence testamentaire nous vient du fond des temps. Sourdement soupirée, transmise et traduite, transférée aussi en tant de langues. Mais l'apostrophe appelle peut-être une science nouvelle, comme si elle ne consentait à se laisser aimer, au prix d'une philologie singulière, que pour une philosophie encore à venir.À méditer inlassablement l'aporie d'une telle adresse, on s'enfonce dans le labyrinthe (...) de sa provenance mais aussi de son avenir.Par provision, voici un fil d'Ariane, justement, un seul fil, tenu de main de femme, de fille, de sœur : où chemine la politique de ce "mot"? Ouvertement ou en secret, une architecture de la cité ou de l'État n'aurait-elle pas orienté cette provocation? Une généalogie du politique ne s'est-elle pas liée, dans notre tradition, au couple ami/ennemi et, en lui, au concept canonique et dominant de l'amitié?L'analyse ici proposée serait aussi une contre-généalogie. Elle inquiète en effet le motif généalogique lui-même, un certain ordre de la filiation, à savoir le schème familial et phallocentrique de la fraternité, la figure du frère (plutôt que de la sœur), la virilité de la vertu dont l'autorité reste si souvent incontestée dans notre culture de l'amitié et dans les modèles accrédités de la démocratie.À l'horizon de toutes ces questions, celle de la vertu, donc, dans une démocratie à venir. La vertu, est-ce une chose du passé? Oui et non.Le mot ainsi prêté à Aristote, qui ne l'a pas cité? Une fois infléchi ou orchestré, jusque dans sa grammaire, par un concert d'interprètes somnambules, vigilants et automatiques, voici qu'il traverse en rêvant, récitation psalmodiée d'une immense rumeur, le grand jour de notre mémoire : de Montaigne à Kant, par exemple, de Nietzsche à Blanchot, oui, Blanchot, l'ami de Bataille et des penseurs de ce temps, le penseur de L'Amitié ("...tandis que je me remémore la parole attribuée par Diogène Laërce à Aristote : 'O mes amis, il n'y a pas d'ami'", ce sont aussi les derniers mots d'un autre livre de Blanchot, Foucault tel que je l'imagine).Mais l'avenir de "ce mot qu'Aristote avoit tres-familier" vient encore sur nous. Déjà là, c'est comme s'il ne nous était pas encore arrivé, tenant en réserve, dans l'un de ses plis, une promesse de démocratie encore impensée, encore impossible, toujours à venir : la promesse même. »J. D.SOMMAIRE : Avant-proposOligarchies : nommer, énumérer, dénombrerAimer d'amitié : peut-être - le nom et l'adverbeCette « vérité » folle : le juste nom d'amitiéL'ami revenant (au nom de la « démocratie »)De l'hostilité absolue. La cause de la philosophie et le spectre du politiqueSerment, conjuration, fraternisation - ou la question « armée »Celui qui m'accompagneReplis« En langue d'homme, la fraternité »« Pour la première fois dans l'histoire de l'humanité »L'Oreille de HeideggerPhilopolémologie (Geschlecht IV)Portées de voix. Rhétorique de l'amitiéL'avoir, l'être et l'autre : tendre l'oreille, accorder ce qu'on n'a pasQuelques-uns (Le mariage du ciel et de l'enfer)Tautologie, monologie, otologie. Le sacrifice de Heidegger. (shrink)

Nietzsche’s perspectivism is a philosophical methodology for achieving various epistemic goods. Furthermore, perspectives as he conceives them relate primarily to agents’ motivational and evaluative sets. In order to shed light on this methodology, I approach it from two angles. First, I employ the digital humanities methodology pioneered recently in my recent and ongoing research to further elucidate the concept of perspectivism. Second, I explore some of the rhetorical tropes that Nietzsche uses to reorient his audience’s perspective. These include engaging the (...) audience’s emotions, apostrophic address to the reader, and what I’ve elsewhere called ‘Nietzschean summoning’. Each of these methods tugs at the affects and values of the audience, positioning them to notice, find salient, and be disposed to act in relation to certain (aspects of) things while ignoring, finding less salient, and being disposed to neglect (aspects of) other things. This suggests that, for Nietzsche, perspectivism may have less to do with cognition than the painterly metaphor of a visual perspective suggests. Instead, I’ll argue that for Nietzsche, perspectivism relates primarily to agents’ motivational and evaluative set. (shrink)

The use of a personal shorthand, including systematic abbreviations, is found in Russell’s extensive, unpublished notes on lectures he attended in 1893–98, notes on such philosophers as Lotze, Leibniz, Frege and Meinong, and outlines for writings at any age. While special shorthand symbols are few, abbreviations are extensive and managed with raised letters, apostrophes and periods.

Near the beginning of Charles Baudelaire’s Salon of 1846—one of the most brilliant and intellectually ambitious essays in art criticism ever written—the twenty-five-year-old author states that “the critic should arm himself from the start with a sure criterion, a criterion drawn from nature, and should then carry out his duty with a passion; for a critic does not cease to be a man, and passion draws similar temperaments together and exalts the reason to fresh heights.”1 It may be the emphasis (...) on passion, indeed on strong personal feeling of every kind, not only here but everywhere in the Salon, that has prevented commentators from taking wholly seriously the possibility that a single criterion is in fact at work throughout it. But what if that criterion operates in the realm of feeling, if it is itself a feeling or complex of feelings, and if, moreover, as Baudelaire as much as says, no conflict between the claims of reason and of passion exists within his conception of the critical enterprise? Not that scholars have failed to recognize either the brilliance or the ambitiousness of the Salon of 1846; on the contrary, it is widely regarded as the major extrapoetic text of Baudelaire’s early career and especially in recent years has received extensive commentary. But by and large, those who have written about it have focused primarily on topics, such as Baudelaire’s conception of nature, his vision of the creative process, and the relation of his ideas to those of other critics, that seem to me, if not quite pseudoproblems, at any rate concerns that lead us to ignore what the text may be saying about its own manner of proceeding.2 I acknowledge, too, that certain features of that manner—the mixture of irony and seriousness in the opening dedication to the bourgeois, the many abrupt fluctuations of tone in the body of the essay, the seeming breaks in the argument from section to section, the texture and movement of the prose—could hardly be less systematic in effect. And yet it would not be hard to show that the Salon as a whole is the product of a remarkable effort, not merely to ground the judgment of individual works of art in a single experiential principle but also to bind together a number of diverse concerns—pictorial, literary, political, philosophical—in an intellectually coherent structure every part of which is meant to be consonant with every other. No wonder the last sentence of the Salon apostrophizes Balzac: the sheer inclusiveness of Baudelaire’s undertaking recalls nothing so much as the scope of the Comédie humaine. 1. Charles Baudelaire, Salon of 1846, Art in Paris 1845-1862: Salons and Other Exhibitions, ed. and trans. Jonathan Mayne , pp. 101-2. All further references to the Salon of 1846 will be included parenthetically in the text . I have also consulted the recent edition, Baudelaire: “Salon de 1846,” ed. David Kelley , which includes a useful introduction and bibliography.2. See, for example, Margaret Gilman, Baudelaire, the Critic , pp. 12-53 and 77-111; F. W. Leakey, “Les Esthétiques de Baudelaire: Le ‘Système’ des annés 1844-1847,” Revue des sciences humaines, n.s., fasc. 127 : 481-96, and Baudelaire and Nature , pp. 73-88; and Kelley, “Deux Aspects du Salon de 1846 de Baudelaire : La Dédicace aux bourgeois et la couleur,” Forum for Modern Language Studies 5 : 331-46, and introduction to Baudelaire: “Salon de 1846,” pp. 1-114. Michael Fried, professor of humanities and the history of art and director of the Humanities Center at the Johns Hopkins University, is the author of Morris Louis and Absorption and Theatricality: Painting and Beholder in the Age of Diderot. He is currently at work on a book on Gustave Courbet. His most recent contribution to Critical Inquiry, “The Structure of Beholding in Courbet’s Burial at Ornans,” appeared in the June 1983 issue. (shrink)

Quo usque tandem abutere, Catilina, patientia nostra?. The famous incipit—‘And what are you reading, Master Buddenbrook? Ah, Cicero! A difficult text, the work of a great Roman orator. Quousque tandem, Catilina. Huh-uh-hmm, yes, I've not entirely forgotten my Latin, either’— already impressed contemporaries, including some ordinarily not so readily impressed. It rings through Sallust's version of Catiline's shadowy address to his followers, when he asks regarding the injustices they suffer : quae quousque tandem patiemini, o fortissumi uiri?. More playfully, and (...) less well-known, Sallust employed the expression again in a speech by Philippus : uos autem, patres conscripti, quo usque cunctando rem publicam intutam patiemini et uerbis arma temptabitis?. Soon afterwards it served Cicero's son, who, as governor of Asia, put down Hybreas fils for having dared to quote from his father's work in his presence : ‘age’, inquit [sc. Marcus Tullius], ‘non putas me didicisse patris mei: “quousque tandem abutere, Catilina, patientia nostra”?’. Just about the same time, Livy recalled it in order to colour Manlius’ exhortation of his followers : quousque tandem ignorabitis uires uestras, quas natura ne beluas quidem ignorare uoluit? … audendum est aliquid uniuersis aut omnia singulis patienda. quousque me circumspectabitis?. Thereafter Quintilian would refer to it twice, when discussing apostrophe and rhetorical questions, just a couple of years before Tacitus has the maladroit Q. Haterius encourage Tiberius to seize the reins—quo usque patieris, Caesar, non adesse caput rei publicae? ; a few decades later still, Apuleius puts it into the mouth of the slave who chastises his master, now in asinine form : ‘quo usque tandem’, inquit, ‘cantherium patiemur istum paulo ante cibariis iumentorum, nunc etiam simulacris deorum infestum?’. He trusted, no doubt, that the famous question would alert his readers more than anything to the many ‘similarities between Catiline and Lucius’, in order to have them appreciate this ‘ludicrous copy of Cicero's arch-enemy’. Some time after, and in a different corner of the Empire altogether, a teacher's bronze statue would carry the inscription:VERBACICRO | NISQVOVSQ | TANDEMABVTE | RECATELINAPA | TIENTIANOS | TRA. (shrink)

In the Fitzwilliam Museum at Cambridge there is a papyrus fragment, hitherto unpublished, of Euripides' Medea. It was written early in the 2nd century A.D., or possibly at the end of the 1st century A.D. The hand is a good round medium upright, similar to that of P. Oxy. 1810, possibly a little older. The stop and apostrophe in Fr. 1 line 1174 were evidently added later. There are several smudges and blots. Elisions only. There were 35 lines to (...) a column. (shrink)

Cet article propose une analyse des huit occurrences de la formule homérique epos t’ephat’ ek t’onomazen qui sont précédées, dans le premier hémistiche de l’hexamètre, par le verbe enenipein, dans le but de mettre en lumière la signification particulière qu’y recouvre le verbe onomazein « apostropher par des mots injurieux ».

Cordus, who gave Pompey's body decent burial, is apostrophizing Fortune: Pompey asks no splendid burial, no incense, no loyal Roman shoulders to carry the father of his country, no funeral procession displaying mementos of former triumphs, no solemn music in the fora, no mourning army circling about the pyre and casting their arms in it.

Since the development of modern trauma theory, the limits of the human have worn increasingly thin. Today, mounting evidence of psychological injuries in other species poses new challenges for trauma studies. How might we think trauma beyond the human? What would such an effort unsettle, which epistemic structures would it destabilize? Reading Cathy Caruth with Jacques Derrida and W.G. Sebald, this essay considers nonhuman trauma as an apostrophic address that provokes radical uncertainty. The inherently aporetic structure of trauma theory cannot (...) a priori exclude this address without fixing in place, and therefore undoing, its own foundations. Address-ability in the face of animal trauma hinges on the collapse of all certitudes, rendering possible responses rooted in something other than power. Such exposure turns us away from the familiar, toward the ungraspable traumatic histories that are catching up with us in this very moment of climate change and mass extinctions. (shrink)

This essay is a kind of sequel to an earlier one entitled "Marx's Aufhebung of Philosophy and the Foundations of a Historical-Materialist Science." Departing from the point reached in that essay, I take a Whitmanesque journey through Marx's writings and the logic of a materialist conception of history. I begin with Walt Whitman's very materialist, very dialectical, and very decentered apostrophe in his Song of the Open Road: "You objects that call forth from diffusion my meanings / And give (...) them shape." Taking this apostrophe as my cue, I proceed to elaborate the complexity and the dimensions of dialectical thinking within a historical-materialist framework. The specific purpose of the essay is twofold: to portray the "decentered" dialectical methodology follows from Marx's historical-materialist redefinition of the subject-object relation; and to map the kinds of analytical tasks, the open-ended "itineraries," that a historical-materialist science of Wissenschaft must pursue. This "dialectical cartography" is developed through a critical and hopefully productive response to poststructuralist critiques of dialectics, particularly to those approaches that exaggerate Saussure's notion of the arbitrariness of signs. In this respect my intention is to indicate how the current confrontational relation between historical materialism and poststructuralism, especially over matters of the production of meaning and the analysis of culture, might be transformed intoone of complementarity. (shrink)

Neither can stand. ‘Argos of the land’ is nonsense, and even if it were not, is absurd as an apostrophe of the River Inachus. ‘a plain’, indistinguishable from is similarly impossible: the audience would be baffled; in 6 has to be the first occurrence of the vox; ‘streams’ cannot be apposed to a ‘plain’, even if could have been understood as meaning this.

Neither can stand. ‘Argos of the land’ is nonsense, and even if it were not, is absurd as an apostrophe of the River Inachus. ‘a plain’, indistinguishable from is similarly impossible: the audience would be baffled; in 6 has to be the first occurrence of the vox; ‘streams’ cannot be apposed to a ‘plain’, even if could have been understood as meaning this.

Present article tries to give insight into the ways in which Estonian haiku models its author and communicates with the reader. The author thinks that while Japanese haiku is a predominantly autocommunicative piece of literature, where even a fixed point of view is not recommended, Estonian literary conventions are oriented towards openly communicational texts, which convey a fixed axiology and rely on abundant use of pronouns and rhetorical questions, addresses and apostrophes. While there is a considerable amount of Estonian haiku (...) that depend on Estonian literary conventions, most of the Estonian haiku texts, however, are oriented to the Japanese model. These texts have been labelled “the catalogues of landscape”, as they are constituted by naming different landscape objects without developing a line of narration. Thereby every landscape element in poetry is granted its own voice, and through this multitude of voices inside the text, the reader is forced to enter an autocommunicative process of remodelling him/herself. (shrink)

In the Discours des misères de ce temps, Ronsard claims that it would be, for him, to do too much honor to the Genevan preachers, in particular in Montméja, to play against them by interposed works. But Bèze, whom he waited on the ground of the disputatio to dispute against him on the subject of the discord between Catholics and Protestants, first opposes a refusal to the apostrophes which he addressed to him in this direction, as he did to the (...) authors of the pamphlets against him. This study examines the reasons for this silence and its rhetorical value, then it comments on the preface to Poëmata where Bèze finally responds, in a pungent way, to the defenders of the Catholic faith who attacked his person since he played a leading role in the Reformation. (shrink)

Dans les Discours des misères de ce temps, Ronsard prétend que ce serait, pour lui, faire trop d’honneur aux prédicants Genevois, en particulier à Montméja, que de jouter contre eux par oeuvres interposées. Mais Bèze, qu’il a attendu sur le terrain de la disputatio pour controverser contre lui sur le sujet de la discorde entre catholiques et protestants, oppose d’abord une fin de non-recevoir aux apostrophes qu’il lui a adressées dans ce sens, comme il l’a fait à l’endroit des auteurs (...) des pamphlets contre sa personne. Cette étude examine les raisons de ce silence et sa valeur rhétorique, puis elle commente la préface de Poëmata où Bèze répond enfin, de façon piquante, aux défenseurs de la foi catholique qui ont attaqué sa personne depuis qu’il joue un rôle de premier plan dans la Réforme. (shrink)

On his famous walk to Vincennes to visit the imprisoned Diderot, Rousseau had what he called an “illumination”—the realization that man was naturally good but becomes corrupted by the influence of society—a fundamental change in Rousseau’s perspective that would animate all of his subsequent works. At that moment, Rousseau “saw” something he had hitherto not seen, and he made it his mission to help his readers share that vision through an array of rhetorical and literary techniques. In Rousseau’s Reader, John (...) T. Scott looks at the different strategies Rousseau used to engage and persuade the readers of his major philosophical works, including the Social Contract, Discourse on Inequality, and Emile. Considering choice of genre; textual structure; frontispieces and illustrations; shifting authorial and narrative voice; addresses to readers that alternately invite and challenge; apostrophe, metaphor, and other literary devices; and, of course, paradox, Scott explores how the form of Rousseau’s writing relates to the content of his thought and vice versa. Through this skillful interplay of form and content, Rousseau engages in a profoundly transformative dialogue with his readers. While most political philosophers have focused, understandably, on Rousseau’s ideas, Scott shows convincingly that the way he conveyed them is also of vital importance, especially given Rousseau’s enduring interest in education. Giving readers the key to Rousseau’s style, Scott offers fresh and original insights into the relationship between the substance of his thought and his literary and rhetorical techniques, which enhance our understanding of Rousseau’s project and the audiences he intended to reach. (shrink)

‘Cataracts’ in Stevens’ poems are falling waters—here a river flowing near a mountain. The ‘apostrophe that was not spoken’ may be an address that was not made, perhaps an unspoken affirmation of nature’s beauty. And the river that ‘is never the same twice’ can only be the flowing river Plato claimed Heraclitus used as a simile for all existing things: ‘Heraclitus says somewhere that everything gives way and nothing remains, and likening existing things to the flow of a river, (...) he says that you cannot step twice into the same river’ (Cratylus, 402a). There are five respects in which ‘This Solitude of Cataracts’ displays affinities with Heraclitean ideas: its use of a river as a simile for human experience, the poet’s desire to express the real nature of things, rivers and mountains as polar opposites, the exploitation of ambiguities, and the use of particulars as emblematic of general truths. (shrink)

Here, too, it may initially appear reasonable to see in uobis the same group of people, but there is little doubt that it must refer to senis nostri felicia rura, which can hardly be anything but a vocative. If condatis does not refer to people, one may be tempted to accept the humanist conjecture sulci and construe the verb as addressed to the furrows. Yet I rather doubt that an address to the farm can justify apostrophizing something as technical and (...) down-to-earth as furrows. I think Fraenkel is right to insist on relating condatis to the same vocative as uobis, that is, rura. This interpretation is supported by the fact that the two stanzas are closely analogous. (shrink)

Lyric is onanistic: masturbation is the latent content of lyric poetry. This article counters queer theory with a turn to onanist theory, pointing out the centrality of masturbation to the work of Jacques Derrida, and suggesting that rather than consider masturbation the supplement to sex, we might consider the opposite. Modern man has, according to Derrida, been mistaken in his metaphysics by a deluded fidelity to presence, an ontological error to which he has been attached as though to a lover; (...) instead, modern man is guiltily onanistic. This article argues that the apostrophic intimacies of lyric and the longings held therein are masturbatory. To do so it reads Rob Halpern's Music for Porn as a deconstructive reading of Walt Whitman's Civil War poetry. (shrink)

It became customary in the eighteenth century to praise Longinus in ways that mimicked one of his own favorite turns of thought—to identify enthusiastically two elements that would more commonly be thought of as quite distinct. To say, with Boileau and Pope, that Longinus “is himself the great Sublime he draws,” or to profess to doubt, as Gibbon did, “which is the most sublime, Homer’s Battle of the Gods or Longinus’ apostrophe…upon it,” is knowingly to override certain conventional lines (...) of demarcation—between writers and their subject matter, between text and interpretation—very much in the manner of Longinus overriding the distinction between Homer and his heroes, between sublime language and its author , or between sublime poet and his audience .1 Longinus’ admirers, struck by the force of the treatise, are usually willing to release him from the strictures of theoretical discourse and allow him the license of a poet; they are likely to appreciate his transgressions of conventional limits without ever calling them into question. It has been left to more skeptical readers, wary of Longinus’ “transports,” to draw attention to his odd movements of thought: W. K. Wimsatt, for example, is unsympathetic but acute when he accuses Longinus of “sliding” from one theoretical distinction to another, a slide “which seems to harbor a certain duplicity and invalidity.”2 Wimsatt is right: something one might want to call a “slide” is observable again and again in the treatise, and not merely from one theoretical distinction to another. One finds in the treatise a rhetorician’s argument conducted with great intelligence and energy, but one also discovers that it is remarkably easy to lose one’s way, to forget which rhetorical topic is under consideration at a particular point, to find oneself attending to a quotation, a fragment of analysis, a metaphor—some interestingly resonant bit of language that draws one into quite another system of relationships. I want to attempt to follow that movement here, to hold it in mind and to question its implications. I will look closely at a number of passages in which Longinus interweaves language of his own with that of the authors he admires—for it is here, out of the play of text with quotation and of quotations with one another, that the most interesting meanings as well as the peculiar power of the treatise are generated.1. ‘Longinus’ On Sublimity, trans. D. A. Russell , 9. 2, 7. 2; all further references to this work will appear in text, though I have changed a word or two of Russell’s translation in the interests of a more literal rendering of the Greek. I am indebted to another recent translation, G. M. A. Grube’s Longinus On Great Writing , and more particularly to the ample and intelligent introduction and notes accompanying Russell’s edition of the Greek text, ‘Longinus’ On the Sublime .2. W. K. Wimsatt, Jr., and Cleanth Brooks, Literary Criticism: A Short History , p.101. (shrink)

La notion d’exclamation contient à la fois l’idée d’extériorisation et d’intensité. Une première observation aboutit à l’hypothèse suivante : l’exclamation se caractérise par un surcroît d’expressivité qui donne de la saillance à un énoncé ou à un fragment d’énoncé. La motivation de l’exclamation peut se trouver en amont, en aval, et/ou à l’intérieur d’un énoncé. L’exclamation est compatible avec tout type d’énoncé, comme modulation énonciative marquée qui s’oppose toujours à une variante non exclamative. On s’interroge sur l’affinité entre exclamation et (...) émotion ; entre exclamation et hiatus par rapport à une attente ; entre exclamation et haut degré, entre exclamation et pluri-modalité. On réexamine les énoncés exclamatifs du corpus, apostrophes, interjections, focalisation, énoncés injonctifs, déontiques, optatifs, assertifs, appréciatifs, structures exclamatives. (shrink)

This book is presumably a collection of essays delivered at a conference, though it's hard to say. There is no cover description and the editors' introduction, where this information might have been found, is missing from the volume (at least from my copy) in spite of being listed in the table of contents. A curious editorial slip. In fact, from an editorial perspective this book is a disaster. Not only is the format reminiscent of those camera ready volumes that jammed (...) our libraries in the late Eighties, when word processors began to spread and people started using them to produce entire books without knowing how to handle line spacing and hyphenation -- not to mention orphans and widows, footnotes, tabs, apostrophes, etc. There are also lots of typos, English infelicities, punctuation disorders. Obviously nobody checked the page proofs. There are even formulas that were not properly converted from the original files and have been printed with the infamous boxes in place of the logical symbols. Publishing academic books in analytic philosophy is becoming increasingly difficult and not every publisher can afford serious copy editing. But charging 74 euros for such a poorly manufactured item is appalling. (shrink)