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| Theory of being, the absolute truth |
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| Theory of knowledge; philosophy of how one knows |
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| FORM (absolute truth) -> CONCEPT (cannot be the origin) -> THING -> LANGUAGE -> SPOKEN -> WRITTEN |
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| Inversion: Literature is that which it is not |
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| language that foregrounds itself as different; looks and sounds; divorced from content |
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| making strange the familiar (ie. 'dazzling darkness') |
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| the internal mechanics of literature |
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| chronology of existence/sequence of events (story) |
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| gives meaning and literary value to the fabula (plot) |
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| not science; objective; the poem is an ontological fact |
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| the poetic voice does not equal the personal voice |
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| the reader's emotional response to the text is neither important nor equivalent to its interpretation (is vs does) |
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Term
(NC)
objective correlative |
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Definition
| a set of objects that can effectively awaken in the reader the emotional response the author desires without being a direct statement of that emotion; the emotional register can be perceived by anyone if they're a good reader regardless of the way you are affected by it. |
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| on thing says all other unsaid, implied things |
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| content and form is inseperable |
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| how languages change over time and are connected (philology) |
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| language in a moment of time |
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| smallest recognizable unit of sound |
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| socially obvious structure of langague |
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| part of the way you speak that is illogical |
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| an external point of reference upon which one may build a concept or philosophy; pursued and assured; becomes part of the system, but also outside it |
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| the focus on sound or speech; giving spoken words presence, while written words are absent |
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| gives the word an exterior authority; a mark of presence |
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| logocentrism; phoncentrism and the operation of binary oppositions as well as other western philosophical thoughts |
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Definition
| writing is a mark of absence; all moments of language are marks of absent; |
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Term
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Definition
| differential relationships go all the way up the line; the center is forever deferred |
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