By Neil Hertz
Neil Hertz's long-awaited quantity of essays explores the concept of the elegant in literary and psychoanalytic texts from Longinus to Freud. the top of the road makes a speciality of "authorial surrogates" -figures who seem in literature, philosophy, or psychoanalysis as trademarks of task of writing that has produced the paintings. George Eliot's Mr. Casaubon or a mangy puppy in a unique through Flaubert emerge in Hertz's readings as doubles or scapegoats; via masterful analyses Hertz locates the pressures that produce those surrogates -pressures, he exhibits, which are an important to the production of serious artwork. Hertz's paintings has lengthy been well-known for its amazing diversity as good as its uncompromising rigor. even if its topic is blockage, repression, and surrogates, the top of the road is a superb and whole severe functionality.
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Extra resources for The End of the Line
Sample text
Casaubon's preoccupying self-concern, the narrator goes on to add a more general reflection: Will not a tiny speck very close to our vision blot out the glory ~T~ the world, and leave only a margin by which we see the blot? I ,) know no speck so troublesome as self [po 307]1 " ~' The remark is characteristic of George Eliot in a number of ways, most obviously in its ethical implications: egotism in her writings is almost always rendered as narcissism, the self doubled and fig ured as both the eye and the blot.
I suggested earlier that something similar could be seen at work during the eighteenth century, as the notion of difficulty or re calcitrance was transformed, through a passage to the limit, into the notion of absolute blockage. This too would seem to have been the result of a wish, for although the moment of blockage might have been rendered as one of utter self-loss, it was, even before its recuperation as sublime exaltation, a confirmation of the unitary status of the self A passage to the limit may seem lurid, but it has its ethical and metaphysical uses.
14 Readers of Freud should have no trouble predicting the general direction of Weiskel's argument: the Kantian sublime, in both its manifestations, becomes "the very moment in which the mind turns within and performs its identification with reason. The sub lime recapitulates and thereby reestablishes the oedipus complex," with Kant's reason taking the role of the superego, that agency generated by an act of sublimation, "an identification with the father taken as a model. "15 What one could not have foreseen is the turn Weiskel's argument takes at this point.