By George Steiner
A amazing choice of essays on language, literature, and philosophy from acclaimed student and critic George SteinerOn hassle is as provocative and appropriate this present day as while its essays have been first released. starting from serious issues corresponding to the certainty of language to the that means of that means, inward speech to the connection among erotic sensibility and linguistic conference, those 8 essays posit myriad issues for exploration and discussion. George Steiner offers with issues which are concurrently literary and philosophical, exploring subject matters of linguistic privacy. Read more...
summary: A extraordinary number of essays on language, literature, and philosophy from acclaimed pupil and critic George SteinerOn trouble is as provocative and correct this present day as while its essays have been first released. starting from serious themes equivalent to the knowledge of language to the that means of which means, inward speech to the connection among erotic sensibility and linguistic conference, those 8 essays posit myriad subject matters for exploration and discussion. George Steiner bargains with concerns which are concurrently literary and philosophical, exploring topics of linguistic privateness
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Extra info for On Difficulty : And Other Essays
Stalin’s writings on party principles or during the polemics on linguistics in the 1950s are, in this respect, less contemptible than one’s knowledge of the man would have led one to hope. He also was a collator, close reader and ‘textualist’ whose odium philologicum inspired a massive body of written work. As Loren R. Graham has shown in his seminal study of Science and Philosophy in the Soviet Union, the result is a subtlety and self-sustaining intensity of debate which permeates Soviet intellectual life and which, to an extent largely unregistered in the West, has survived the recurrent terrors.
And it is just because this failure of summoning and response can lie wholly outside the categories of ‘liking’ or ‘disliking’ that it is not, or not only, a question of taste. Lewis). I can instance it with regards to Lovelace’s fifteen-line lyric, La Bella Bona Roba: I cannot tell who loves the Skeleton Of a poor Marmoset, nought but boan, boan Give me a nakedness with her cloath’s on. Such whose white-sattin upper coat of skin, Cuts upon Velvet rich Incarnadin, Ha’s yet a Body (and of Flesh within).
Nevertheless, there is a real discrimination to be made: as between our pleasure in or displeasure at something that we have thoroughly apprehended, and our reaction to, our atrophy of response towards a text whose autonomous force of life, whose raison d’être in the strict sense of the phrase, escape us. We have done our homework, the sinews of the poem are manifest to us; but we do not feel ‘called upon’, or ‘answer able to’, in both of which tags the primary bonds of interaction between the poem and its listener or reader are active.