By Zahi Zalloua
Drawing on literary conception and canonical French literature, studying Unruly examines unruliness as either a cultured class and a method of analyzing conceived as moral reaction. Zahi Zalloua argues that once confronted with an unruly murals, readers confront a moral double bind, hesitating then among the 2 conflicting injunctions of both thematizing (making experience) of the literary paintings, or getting to its aesthetic alterity or unreadability.
Creatively hesitating among incommensurable calls for (to interpret yet to not translate again into wide-spread terms), moral readers are invited to domesticate an appreciation for the unruly, to reduce the need for hermeneutic mastery with no concurrently renouncing which means or the interpretive exercise as such. reading French texts from Montaigne’s sixteenth-century Essays to Diderot’s fictional discussion Rameau’s Nephew and Baudelaire’s prose poems The Spleen of Paris, to the newer works of Jean-Paul Sartre’s Nausea, Alain Robbe-Grillet’s Jealousy, and Marguerite Duras’s The Ravishing of Lol Stein, examining Unruly demonstrates that during such an method of literature and concept, analyzing itself turns into a wish for extra, a moral and aesthetic wish to delay instead of to arrest the act of interpretation.
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Additional info for Reading Unruly: Interpretation and Its Ethical Demands (Symploke Studies in Contemporary Theory)
The source is the Highest Principle. If one dethrones the highest principle and still insists that there must be a single source for every experience of the beautiful, one can still detect such a source in the world of our unconscious desires. After all, in both cases—in metaphysics and in its radical reversal—it is Eros who conducts the orchestra, be it the Heavenly Eros of Plato or the Under-worldly Eros of Nietzsche’s Dionysius and Freud’s libido. But it is very difficult and requires the employment of fantastic tricks and handstands in order to detect one single unconscious source behind all the kinds of love of beauty.
51. György Lukács, “The Foundering of Form Against Life,” in György Lukács’ Soul and Form, 56. 52. See Søren Kierkegaard, The Seducer’s Diary, ed. and trans. Howard V. Hong and Edna H. Hong, with a new foreword by John Updike (Princeton, NJ: Princeton University Press, 1997), 107. See also Chanderlos de Laclos, Dangerous Liaisons, trans. with an introduction and notes by Helen Constantine (London: Penguin, 2007). 53. Agnes Heller, “Georg Lukács and Irma Seidler,” in Lukács Revalued, 27. 54. Agnes Heller, “Georg Lukács and Irma Seidler,” in Lukács Revalued, 27.
According to Collingwood “beautiful” means admirable, excellent, and desirable.
Reading Unruly: Interpretation and Its Ethical Demands (Symploke Studies in Contemporary Theory) by Zahi Zalloua