By Robert Detweiler
Modern literary feedback has almost ignored to interpret modern narrative fiction, poetry, and drama from a surprisingly non secular viewpoint. during this booklet, Robert Detweiler, the superior student of theology-based literary feedback, redresses this lack through featuring a transparent and accomplished examine of non secular topics in modern fiction. He applies the newest severe remedies to the examine of spiritual issues in quite a few works, together with works through Margaret Atwood, Jorge Luis Borges, Annie Dillard, Franz Kafka, Milan Kundera, Walker Percy, and John Updike. In so doing, Detweiler keenly demonstrates that there are lots of how one can behavior a non secular analyzing of a text.
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Additional info for Breaking the Fall: Religious Readings of Contemporary Fiction
Cf. Gilles Deleuze, Difference et repetition (Paris: PUF, 1969), and Logique du sens (Paris: Editions de Minuit, 1969). Other texts helpful to me in understanding the concept of the aggregate self are these: James Ogilvy, Many Dimensional Man: Decentralizing Self, Society, and the Sacred (New York: Oxford University Press, 1977), in which Ogilvy attempts a theory of how a 'plurality of selves' or what he calls 'intrapersonal selves' function; Jeremy Hawthorne, Multiple Personality and the Disintegration of Literary Character (New York: St.
But in our century language per se, not just literary language, has come increasingly und er suspicion regarding its reliability as a conveyer of our ordinary-reality experience as well as of our scientifieally discovered reality, so that the philosophy of our era has consisted in good part in dealing with the realization that language will not behave itself, will not function passively or tractably as an information-carrying vehicle, but even at its most innocuous always has its own agenda, its own hidden discourses, even - perhaps - its own reality.
Of its referent so effectively that it effaces it and causes the observer to lose sight of it. An analogy would be a defence lawyer who represents his dient skilfully in the courtroom and who portrays him in ways that the client by hirnself cannot, so as to let the complexities of the defendant and his Playing tor Real 25 actions come to light, versus the lawyer who by the strength of personality or rhetorical brilliance presents a picture - a fiction of his dient so aligned to the lawyer's own self-projection that the jury, its attention transferred to hirn, forgets to form its own judgement of the defendant.