Reseña de Con/Texts of Persuasion
lunes, 22 de junio de 2015
Reseña de Con/Texts of Persuasion
A passage from Stephen Bygrave's Kenneth Burke: Rhetoric and Ideology (Routledge, 1993) in which he discusses Burke's translation of the term 'strategy' from a military to a rhetorical context. We are more comfortable, Bygrave argues, with the notion of texts having an 'ideology' than with the notion that they employ 'strategies'. Bygrave seems to take for granted that the 'strategies' referred to are not under the author's deliberate or planning control, any more than the ideology—but of course it is not a matter of all-or-nothing, as there may be congruent transitions from conscious design to unconscious 'strategy' just as there may be incongruent tensions between intent and results (of the kind often analyzed by deconstructors). Any such strategies, if they are an identifiable object, must be recognized by a reader, but they should be ascribed to the reader's perceptive (or critical) insights on the text; they cannot be ascribed wholesale to the reader's agency or ingenuity, as that would result in "hopeless relativism since we could no longer appeal to the text to validate the claims we made about it" (108).
But just now I want to draw attention to the relationship between perspectival dominion or topsight (dominant insight, if you will) and strategy, as against tactics, as discussed by Bygrave.
The martial associations of the term 'strategy' are to do with directing a campaign rather than a battle. A field commander in the presence of the enemy employs tactics. A strategy is rather the set of such operations, the logic they follow. It is evident that this may be a logic that can only be discerned retrospectively, and that strategies may need to be modified in the light of the contingent and the unexpected. A strategy has both a spatial aspect—the deployment of available resources—and a temporal or narrative aspect—those resources are deployed in sequence. The presence of an opponent anticipating your strategies and initiating their own, together with variables such as the weather, means that a strictly causal logic is likely only to be apparent when the sequence is complete. (108-109)
There is an ongoing narrative aspect (involving anticipated retropection, thence the narrative dimension) in the strategic confrontation, and each of the opponents may construct their partial and ongoing narratives. But these are contingent narratives which are subordinated to the major narratives depicting or interpreting the strategy, and these are possible only ex post facto, once the confrontation has been settled and a result has been achieved. Of course the agonists may still hold to different narrative interpretations of the confrontation, but many hypothetical elements in the agon have been resolved or determined by the end; secret plans have been unfolded and come to the light, and narrative topsight is largely shared by both parties in the confrontation, i.e. they share a knowledge of the main strategic dimensions of the conflict and a narrative interpretation of the agon which is largely common to both.
The link between topsight and retrospection is one I have underlined in a number of papers. As applied to textual structure, part of the implication has to do with the act of reading, an agon between text and reader which reaches a partial endpoint with closure (and its concomitant retrospective dimensions). As applied to criticism, the agon is one a contest of insights, or of the perception of relevance, between different readers of a text (readers interacting or leaving a critical interpretation). Here we encounter the dynamics of blindness and insight described by Paul de Man, or the sequence of deconstructions surrounding Poe's allegory of interpretation in "The Purloined Letter" (see my papers "Acritical Criticism, Critical Criticism", and "Benefit of Hindsight"). This contest can have no definite closure.
For an early approach to tactics and topsight, see my paper on Sun Tzu's The Art of War. A comprehensive theory of strategy is developed by Erving Goffman and applied to multiple interactional contexts in Strategic Interaction.
"The symbolic act . . . begins by producing its own context in the same moment of emergence in which it steps back over against it, measuring it with an eye to its own active project. The whole paradox of what we are calling the subtext can be measured by this, that the literary work or cultural object itself, as though for the first time, brings into being that situation to which it is also at one and the same time a reaction."
(1988: 141)
From an essay in Jameson's Situations of Theory, vol. 1 of The Ideologies of Theory: Essays 1971-1986, 2 vols. London: Routledge, 1988.
This might be related to G. H. Mead's ecological perspective on action: an organism defines its environment and actively constructs it by choosing some aspects of it among the diverse stimuli coming from the environment and responding to them.
29 de octubre
Hoy me he enterado de la curiosísima historia del descubrimiento del hombre de Flores o hobbit; el siglo xxi nos va a hacer perder toda convicción con el tiempo. Predigo una futura moda de películas sobre estos temas, a la manera de En busca del Fuego, que se adelantó veinte años o más. Por cierto, trato de incluir en la bibliografía enlaces sobre estas cosas que me llaman la atención, pero a veces con días, meses o años de desfase; Roma no se hizo en un día (aunque Hiroshima sí se deshizo en un segundo).
He incluido en la sección de ilustraciones algunos dibujos de los que hacía yo hace veinte o treinta años. Ahora que cualquier día vuelvo al ataque, a ver qué emitía el inconsciente hoy en día.
También he empezado a preparar la edición electrónica de mi tesina sobre Dickens, pongamos que para conmemorar los veinte años de ese primer trabajo "serio" de mi carrera académica. Claro que tardará tiempo en aparecer aquí.
Hoy se ha firmado la Constitución europea. Un día histórico, pero pequeño detalle: habrá que reformar la Constitución española, porque es anticonstitucional ceder soberanía, y para eso hay que disolver el parlamento, nuevas elecciones... casi nada.
_____. "On Samuel Beckett." From A Bibliography of Literary Theory, Criticism, and Philology. iPaper at Academia.edu 23 Sept. 2010.*
https://www.academia.edu/336353/
2015
_____. "On Samuel Beckett." From A Bibliography of Literary Theory, Criticism and Philology. Online at SlideShare (Peter Buck) 10 May 2010.*
http://www.slideshare.net/peterbuck/on-samuel-beckett
2014
_____. "On Samuel Beckett." From A Bibliography of Literary Theory, Criticism and Philology. Online at Instalike 23 Feb. 2016.*
http://instalike.org/a-bibliography-of-literary-theory-criticism-and-philology.html
2016
_____. "Bibliografía sobre Samuel Beckett." In García Landa, Vanity Fea 20 June 2015.*
http://vanityfea.blogspot.com.es/2015/06/bibliografia-sobre-samuel-beckett.html
2015
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Comentamos la poética narrativa del novelista español Javier Marías, tal como queda expuesta en su discurso de ingreso en la Real Academia Española (2008). Las observaciones de Marías sobre el arte del relato y sobre la ficcionalidad se sitúan en el contexto de una teoría narratológica de la retrospección y de la distorsión retroactiva. El artículo también comenta la crítica de la ficcionalidad efectuada por el periodista Arcadi Espada en su respuesta a Marías.
Dark Back of Time: On the Difficulty of Storytelling
This is a commentary on the narrative poetics of the Spanish novelist Javier Marías, as set forth in his inaugural speech at the Royal Spanish Academy (2008). Marias's observations on storytelling and fictionality are set in the context of the narratological theory of retrospection and hindsight bias. The paper also deals with journalist Arcadi Espada's critique of fictional storytelling in his response to Marías.
Number of Pages in PDF File: 9
15 de octubre
Una circular de AEDEAN pide una reseña de un libro sobre blogs, The Mirror and the Veil ; he pedido que me lo envíen a ver si me inspira. La Facultad, un desierto, pero por Internet he estado ayudando a buscar gente para una tesis sobre Beckett.