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Gustave Flaubert [1]. Instead, to the degree that such a theory appears, it does so most often in the guise of a philosophy of literature, poetry or the novel. In part, this can be seen to reflect the legacy of a far broader privileging of poetry that, while casting a glance back to the philosophy of Plato or Aristotle, was specific to the eighteenth-century formation of the modern system of the arts.

We can only learn to understand it on its own terms. To judge it according to an idea of genre drawn from custom and belief, accidental experiences and arbitrary demands, is as if a child tried to clutch the stars and the moon in his hand and pack them in his satchel. In this decomposition, art is true to itself: it breaks the mimetic taboo on the impure and the hybrid.

This directive not only encourages particularization and thus the radical elaboration of individual works. Bringing together the universals by which artworks are oriented, it at the same time obscures the boundary against unformed, raw empiria and thus threatens the structuration of works no less than it sets it in motion.

ISBN 13: 9781847062642

Prototypical of this is the rise of the novel in the bourgeois age, the rise of the nominalistic and thus paradoxical form par excellence. First, it can be understood as a unification of genres; speculatively at least. That is to say, as that which does not itself constitute a genre, the novel can become for the Romantics, ideally , the non-genre that gathers all genres within itself.

But it is quite different with the novel, the modern bourgeois epic. Here we have completely before us again the wealth and many-sidedness of interests, situations, characters, relations involved in life, the wide background of a whole world, as well as the epic portrayal of events.

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But what is missing is the primitive poetic general situation out of which the epic proper proceeds. A novel in the modern sense of the word presupposes a world already prosaically ordered; then, on this ground and within its own sphere … it regains for poetry the right it had lost , so far as this is possible in view of that presupposition.

Consequently one of the commonest, and, for the novel, most appropriate, collisions is the conflict between the poetry of the heart and the opposing prose of circumstances and the accidents of external situations. But in the more detailed treatment and execution here all the more scope may be given to the poet the less he can avoid bringing into his descriptions the prose of real life, though without for that reason remaining himself on the ground of the prosaic and commonplace.

Poetry, Hegel famously argues, is the universal art of the mind [or of Spirit] which has become free in its own nature, and which is not tied to its final realisation in external sensuous matter, but expatiates exclusively in the inner space and inner time of the ideas and feelings. This website uses cookies to improve user experience.

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Continuum Literary Studies. Novels of the Contemporary Extreme.

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Synopsis About this title This book investigates a new form of fiction that is currently emerging in contemporary literature across the globe. Review : " seek it out, engage it, and in a variety of imaginative ways, perform it. Buy New Learn more about this copy. Other Popular Editions of the Same Title.

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