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The Culture of Criticism

Published online by Cambridge University Press:  23 October 2020

Geoffrey H. Hartman
Geoffrey H. Hartman*
Affiliation:
Yale University, New Haven, Connecticut
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Extract

For those who approach literary studies with literary sensitivity, an immediate problem arises. They cannot overlook style, their own or that of others. Through their concern with literature they have become aware that understanding is a mediated activity and that style is an index of how the writer deals with the consciousness of mediation. Style is not cognitive only; it is also recognitive, a signal betraying the writer's relation, or sometimes the relation of a type of discourse, to a historical and social world. To say that of course words are a form of life is not enough: words at this level of style intend a statement about life itself in relation to words, and in particular to literature as a value-laden act. Thus, even without fully understanding it, one is alerted by a similarity in the opening of these two essays: The Right Reverend Father in God, Lancelot Bishop of Winchester, died on September 26th, 1626. During his lifetime he enjoyed a distinguished reputation for the excellence of his sermons, for the conduct of his diocese, for his ability in controversy displayed against Cardinal Bellarmine, and for the decorum and devotion of his private life. (Eliot, Lancelot 13) One afternoon, Walter Benjamin was sitting inside the Café des Deux Magots in Saint Germain des Prés when he was struck with compelling force by the idea of drawing a diagram of his life, and knew at the same moment exactly how it was to be done. He drew the diagram, and with utterly typical ill-luck lost it again a year or two later. The diagram, not surprisingly, was a labyrinth. (Eagleton, Pref.)

Type
Research Article
Information
PMLA , Volume 99 , Issue 3: Centennial Issue , May 1984 , pp. 371 - 397
Copyright
Copyright © Modern Language Association of America, 1984

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