century with the expansion of piano-making as an activity (Ehrlich
1976) and the publication of sheetmusic (Peacock and Weir 1975).
A pragmatic definition of the great amateur
An amateur always participates in the production of the product he or she
likes, as does the reader. In literarytheory, or even earlier, the reader as
described by Proust in the Foreword to Sésame et les Lys, the French version
of Ruskin’s Sesame and the Lilies, is an actor of literature, made up of a set
of positions ‘not outside of the book, but inside it’. Taste appears in the end
as both a
, and ‘illusion’,
which clearly does have negative connotations.
8 T. W. Adorno, Ästhetische Theorie (Frankfurt: Suhrkamp, 1973), p. 429.
9 I shall not deal with the detail of Kant’s answer to this dilemma, which would take us too
far beyond the scope of this essay. The view suggested here has been best outlined by Hilary
Putnam. See also, A. Bowie, From Romanticism to Critical Theory: The Philosophy of German
LiteraryTheory (London: Routledge, 1997).
10 Kant thinks the categories, the a priori forms of judgement, are the exception to this situation. Without the
1 G. Poulet, ‘Criticism and the experience of interiority’ in R. Macksey and E. Donato (eds),
The Language of Criticism and the Science of Man (Baltimore, MD: Johns Hopkins
University Press, 1970), pp. 56–88 (p. 57).
2 Poulet, ‘Criticism and the experience of interiority’, p. 57.
3 H. Putnam, Reason, Truth and History (Cambridge: Cambridge University Press, 1981),
4 A. Bowie, From Romanticism to Critical Theory: The Philosophy of German LiteraryTheory
(London: Routledge, 1997), p. 159.
6 J. M. Bernstein, The Fate of Art: Aesthetic
The Hermeneutical Import of the Critique of Judgement (Chicago: University of Chicago
Press, 1990); T. De Duve, Kant After Duchamp (Cambridge, MA: MIT Press, 1996). Works
that highlight the interest of aesthetics in contemporary terms that are based on accounts
other than Kant’s include A. Bowie, From Romanticism to Critical Theory: The Philosophy of
German LiteraryTheory (London: Routledge, 1997) and I. Armstrong, The Radical Aesthetic
(Oxford: Blackwell, 2000), the latter of which makes interesting use of the work of Gillian
2 The reflexive
Thomas of Erceldoune’s prophecy, Eleanor Hull’s Commentary on the penitential Psalms, and Thomas Norton’s Ordinal of alchemy
it nevertheless, as will be discussed here.
5 Published in Electronic literature collection, vol. 1 (2006), ed. N.
Katherine Hayles et al. http://collection.eliterature.org. For discussions of system time and reading time, see Markku Eskelinen,
Cybertext poetics: the critical landscape of new media literarytheory
(New York and London: Continuum, 2012), at 135–6.
6 Ibid., 136. Eskelinen’s work has shaped discourse on temporality in
new media for years, and still reflects the pervasive influence of secondwave digital media criticism, which sought to
The structures of migration in Tales from Firozsha Baag
It is, in fact, possible to object to the violation involved in
these intrusive parental meditations, in having Kersi’s parents
disgorge chunks of semi-digested literarytheory. The two
figures reading these stories at home in Bombay appear to bear
little relation to the carefully drawn characters in ‘Of White
Hairs and Cricket’, for example. The voices in the last story do
not ‘feel’ as if they belong to the same people. A certain amount
of arbitrary grafting seems to have been involved to get the
discussion underway. However, the tone makes sense if one
historical attempt to create
comradely socialist objects, instituted as a response to burgeoning Western
consumer culture that was being used as a tool of soft power in the cultural
Cold War.19 Methodologically, I combine the insights of new materialism
and recent design histories with the theoretical framework of Soviet productivism. In addition, I engage with an idea from Russian avant-garde’s
literarytheory, the ‘biography of the object’, which Serguei Oushakine
reads as one of the precursors to new materialist thinking.20 In his 1929
KARPOVA 9781526139870 PRINT
The Orcherd of Syon, Titus and Vespasian, and Lydgate’s Siege of Thebes
Espin Aarseth, ‘Nonlinearity and literarytheory’, in George Landow,
ed., Hyper/text/theory (Baltimore: Johns Hopkins University Press,
1994), 51–86, at 66. Aarseth’s work on ergodic literature, within which
he includes nonlinear texts, continues to be influential in the field: also
37 Such a treatment seems to anticipate the fate of hypertext fiction
today, as the taxing effort required to read and assemble narrative has been one of the reasons attributed to the genre’s failure to
gain wide readership. See, for example, Benjamin Paloff, ‘Digital
However, like so many of his contemporaries, he did not regard the boundaries
between forms of theoretical and creative activity as ﬁxed, and his philosophy
is an integral part of a wider project which includes scientiﬁc and literary work.
One of the main reasons why Novalis has become the focus of recent attention
is that he asks questions about subjectivity which already involve issues relating
to the ‘subversion of the subject’ which has become the theme of so much recent
theoretical discussion. Claims in certain areas of contemporary European philosophy and literary
contemporary literarytheory, in which the boundaries between linguistic communities become
uncrossable. One of the most productive aspects of Schleiermacher’s work is its
rejection of naive versions of relativism and its insistence on truth and objectivity. At the same time, he gives full weight to the fact that the problems involved
both in communication within languages and translation between them deeply
aﬀect the nature of the philosophical enterprise, rendering it inherently impossible to complete in the manner demanded by traditional metaphysics.
Although he is