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Allegory and phenomenology: Structu...

Machosky, Brenda.

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Allegory and phenomenology: Structures of appearance in poetry, prose, and philosophy.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Allegory and phenomenology: Structures of appearance in poetry, prose, and philosophy./
Author:	Machosky, Brenda.
Description:	298 p.
Notes:	Source: Dissertation Abstracts International, Volume: 63-04, Section: A, page: 1328.
Contained By:	Dissertation Abstracts International63-04A.
Subject:	Literature, Comparative. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3049430
ISBN:	0493637788

Allegory and phenomenology: Structures of appearance in poetry, prose, and philosophy.
Machosky, Brenda.

Allegory and phenomenology: Structures of appearance in poetry, prose, and philosophy. - 298 p.

Source: Dissertation Abstracts International, Volume: 63-04, Section: A, page: 1328.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2002.

Allegory and phenomenology both address the problematic of appearance. In approaching works of poetry, prose, and philosophy with the methodological groundwork provided by phenomenology, the dissertation challenges the conventional conception of allegory as a matter of intention and subjectivity. Rather, allegory is a response, the structure capable of supporting the appearance of that which cannot otherwise appear. Allegory holds together the different in the space of the same and offers an image which is and is not what it appears to be thereby disrupting the principle of identity upon which most literary criticism is based. The introductory chapter argues that allegory must be differentiated from aesthetics; and phenomenology must be distinguished from metaphysics. The epochal suspension of both intentionality and subjectivity opens a new discourse on allegory which shows it to be fundamentally operative in all language. Walter Benjamin's work on language and on allegory provides the basis for a re-reading of allegory's history which shows the allegorical structure is intrinsic to the symbol.{09}In readings of Prudentius' Psychomachia and Hegel's Phenomenology of Spirit I show that neither Prudentius nor Hegel chose to write allegorically but each responded to the need of Spirit (or soul) to be expressed in something with which it does not coincide, allegorically and not symbolically. Allegory also shows itself to be a way of reading that is essential to understanding the crisis in poetry that reaches its peak in the work of Baudelaire. Poetry has always struggled to speak allegorically, to speak the limit between the finite and infinite. By the nineteenth century poetry could no longer do so. Baudelaire made this crisis manifest, failing to save poetry but offering an allegory of the absence of poetry. In the final chapter, the readings of Kafka's stories show not only an allegory of absence but also an allegory of allegory. Allegory cannot itself appear except allegorically in things that it is not. Allegory is the structure of its own appearance.

ISBN: 0493637788Subjects--Topical Terms:

530051
Literature, Comparative.

Allegory and phenomenology: Structures of appearance in poetry, prose, and philosophy.
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300 $a 298 p.
500 $a Source: Dissertation Abstracts International, Volume: 63-04, Section: A, page: 1328.
500 $a Supervisor: Prospero Saiz.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2002.
520 $a Allegory and phenomenology both address the problematic of appearance. In approaching works of poetry, prose, and philosophy with the methodological groundwork provided by phenomenology, the dissertation challenges the conventional conception of allegory as a matter of intention and subjectivity. Rather, allegory is a response, the structure capable of supporting the appearance of that which cannot otherwise appear. Allegory holds together the different in the space of the same and offers an image which is and is not what it appears to be thereby disrupting the principle of identity upon which most literary criticism is based. The introductory chapter argues that allegory must be differentiated from aesthetics; and phenomenology must be distinguished from metaphysics. The epochal suspension of both intentionality and subjectivity opens a new discourse on allegory which shows it to be fundamentally operative in all language. Walter Benjamin's work on language and on allegory provides the basis for a re-reading of allegory's history which shows the allegorical structure is intrinsic to the symbol.{09}In readings of Prudentius' Psychomachia and Hegel's Phenomenology of Spirit I show that neither Prudentius nor Hegel chose to write allegorically but each responded to the need of Spirit (or soul) to be expressed in something with which it does not coincide, allegorically and not symbolically. Allegory also shows itself to be a way of reading that is essential to understanding the crisis in poetry that reaches its peak in the work of Baudelaire. Poetry has always struggled to speak allegorically, to speak the limit between the finite and infinite. By the nineteenth century poetry could no longer do so. Baudelaire made this crisis manifest, failing to save poetry but offering an allegory of the absence of poetry. In the final chapter, the readings of Kafka's stories show not only an allegory of absence but also an allegory of allegory. Allegory cannot itself appear except allegorically in things that it is not. Allegory is the structure of its own appearance.
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