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- W2000759475 abstract "Death and its Moments: The End of the Reader in History Johann Pillai On its own account, historiography takes for granted the fact that it has become impossible to believe in this presence of the dead that has organized (or organizes) the experience of entire civilizations; and the fact too that it is nonetheless impossible “to get over it,” to accept the loss of a living solidarity with what is gone, or to confirm an irreducible limit. —Michel de Certeau 1 All history, moreover, must more or less blindly encounter the problem of a transferential relation to the past whereby the processes at work in the object of study acquire their displaced analogues in the historian’s account. —Dominick LaCapra 2 A historiographical paradox leads me, in what follows, to perform a reading of a “tale,” a narrative which declares as such its fictiveness, in its relation to history, which it purports to transcend or slide past. 3 It is not my intention here simply to identify or reconstruct the historical conditions under which the tale was produced, nor to relate it to the various times of its reception, nor again to describe its putative extratextual referents. 4 My concern is rather with the temporal [End Page 836] mode of “modernity”—by which I mean the contemporary readability, the presentness—of a text which has left its moment of origin and floats before a reader in any age, apparently with no strings attached; that is, with the historiographical relation between the narration of a fictional tale and the critical performance of reading it. 5 This relation, in its most general terms, has two fundamental aspects. First, the understanding that a tale is a narration of events—real, ideal or imagined—and hence establishes, within its own temporality, logical, causal, figurative, and other kinds of relations between signs of objects, subjects, and events. The tale thus functions in itself as a story or history of “what it is about.” 6 A second aspect concerns the act of reading the tale, an act which simultaneously constitutes the tale as a history, and (in doing so) establishes itself in a metahistorical relation to the tale. The performance of reading thus takes as its point of origination the text of the tale which it has itself constituted as origin. The circularity of this relationship is the abyssal ground of what is commonly articulated as a battle between literary theory and literary history, or simply as crisis. 7 To read the tale critically is to read in the mode of crisis, to participate in a hearing without a sentence being pronounced: for the tale demands that its reader recognize from the outset its status as fiction—and accordingly suspend, while reading, the arbitrarily established conventions by which we are accustomed to distinguish between the conventions of reference, the levels of understanding termed “literal” and “figurative.” It is precisely this elision of difference which enables both the mythopoeic distancing of the events referred to in the tale from a past “historical reality” and the historical realization of these events in the experiential time of the reader. The historical conditions of the tale, in short, are located in the present of its being told and heard—in its lived presentness to a reader in any age. 8 And it is the hermeneutic relation of the narrative voice of the tale to the narrative voice of criticism that determines this paradoxical temporality; its articulation requires the reading, not only of a tale—Poe’s “The Tell-Tale Heart” will serve as example—but also, in the space before and after the tale, the full and expressive silence which precedes the beginning and succeeds the end, of reading. I “The Tell-Tale Heart”—the title—is first of all, and by convention, an index, pointing to what the tale will be about. Simultaneously, [End Page 837] however—it is here initially that the literal/figurative distinction must be suspended—it labels or names, confers an identity on the text it signifies 9, and thus this text which confronts the reader can be, is, nothing but the heart itself, palpable and red—not read as a representation of a heart..." @default.
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- W2000759475 title "Death and its Moments: The End of the Reader in History" @default.
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