New PDF release: Bruno Schulz and Jewish Modernity

By Karen Christine Underhill

Within the previous chapters, i've got mentioned points of Schulz’s writing that sincerely exhibit a
desire to barter a dialectical/redemptive courting among the liked, fragmentary,
profane international, and the messianic – understood as dwelling and everlasting potentiality. In remaining, i want stream outward from the specificity of Schulz’s textual content, to contemplate back what sort of writing Schulz’s texts symbolize, and in what experience it truly is common of or consultant of contemporary Jewish messianic texts. as a way to do that, i'm going to go back now to think about the concept that of a “third language” in additional intensity, describing the resource of this actual formula of Jacques Derrida’s, and constructing a typology for what a textual content written within the ‘third language’ might appear like. Schulz’s writing, I argue, belongs to this classification – person who originates within the sleek messianic writings of philosophers in his new release, and divulges its strong legacy within the paintings of latest critics that still proceed the culture of recent Jewish messianism.

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Additional info for Bruno Schulz and Jewish Modernity

Example text

49 According to this argument, to posit the original, eradicated text as a kind of ‘essential’ or ‘true’, originary text from which others are descended is to lose one of the most interesting elements of the idea of a palimpsest: that is, the randomness of the texts that are superimposed on one another, and the lack of a relation of primacy or origin between them. This is, in a sense, to hijack a metaphor that is highly suited to a context of post-structural criticism and language theory, and graft it backwards onto a neo-Romantic, dualistic conception of language.

Thus “Mityzacja rzeczywistości,” the “mythicizing of reality,” can be understood both as a mode of perception that happens to an individual, and also as the process by which the artist in a poetic or narrative text allows (or attempts to allow) messianic constellations to take form – moments that Schulz refers to as “provisional eternity,” momentarily suspended outside of normal time. Occasionally Schulz attempts within his text to describe this messianic suspension directly, as in a scene from the story Wiosna (Spring): “[Ulice] stały długie i jasne, odświętnie zamiecione, jak gdyby czekały na czyjeś dalekie jeszcze i niewiadome przyjście” (BN, 140) (“[The streets] looked long and festively swept, as if waiting for someone’s announced but uncertain arrival”) (P, 147), says Joseph – cuing us with anticipatory language.

Thus “Mityzacja rzeczywistości,” the “mythicizing of reality,” can be understood both as a mode of perception that happens to an individual, and also as the process by which the artist in a poetic or narrative text allows (or attempts to allow) messianic constellations to take form – moments that Schulz refers to as “provisional eternity,” momentarily suspended outside of normal time. Occasionally Schulz attempts within his text to describe this messianic suspension directly, as in a scene from the story Wiosna (Spring): “[Ulice] stały długie i jasne, odświętnie zamiecione, jak gdyby czekały na czyjeś dalekie jeszcze i niewiadome przyjście” (BN, 140) (“[The streets] looked long and festively swept, as if waiting for someone’s announced but uncertain arrival”) (P, 147), says Joseph – cuing us with anticipatory language.

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Bruno Schulz and Jewish Modernity by Karen Christine Underhill


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