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Hillis Miller Literature Matters Today
Hillis Miller Literature Matters Today
Hillis Miller Literature Matters Today
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Literature Matters Today
J. Hillis Miller
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Literature Matters Today 13
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Substance #13
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Literature Matters Today 15
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16 J. Hillis Miller
civilization. Though of
the world, in different
and less to many peopl
of allowing the pleasur
about the real world an
to new technological d
television shows, popu
sion news broadcasts as f
create imaginary world
important part of mos
and less adept at doing it
difficult novel, Henry
more easily watch the
The new telecommu
rapid and complete cha
has been radically and
on a computer screen o
march or any of the pro
in cyberspace is in obv
different from reading
because the digital vers
because its material bas
"Forcener") is so diffe
different surrounding
cyberspace as against t
partly because of its di
location, the non-space
screen as against a prin
object you can hold in
The process of inven
changed. The underlyin
revolutionized. No mo
with a pen or pencil, th
a final draft ready to b
setting happened letter
with successive proofs
again. Composition of
that. The ease of revision
is never really finished
this essay at this very
are, for the most part,
out of business: the stu
Substance #13
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Literature Matters Today 17
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Literature Matters Today 19
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20 J- Hillis Miller
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Literature Matters Today 21
Let me now get serious and ask again why literature (in the old
fashioned sense of printed poems, plays, and novels) ought still to mat
ter even in these dire times. In order to be more specific, to get closer to
the actual matter of literature, let me give a series of citations from the
openings of several works all in English (with one exception) that I claim
are literature. Most people would probably agree that my citations are
examples of what is commonly meant by "literature." I take openings
because those beginnings strikingly reveal the way each work shows
itself to be different, unique, even within the oeuvre of a given author.
The opening of each work instantly takes the reader into a distinctive
imaginary world cut off from the real world, though a transformation of it.
Entering such a world is what I mean by the "pleasures of the imaginary."
And an intense pleasure it is! I postpone for a moment explaining what
I mean by "the imaginary," a word so far taken too much for granted in
my essay. In order to illustrate one of my points, I shall call down all my
opening lines from cyberspace, downloading each by way of an almost
instantaneous Google search:
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J. Hillis Miller
BERNARDO
Who's there?
FRANCISCO
Call me Ishmael. Some years ago — never mind how long precisely
— having little or no money in my purse, and nothing particular to
interest me on shore, I thought I would sail about a little and see the
watery part of the world.
(Herman Melville, Moby Dick)
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Literature Matters Today 23
In Hydaspia, by Howzen
Lived a lady, Lady Lowzen,
For whom what is was other things.
(Wallace Stevens, "Oak Leaves are Hand
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24 J- Hillis Miller
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Literature Matters Today 31
Works Cited
Austen, Jane. Pride and Prejudice. http:lkuww.peinberley.cnmlinneinfnlppvinOi.html. Accessed
9/16/2011.
Benjamin, Walter. "Die Aufgabe des Übersetzers." In Illuminationen: Ausgewählte Schriften.
Ed. Siegfried Unseld. Frankfurt am Main: Suhrkamp, 1955, 56-69.
. "The Task of the Translator." In Illuminations. Trans, and Intro. Hannah Arendt. New
York: Schocken Books, 1969, 69-82.
Blanchot, Maurice. "Les deux versions de l'imaginaire." In L'espace littéraire. Paris: Gal
limard, 1955, 266-77.
. "Le chant des Sirènes." In Le livre ù venir. Paris: Gallimard, 1959, 7-34.
. "La Voix narrative (le 'il/ le neutre)." In L'Entretien infini. Paris: Gallimard, 1969,
556-67.
. "Two Versions of the Imaginary." In The Gaze of Orpheus and other literary essays.
Trans. Lydia Davis. Barrytown, N. Y.: Station Hill P, 1981, 79-89.
. "The Narrative Voice (the 'he/ the neutral)." In The Infinite Conversation. Trans, and
Foreword Susan Hanson. Minneapolis: U of Minnesota P, 1993, 379-87.
"The Song of the Sirens." In The Book to Come. Trans. Charlotte Mandell. Stanford,
California: Stanford UP, 2003,1-24.
de Man, Paul. "Sign and Symbol in Hegel's Aesthetics." In Aesthetic Ideology. Ed. Andrzej
Warminski. Minneapolis: U of Minnesota P, 1996, 91-104.
. "Conclusions: Walter Benjamin's 'The Task of the Translator.'" In The Resistance to
Theory. Minneapolis: U of Minnesota P, 1986, 73-105.
Derrida, Jacques. "Envois." In La carte postale: De Socrate à Freud et au-delà. Paris: Flam
marion, 1980, 5-273.
. "Forcener le subjectile ." In Paule Thévinin and Jacques Derrida, Antonin Artaud:
Dessins et Portraits. Paris: Gallimard, 1986, 55-108.
. "Envois." In The Post Card: From Socrates to Freud and Beyond. Trans. Alan Bass.
Chicago: U of Chicago P, 1987,1-256.
. "This Strange Institution Called Literature." Acts of Literature. Ed. Derek Attridge.
London: Routledge, 1992, 33-75.
. Passions. Paris: Galilée, 1993.
. "Passions: 'An Oblique Offering.'" Trans. David Wood. In On the Name. Ed. Thomas
Dutoit. Stanford, California: Stanford UP, 1995, 3-31.
. "To Unsense the Subjectile." In Jacques Derrida and Paule Thévenin, The Secret Art
of Antonin Artaud. Trans, and preface, Mary Ann Caws. Cambridge, Mass.: The MIT
Press, 1998, 59-157.
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