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By David Halliburton
By way of trying to droop ethical, ideological, or mental assumptions, a phenomenological interpretation of literature hopes to arrive "the issues themselves," the basic phenomena of being, area, and time, as they're constituted, by way of attention, in phrases. even though there was a convention of phenomenological feedback in Europe for the final two decades, David Halliburton is the 1st to write down a normal examine of an American writer from this actual element of view.
The publication starts with a methodological bankruptcy that units out the assumptions and tactics of the procedure. this can be through analyses of Poe's significant works, exploring such exact difficulties as Poe's remedy of the fabric global, together with know-how; the interrelation of physique and cognizance; poetic voice; attitudes towards ladies; and the need to confirmation, plenitude, and team spirit. the heart of curiosity is neither Poe's biography nor setting yet continually the that means of Poe's phrases. simply because those works are formed by means of a unmarried mind's eye and since they're skilled in time, as a method, every one paintings has its personal "way of going." the purpose of the translation is to discover this manner and associate with it; to reside every one paintings dynamically, because it "happens," whereas tracing its interplay with different works.
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Additional info for Edgar Allan Poe: A Phenomenological View (Princeton Legacy Library)
Sample text
But it is also ontological. When someone reads a work, a being experiences a being; and what it experiences is being. When we talk about the "language" of a work, we are talking about one aspect of its being: all our discussions, all our definitions, are im plicitly ontological, because they are attempts to bring out, to our own satisfaction, what something is. Some critics will view such an idea skeptically. "16 That is why, in this book, I concentrate not only upon language, but upon being, space, and time.
METHODOLOGICAL INTRODUCTION who comes from a different critical tradition; but it is avail able to him if he will go a little way with me. This involves, on his part, a willingness to let me speak, or rather to let my tradition speak through me, in its own way. " The use of neologisms and hyphen ated words, though unappealing in some respects to AngloSaxon habits of mind, has a long and honorable history that endures to our own day in the writings of Heidegger and Sartre and Kenneth Burke. The interpreter uses such words to designate something that confronts him and for which there is no available term.
150; see also, pp. 151, 181). There are useful discussions as well in Geoffrey Rans, Edgar Allan Poe (Edinburgh and London, 1965), esp. pp. 82, 83, 87, where Rans appears to widen his original perspective so as to include, not merely psychological states or "states of mind," but states of being as well; in E. Arthur Robinson, "Order and Sentience in 'The Fall of the House of Usher,' " PMLA, 76 (1961), pp. 68-81, and in W. H. Auden, The Recognition of Edgar Allan Poe, p. 223. " Tamerlane as Poe sees him is an actor who has ceased to act; who in reality never acted on his own even in the past, but served merely as the instrument of a higher power; and who is now held immobile by the sheer inertial weight of his Ufelong servitude.