By Paul de Man
Editor note: Edited and with an advent by way of Andrzej Warminski
Publish yr note: First released in 1996
Paul De Man's attractiveness used to be irreparably broken through the revelation after his loss of life of his wartime anti-Semitism, obscuring a few legitimate highbrow contributions to the sphere of aesthetics. This choice of philosophical essays, compiled by way of Andrzej Warminski of the collage of California, argues for the shut connections among paintings and politics and paintings and technology. He discusses Kant and Hegel, whose significant contributions to aesthetics are much less identified than their paintings on rationality and morality. And in an essay on Schiller he deplores, fairly naively, the poet/playwright's loss of philosophical trouble for the root of his artwork.
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Additional info for Aesthetic Ideology (Theory and History of Literature, Volume 65)
We have no way of defining, of policing, the boundaries that separate the name of one entity from the name of another; tropes are not just travelers, they tend to be smugglers and probably smugglers of stolen goods at that. What makes matters even worse is that there is no way of finding out whether they do so with criminal intent or not. " Instead of being considered as a collection, as a summation of properties, the accent should perhaps fall on the link that binds the properties together. Substances can be considered as the support, the ground of the properties (hypokeimenon).
A "unit" of extension that cannot be divided must be heterogeneous to the order of extension, whereas the one, in being both a number and a nonnumber, is (dialectically) homogeneous to the order of number. " This ambivalence returns—and with incalculable effects—in Pascal's second demonstration, in which he in turn must heal the break he has introduced between number and space by coming up with an "element" in the order of 28 D INTRODUCTION: ALLEGORIES OF REFERENCE number that would nevertheless be heterogeneous to the order of number just as the indivisible is heterogeneous to the order of space as extension.
But yet, if we would speak of things as they are, we must allow that all the art of rhetoric, besides order and clearness, all the artificial and figurative application of words eloquence hath invented, are for nothing else but to insinuate wrong ideas, move the passions, and thereby mislead the judgment, and so indeed are perfect cheat; and therefore however laudable or allowable oratory may render them in harangues and popular addresses, they are certainly, in all discourses that pretend to inform or instruct, wholly to be avoided and, where truth and knowledge are concerned, cannot but be thought a great fault either of the language or person that makes use of them.