what does dialectical mean?

T

thirdform

pass the sick bucket
the problem is not that cock wants to play with fanny, the problem is brain exalts fanny and boobs. In this sense, a lot of western white homosexuals are more straight than they would like to admit.
 
T

thirdform

pass the sick bucket
Deleuze's problem is he grounds his whole edifice on desire. There is no desire, only instincts and their latter cognising as thought and desire. the desire comes next. The cis male is ruined for sure, but so is the cis female. And in one very real sense they enforce their mutual abject subjection.

The American exalts in this ruin, like the good imperialist she is.
 
T

thirdform

pass the sick bucket
luka said:
i see there are conflicting definitions going around. maybe, like dialectical, no one knows what it means?
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No, my definition is correct. Think of the transition from feudalism to capitalism. Merchant capital and manufacture existed in feudalism, but it was at a lower, artisanal stage. Capitalism generates a higher stage through reconciling the freedom of the merchant with small scale manufacture, to consolidate into the industrial factory system and the mass socialisation of labour.
 
T

thirdform

pass the sick bucket
Finnegans wake is dialectical. Like quite explicitly so. The sublation of the unsystematised subconscious, and systematised language, into the dreamstate.
 
luka

luka

Well-known member
thirdform said:
No, my definition is correct. Think of the transition from feudalism to capitalism. Merchant capital and manufacture existed in feudalism, but it was at a lower, artisanal stage. Capitalism generates a higher stage through reconciling the freedom of the merchant with small scale manufacture, to consolidate into the industrial factory system and the mass socialisation of labour.
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that makes some sense
 
T

thirdform

pass the sick bucket
ur boy is a moron.

Ezra Pound was tirelessly interested in, and supportive of, original and imaginative literature, but with Finnegans Wake he reached his limit, complaining to Joyce that ‘Nothing so far as I can make out, nothing short of divine vision or a new cure for the clapp, can possibly be worth all the circumambient peripherization.’
He dubbed it Joyce in Regress, a pun on Work in Progress, as FW was known before publication. Unfair, perhaps, but we can recast the charge of regress as an evocation of return rather than retrogression and degeneration. Where Ulysses was Joyce’s daytime novel, the Wake was his work of the night and its sleeping mind – a restorative regression into which we all slide cyclically, more or less.
Every night we fall out of the familiar world, and every day we awake from our adventures with little or no recollection of what has gone on. Yet in sleep we are just as authentically ourselves; guilty and guileless, paralysed, periodically telling ourselves stories in dream-fragments of promiscuous trivia and significance that take some unravelling. A bit like Finnegans Wake.
To the American writer Max Eastman, Joyce said:
In writing of the night, I really could not . . . use words in their ordinary connections. Used that way they do not express how things are in the night, in the different stages – conscious, then semi-conscious, then unconscious. I found that it could not be done with words in their ordinary relations and connections. When morning comes, of course everything will be clear again. I’ll give them back their language. . . . I’m not destroying it for good!
Using Giambattista Vico’s cycles ‘as a trellis’, Joyce created what Richard Ellmann in his great biography called ‘a wholly new book based upon the premise that there is nothing new under the sun’. Marilyn French, in The Book as World, suggests that Joyce tried to turn the nightmare of eternal recurrence (which torments Stephen Dedalus in Ulysses) into a hymn. Think of it as a chaotic lullaby, a cryptoglossic nocturne for insomniacs.
Finnegans Wake qualifies as metafiction, defined by Linda Hutcheon as ‘fiction that includes within itself a commentary on its own narrative and/or linguistic identity’. Including, in the case of the Wake, the acts of writing and revising it, and readers’ reactions to its previewed parts. A page and a half here, for instance, offers many examples, such as:
it is not a miseffectual whyacinthinous riot of blots and blurs and bars and balls and hoops and wriggles and juxtaposed jottings linked by spurts of speed: it only looks as like it as damn it
The book has a plot – many of them, even, on top of one another – but amidst the polyglot puns, novel portmanteaus and taxing syntax, it is very hard to find and follow narratives and characters without the use of a guide or through a very close reading that sends you on endless etymological detours. ‘There are in a way no characters,’ Joyce said. ‘If one had to name a character, it would be just an old man. But his own connection with reality is doubtful.’
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Putting language to sleep in Finnegans Wake

One great part of every human existence is passed in a state which cannot be rendered sensible by the use of wideawake language, cutanddry grammar and goahead plot. – James Joyce Ezra Pound was tir…
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