Language and Silence: Essays on Language, Literature, and the Inhuman
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"When Steiner deals with transactions between languages . . . as in discussion of various English versions of the Bible or Robert Lowell`s translation of Racine, we see a keenly discriminating literary mind at work on what it loves."-Robert Gorham Davis, New York Times Book Review "An extraordinarily sharp, brilliant, and thoughtful discussion of the strange conditions into which modern writing has worked itself. . . . Few, very few writers today have as much that is worthwhile to say on today`s writing as does the author."-Joseph G. Harrison, Christian Science Monitor "Whoever has valued and needed this book for its insights into some one particular matter . . . will upon rereading discover the astounding breadth of attention in [it]: from Homer to Thomas Mann, from Marshall McLuhan to The Warsaw Diary of Chaim Kaplan. In each of these essays, a single sentence, and often more than one, can endlessly provoke and illuminate thought."-John Felstiner How do we evaluate the power and utility of language when it has been made to articulate falsehoods in certain totalitarian regimes or has been charged with vulgarity and imprecision in a mass-consumer democracy? How will language react to the increasingly urgent claims of more exact speech such as mathematics and symbolic notation? These are some of the questions Steiner addresses in this elegantly written book, first published in 1967 to international acclaim.
“difficulty” of modern art a direct consequence of the estrangement between the individual artist and the masses. He concurs with Engels in believing that this estrangement was brought on by the commercial aesthetics of the bourgeoisie. Revolted by the “tawdry cheapness” (Ezra Pound’s phrase) of bourgeois taste, artists of the late nineteenth and early twentieth centuries lifted anchor and put out to sea. There they dwell in a world increasingly private and increasingly divorced from the maturing
frankly Arnoldian formula of art as enacted criticism of life. Indeed, there are frequent points of contact between Marx and Matthew Arnold in this closing section, a reminder that they, like Lukács himself, are in many respects Victorian moralists and common heirs to classical humanism. The second volume sets out to modify and enrich Pavlovian psychology with particular reference to artistic invention and response. Lukács rejects Pavlov’s tendency to identify the artist with a purely sentient
Recherche de l’Absolu, 292–93 Balzac the Writer (Reizov), 317–18 Barbier, Henri Auguste, 308 Barbusse, Henri, he Feu, 388 Barrès, Maurice, 237 Barthes, Roland, 225 n Baudelaire, Charles, 44, 88, 216, 249; Tableaux de Paris, 88 Beardsley, Aubrey, 70, 285 Beaumont, Francis, 199 Beauvoir, Simone de, 7, 164, 299 Becher, Johannes, 308, 359, 362, 364 Beckett, Samuel, 7, 48, 52, 72, 342; Act Without Words, 52; Watt, 72 Beethoven, Ludwig van, 29 Beiträge zur Geschichte der Ästhetik (Lukács),
103, 109; The Good Woman of Setzuan, 391; literary criticism and, 309–10; Lukács and, 340, 347; Mahagonny, 363; Mother Courage, 103, 363; The Three-Penny Opera, 98, 363 Brett, Richard, 192 Bridges, Robert, 226 Broch, Hermann, 8, 51, 123, 139, 149; The Death of Virgil, 8, 80, 103, 123, 149; exile of, 102, 103, 104; the novel form and, 29, 46, 80, 88–89, 116, 249, 389–90; Schuldlosen, 88; The Sleepwalkers, 88 Brod, Max, 118, 119, 122 Bronstein, Lev Davidovich, see Trotsky, Leon Brontë family,
pirates or beggars. This, in fact, is what seems to have taken place during the period from 1100 to 900. The Dorian invasions drove before them groups of Helladic refugees. These fugitives carried with them shattered yet rich fragments of their own culture. The main stream of migration seems to have passed through Attica between the early eleventh and late ninth centuries. Shortly after the year 1000 B.C., the uprooted peoples began colonizing Asia Minor and the islands. Some appear to have