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By Ira Livingston

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Extra info for Arrow of Chaos: Romanticism and Postmodernity (Theory Out of Bounds)

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Olalquiaga's formula allows both a binarity and a telos between truth and verisimilitude, a movement from a first to a second degree, from "reality" into "representation," from fixed to floating referents, from reference to self-reference ("poeticity"). Even if this movement is structured primarily in order to authorize various interpenetrations between its phases, it does so only by fixing the difference between fixation and floating rather than by floating it. , fixation) belongs to what it implicitly identifies as a superseded phase.

This reversal is similar to the maneuver by which Barthes found or founded the condition of intertextuality, whereby texts only exist at all through 16,7 their participation in an intertextual matrix that precedes them and from which they can never be extricated (see Barthes 1977, 160). , the use of a single word may be implicated in its multiple meanings in several disciplines, each of which may mutate or grow apart or drop out or fuse). Like anything else that signifies, a text is always a destroyed/indestructible quasi-abject quasi object, a shifting cleavage of cleavages together and apart.

Would this infinite exercise render the distinction between center and margins meaningless-or extend its hegemony everywhere? " To look into this face, a familiar example of disciplinary structure will serve nicely. One of Foucault's paradigms of Romantic discipline is the lateeighteenth-century prison proposed by Jeremy Bentham, the panopticon (Foucault 1984, 217-18). Several floors of cells are laid out in a circular building; the cells open onto a central, circular courtyard, so that each cell is visible from the guard tower that stands at the center of the courtyard.

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