The Thousand Faces of Any Line of Poetry

At 01:37 PM 17/07/96 +0800, Malcolm wrote:
> (Heidegger) even ends
>up privileging poesy over painting because it is 'the most original form of
>poetry in the essential sense'. I can see why he might do this given his
>preoccupation with language but is there an ontological necessity for it?
>

I would have thought that the 'reason' H. privileges "poesy" is because it
is first and foremost (or, "proximally and for the most part") _writing_.
The most multiple expression so far of the ineluctable manifold of possible
meaning.

The digressive line of flight elaborated under the name of 'derrida', which
notes that there is nothing outside of the text, is merely an unravelling of
this essential insight ('essential' means here: 'what it is, as it is, when
it is - the word 'it' must, of course, be crossed out since it is never
experienced as 'IT' (Being) but only 'it' (a being), one aspect, one
interpretation, one thinking - at a time...

signed,

the one-and-only, the unmistakable, the clear and distinct, obviously ...

Brendan




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