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The article of Imran Shahid Bhender in Jadeedadab.com is indeed an eye opener. We

are very well familiar with many other qualities of Narang sahib but this aspect is

particulary interesting.Anyway, this is very unfortunate and plagiarism should be

discouraged and condemned at every level. To achieve this goal I think wider publicity

should be given to such cases.I am writing this letter to request you to allow us to

reproduce the article in a new quarterly journal launched from Delhi. The journal

'Behs-o-Mubahisa' is started by a group of teachers and writers from Delhi. Asif Azmi

is its editor and publisher. If you allow us, we would also like to have the matter as

inpage file. I hope you would do this favour. However, if the permission is required

from Imran shahid sahib, I would request you to send his email ID.

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82 72

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LLZkÎ_2.çGJ~ÚøÐªCÙìāZŠ[»z{Ãt&|óg~ë÷Ô‡&ÿELæZf7(ìXZ¤/| Tautological ìXtŠú~íāZŠ!Ãgx|»@7™CìÔÜsƒZg!*²Ô)

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From this post-Saussurean perspective it is clear that the theory of literature as expressive

realism is no longer tenable. The claim that a literary form reflects the world is simply

tautological. If by 'the word' we understand the world we experience, the world

differentiated by language, then the claim that realism reflects the world means that realism

reflects the world constructed in language. This is a tautology................

(Belsey, Catherine. Critical Practice, London, Routledge, 2003, P,43)

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Z["5Ògö EGÅ§sg�q™D÷ÔSaussure's argument depends on the different division of the chain of meaning in different

languages. ' If words stood for pre-existing concepts' they would all have exact equivalents

in meaning from one language to the next; but this is not true' (Saussure, 1974: 116). The

truth is that different languages divide or articulate the world in different worlds. Saussure

gives a number of examples. For instance, where French has the single mouton, English

differentiates between mutton, which we eat, and sheep.............(Belsey, 36-37).

îZªÆ!*)ZkZ½kÃÌ¿g3ŠHìÔ@*ëZ•ð‡&ÿELÂzZ%tìā"5Ògö EGäZL‹b~±c.çJÅÂ[Ða‰jZáÃøw™�7HìÔ²Í8P**g8-ät@*W,‡ìHìā±c.çJ»jZ!Z,Vä"5Ògö EGÅÂ[ÐZ~.7HÉZ,Vä±c.çJ»',ZÓgZ„_·HìÔtZŠ!$+c*„ÅzZãVwìXÍ8P**g8-ÆqgzfsZ½kÃŠ¶Ô

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9203

ìX*yÅîZªÆ&4øFGILÃŒVZ½‚]Ô�ā"Ñg÷ÔŠ¶Ð¤/m,HŠHìXèÃg{!*Ñ

ÐStrucuralist Poetics jZ!Y]Æ´z{gzÏ343ï XJGGI~6,‘‰!*[»9z�**ï°ÅStructuralism and ÜHŠHìXZkÆ´z{gzð85»4jè EGEE6,–ŠHå!*[¢÷;¾ÅÂ[

ÐÂ/ÂÍ8P**g8-äF,ÀHìXW�Z½k5±�ÛâNÔ Semiotics

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ZŸ†™DƒñHìā÷á²~Å!i!*y~Z7gZCUúc*VgLìÔ�Å!i!*y~(÷á²~~ZkŠgZÌgBbì equivalence ZîÅUic*Š{qz~gLìX¸zzìā%ZŠs)

XáZie$Ì%ZŠs»Zq-gcìXXXXXXXóó)041(ÆZkZôm,~Z½k6,Âz�ÛâNÔ Terence Hawkes Z[

We have already noticed the argument of Jakobson's fellow Prague school critic

Mukarovsky with regard to foregrounding: that the aesthetic use of language pushes into the

foreground the 'act of expression' itself. Jakobson offers the more refined proposal that the

metaphoric mode tends to be foregrounding in poetry, whereas the metonymic mode tends

to be foregrounded in prose. This makes the operation of 'equivalence' of crucial importance

to poetry........(Structuralism and semiotics, 1984, p80)

qgz!*ÑŠzâVZ½‚]Ðtúc*Vƒg;ìākgzzm»Ç‹tÍ8P**g8-Æ',@;¾Åù]»³ìXZkZ½k~ŠN!*]tìā**g8-™r#XeÑÅÐt@*W,‡ì™äÅÃÒ™gì÷ākgzzmÅ',ZÓgZ„_·H÷Ô²Zk~Ãð|7ìX**g8-™r#ä¡Zq-ŠzZÖpÆZíZtÐZ½kÃÜHìX&gZ¶äZkaŒVÈHātzZãHYnā**g8-™r#ÐtÃ@*„ZgZŠèMMuiŠƒðìXZy»ìwƒÇāZ(™äÐZyÅ»gzZð6,6,Š{7,YñÇXŠ&ÀŸ/õ GG;¾L)1Có»ÂZEw™@*ìZzg**g8-ZÐL!óÐps™äÅÃÒ™D÷X**g8-™r#ÌzZz+»ZEw™gì÷Zzg;¾ÌÔYèz{Y}ìāz{¾ÅZ˜bÃYVZzg“ZEw™**eLìXù¦tÂ[**g8-™r#Å»gzZðÆjZáÐ.e$ZëìXZk*yÆ‡g~Ãecāz{ŠvÃÆ‚B‚B;¾ÅZkÂ[»_·ic*Š{

Levi straus, Barthes,Greimas ÂzÐ™ñYèZk!*[Åws/wsÜÆ´z{›**g8-ä6,–ŠHÓxñZŠ;¾ÅZÏÂ[)mÔ691X78(ÐÜHìXŒV6,ÓxZ½‚] Todorov Zzg

ÃŠg`™Æ*yÃîwŠ}™‡g~Æa™ZÂ?Ø»‚ây™**°Š7XZka4ìā‡g~ZkÆ´z{Ñ»V6,‘‰!*[ÆaŠ&ÀŸ/õ GG)**g8-ÔmÔ pŠZÝfgZùJ-g‚ðqÝ™}X

The last half of the nineteenth century and the last half of the twentieth were charecterized

by the fragmentation of knowledge into isolated disciplines so formidable in their

specialization as to seem beyond all synthesis. Even philosophy, the queen of the human

sciences, came down from her throne to play solitary word games. Both the language-

philosophy of Wittgenstein and the existentialism of the Continental thinkers are philosophy

of retreat......(Scholes, Structuralism in Literature, New York, Vail-Ballou Press,1974, p,1)

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Derrida refuses to grant philosophy the kind of privileged status it has always claimed as

the sovereign dispenser of reason. Derrida confronts this pre-emptive claim on its own

chosen grounds. He argues that philosophers have been able to impose their various systems

of thought only by ignoring, suppressing, the disruptive effects of languages....................

(Norris, Christopher. Deconstruction.3rd ed, London, Routledge,2002, P18-19)

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The text that follows is an occasional one. It is a report on knowledge in the most highly

developed societies......

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A dominant power may legitimate itself by promoting beliefs and values congenial to it;

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inevitable; denigrating ideas which might challenge it, excluding rival forms of thought,

perhaps by some but systematic logic; and obscuring social reality......(Ideology, p5)

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ìXù¦îg6,�,œ~lVÔZz!*]Zzgg›Zz!*]Åœ~¶XZkÆ´z{�,œ~‚%Z`Æz�Š~WäÅœ~¶XTÆZW,Z]:Üs¬@R6,Éf!˜´ÆŠZ½§ŠZ]Åßg]~Ì‚tWñXuÅaÂ6,CÙ‡&ÿELŠgqÌÐX'×ŠzgÅaZ™Š{½

65 55

Ô™ã7,CÔZkäoƒŒā�ÛŠÅ¡~wÃ½™ñXZkaZkäczèZzg[Cð»Zïg™Šc*XªCÙìāZ¤/ÒI~Å¯6,‡ìHŠHCðÅŠgc*Ä»¦g„ßìÂz{�ÛŠù‡ìg{YåX6�ÛŠÃz„ŠgzŠÑäÆaZkä¤‰ÜZzg'×ZØÜZ˜q]ZEwXXZK’q-ÃìŠÑäÅ{§ÃìÎāL'×ZØZzg¤‰ÜóCÙ(6,ìX'×ZØÔ¤‰ÜÆZ0+gñ�Šì�ZkÃ$zg™CìXÃÅt¹g~8691Æ:©~'×h+F,¹™CˆX

6ā~äzZãHìf[~ZŠ!z�YÕŠegZÓgz'×~Ö™Zñç¬]6,ìwWgZðZL�Y:©~™äÆ´z{�Y¿~zÌfe÷XT¯ÃÔŠgh+ZÔ‚gF,c*;àv»jZ!ZgŠzW~�§¬Ó:nÅcÆZEwHY@*ìÔtßvÂZnÅ¡VÐzZhgì÷ZzgZ¤/zƒVZzg4]Æ‚BZyÆ£tÆDÆaÃc*CZzgiR6,±}÷XZk§b�,z{7™Dgì÷Zy»ZyÆ�`Æ‚B÷Zmƒ@*ìXjZuŠgh+ZÃ„ŠBā¾§bZkäŠHg{mÆzZu]ÆZ%MÅ×e$ÅÔ²Z%MÆ²Zt6,çÃtŒÛZgŠc*X8691Æ¤DZz[ÅZkä×e$ÅZzgˆ~Š„',ŠZgƒŠHX5991~Šgh+ZäÎœZyzZgC9�i®Å(Ï0*gK~z1ZzgZkÅ!*‡°{×e$ÅX(ÏR6,Z%sÌZK¹g~ÅgzÝ~„HXQgŠz»ŠZ›gc*LLÎ®óó(„Æ**xÐÌ{`ƒY@*ìZzgZk»ZŠ[ç}~7,ä4ìX!*Ç$ÕäOc*H]Å§b�}.ZÃ¤‰ÜzgÌë÷Zzgç}~ÌƒÐ¬}.ZÃeZs÷X

**g8-™r#‰ÕŠ%Ë:©ÆZkZOg~ÆgT÷āZ[Ã¹g~ú0*äzZàì@*āŠzuzVÐ¬z{Zk¹g~Åg7gã™Æ(,ZÕŠzZä»�qÝ™BÔT~ZyÃ{§pZ{»x!ÌqÝƒYCìÔpd$+Šc*„ÅTgzZe$Ãz{¢o™gì÷ZkÆaW`7ÂÀZ7]gzZg¢zgYZc*YñÇÔZ¤/Pßv�×™r#‰ƒMh÷�ZknÆgz-VÅj,Z‚ÛZð™D÷Âw~ZZ0+ZgZ:ÃgppzZáßvÌ‚tWMh÷X

tÂ¿Ïc—*]ÅZkÆZLZßßVÆ�cz†ÃË™pÅú™äÆ!*g}~¶X�×™r#äZLâ~�Z‹ZŸ]ZVñ÷ÔZy6,cÅRö÷áh+ñ�ŠƒXÍ8™r#ÆŠÃq~ZrVä�Š?7ÅìāÍ8™r#L¢~ó~™�rÈw‰

ÅŠîìX�×™r#ÃtùDƒZ interaction ÔtŠ?ZyÆZzgÍ8™r#ÆŠgxyZq-āÍ8™r#L¢~ó~™�rÈw‰?…ZkZ%ÐÃðŠp7ìXz,ŒV6,t

²n™Š~YñāÂ[˜z‰ÜZ¤/'ÃZC¿Ð¦/g™Zzg¥iZztZ(g™**ìÂz{Šzu}Fç5]~LL¢~óó™YìÔ1Â[Æ!*g}~7XW,uEHZ#ZL»x~

zsƒ@*åÂZÒZk»3**ZkÅ©3Yc*™C¶:āz{©ÃŠ·yÎ™Zk»3**pŠ3Y@*åX¦/*yLLÍ8P**g8-'c*áW?óó~�Z½‚]7K‰¸Ô÷áh+Zk*yÆ‡g~ätÎeƒā'¸Z½‚]÷ÔqÑèZk*y~tzZã™Šc*ŠHåāZ½‚]ÃZ"gÐ7HYg;ìXZk*yÅîZªÆ7ÃÌZ½‚]Ã¿g3ŠHìXøgZtŠú~ìāÍ8P**g8-ÜsÂ[Æ¬gs~¨÷ágbŠ3ðŠï÷XLLæ¹Äc*]óózZá{Æ!*g}~¼Ì¢ÐIÂìZzgÂ[»!*¹zÂ/ÂF,ÀìXZLZkŠú}ÅCðU*"$™äÆaZq-!*gQ=ZkÓxñZŠ)™�ÔÃ»**xz){É(ÃF,KMŠ¶Æ

aK-zŠz™ã7,~XZk!*g¼Zk§bÅ!V»ZÏsHŠHìā�×™r#ÂŠzgÍ8™r#pŠÌZk»ŠÃq™ä~**»xg÷ÐX¾qwhZyÆ0*kôpgìÇX¢÷;¾ÅÂ[

~ÐÍ8™r#ä‚g~Â[Â/Â¡ZyÅF,KM$+w™Ü Structuralism and Semiotics

ÅìX!5ÕäIMMZ¤/¢÷;¾Zq-cZ¤/Zs¬qìÂZÏcZ¤/ZsÃÍ8™r#Šgxy~ÉŠï÷XZ¤/ZÖpz„÷Â¡cZ¤/ZsÅF,KM$+%ÐHƒÇXz,tƒYìāZkz‰ÜZyÆ

ŠÙ flavour Å¹g~¤/Šl™g„ƒXW�ZkcZ¤/Zs» intertexuality f‚~�1™-ZÅ6,‘ƒñ!*[~¼-VHìÔ Todorov ÷X¢÷;¾Ô

The notion that literary works are ultimately about language, that their medium is their

message, is one of the most fruitful of structuralist ideas and we have already noticed its

theoretical foundations in the work of Jakobson. It validates the post-romantic sense that

form and content are one, because it postulates that form is content. At one level, this

permits, for instance, Todorov to argue that the ultimate subject of a work like The

Thousand and One Night is the act of story-telling, of narration itself: that for the character

involved- indeed for homo loquens at large- narration equals life: 'the absence of narration

death'........... (Structuralism and Semiotics, p,100).

Í8P**g8-™r#-V’k,�ÛâD÷Ô'THE MEDIUM IS THE LLtìwāZŠ!®0*g{i!*yÐ‡ìƒ@*ìÔZzgi!*y„�xì:

ãCŠ~‚(CÃtìÔZzg�ÍäZkÅÃc*CãCŠzVÃzZãHåXtìw$øFM MESSAGE'

gzââ~¦gÅÌÂ}™@*ìāÃgxZzgñZŠŠgZÝZq-÷ÔYèZk~t¦gY¦/,ìāÃgx„ñZŠìXZÏìwÅ¯6,ÂŠzgzsäZq-(t.e$ŠNcZVðāZ³Å5ÐöG‰÷á‚g»ãCŠ~

7585

Poetic language is deliberately self-conscious, self-aware. It emphasises itself as a medium æover and above the 'message' it contains: it characteristically draws attention to itself and

systematically intensifies its own linguistic qualities. As a result, words in poetry have the

status not simply of vehicles for thought, but of objects in their own right, autonomous

concrete entities, In Sausure's terms, then, they cease to be 'signifiers' and become

'signifieds', ...(P, 63-64).

**g8-™r#˜÷:LLÄ~i!*y÷ùMMZLz�Š»ZˆkŠÑCìÔtpŠWÇ{ZzgpŠÙkƒCìXtñçqc*�xÐ—F,ƒ™Ô�ZkÆfg)ÒyƒZìÔpŠZKw»ZˆkŠÑCìXÄ~i!*y»ãCŠ~·¶ÂzÃZKY+$Kzw™**ZzgZLZz™sÃúc*V™**ìX&4-B5é

EGGE

GMMÄ~i!*y~ZÖp�ìwc*_."ÅF,−»fg=7gTÔÉpŠk|0YD÷�‡ì!*¯Z]ƒCìX‚_2.çJGÆp~Â¡

0YD÷XXXóóYg~ì)mÔ98(X signified 7gTÉ signifiers

¢÷;¾ÆZkZ½k6,g�ÛâNÔFormalist theory realised that the 'meaning' habitually carried by words can never be fully

seperated from the words themselves because no word has 'simple' one meaning. The

'meaning of A is not simply A1 or A2 or A3, for A has a larger capacity to mean which

derives from its particular context or use. No word is ever really a mere proxy for a denoted

object. Infact the transaction of 'meaning' has a coplexity of dimensions which the 'poetic'

use of language further complicates. Poetry, in short, does not seperate a word from its

meaning, so much as multiply - bewildering - the range of meanings available to it... (P, 64).

**g8-™r#ÆZkZ½k6,ÃeZs÷:LLÎzVÃZk»ZˆkåāÂpÐZzgpÂÐ8].Z7KYMhÔZzgp»ÂxZÚ‚Š{7A!*kxŒY@*ìXZ³»È¡Z³1ÔZ³2Ôc*Z³37ìYèZ³Æp(tzòtÐZzgŠzu}/VÐï™8$+sgT÷XÃðÂËÚÆözŠp~åÆa‡ì7ìX:Ä~i!*yZ¤/pÂÃ‡ì!*¯Z]™CìpZkÃpÐ].Z7™CÔÉZkÆZ¢½Zk**]ÃZ¸gCìÔª!›45é EGÇµ�ÛbÃaZ™CìXpÅt1JãZÒƒÒgêL

ìwc*ª]zZ<[ÅªÅqïƒCìXXXXXXXXóóYg~ì)mÔ98(XZyÓxjZ!Y]ÆÔZkgsyÅj,(ËÆaÔµZ0+Zi~ÎWÅ¢zg]ìÔ

:āÕàÆŠÃqÅ»g~ÆaLzVÃßcZñ~Òy™äÆaÕàÆh~ŠÑbF,Z¾

ÅÃÒÅYñXW`z{z‰Ü7ìāf!dW%e$Æ‚t>{gm,ƒZYñXZq-!*gQZ,gzbK‰eÂXÐEx»Zg»YeƒXCN*geLL7†âegy,cóóÆ¬!*[~¾wÅ

ªL1%zZá (HOMO LOQUENS) LñçqóŠgZÝpŠ¹ãì»¿óìYè™ŠZgƒZKyY0+Zgó÷ZzgZyÆa¹ã‹**i0+{g�Å´#ÖìZzg¹ãÆ»ƒYä»Èìñ]Xóó

'NARRATION EQUALS LIFE: THE ABSENCE OF NARRATION DEATH' P' 92

)‚(]Ô:‚(]Zzgæ¹Äc*]Ô,]Ô921X031(Xqgz!*ÑcZ¤/Zs‡gMÐZ•ðÂz»»£™@*ìXÍ8™r#äZz6,zZáZ½k~

‰L}zZz+~Ì‘÷ZzgZkÆWy~Zq-L{Zôm,~~Ì–ìZzgŒVJ-ā™�ÌŠg`HìT~ZÝfg)»jZ!7ìXZkÐz{t@*W,‡ì™äÅÃÒ™gì÷

ÅÂ[»_·HìX²ëŠNgì÷āÂ/ÂZkZ½k»_·¢÷ Todorov āZrVä;¾ÅÂ[Æ™�0016,HYYìXZk»ÈtƒZāÕŠÍ8P**g8-™r#äYy1ú

™Z(Hì@*ā‡g~}ZKÂz¢÷;¾ÅÂ[Å§s%Ãi:™ÆXZ¤/¢÷;¾ÅÂ[4891~÷áù:ƒCÂÐeåāÍ8P**gvÔ¢÷;¾6,uº»Z²Zx¬Z+™ŠïX)tc*Šgìāt‚gZ!*[;¾ÅÂ[ÐF,ÀHŠHì(XW�Z[Zq-ZzgZ½k6,Âz%Ãi™D÷X¢÷;¾HìÔ

We have already noticed the arguments of Jakobson's fellow Prague school critic

Mukarovsky with regard to 'foregrounding': that the aesthetic use of language pushes into

the foreground 'the act of expression' itself. Jakobson offered the most refined proposal that

the metaphoric mode tends to be foregrounded in poetry, whereas the metonymic mode

tends to be foregrounded in prose. This makes the operation 'equivalence' of crucial

importance to poetry, not only in the area of analogy, but also in the area of 'sound' of those

metrical, rythmic and phonic devices,.......continue. (Terence Hawkes, P, 80).

**g8-™r#»tÂzÔZ½k-VìÔLLgzÏÎzVÆK~ëkgzzmÆZkìwÐc™Wñ÷āLi!*y»!ZEw®0*g}~i!*yÃL7©ó~áW@*ìÔªZÖg~¿ZLW\Ãúc*V™@*ìX�ÍZk6,ZŸ†™DƒñHìā÷á²~Å!i!*y~Z7gZCUúc*VgLìÔ�Å!i!*y~

÷á²~~ZkŠgZÌgBb EQUIVALENCE ZîÅUic*Š{qz~gLìX¸zzìāL%ZŠsóìXáZie$Ì%ZŠs»Zq-gcìXgŠpzZ°ÔZßZ]ÔZzgZziZyzfgƒZgzáZie$Å�ZÌìÔz{ZÏ¼ÐìóóYg~ì)mÔ041(XW�¢÷;¾ÆZq-ZzgZ½k6,g™D÷Ô

06 95

−Íð™@*ìXZk»Iìāw~f!ZZxZkaŠ*6,Ó#Ö™,ÏYèEßZyÅ!*ÑŠ4ƒÏXCN*geÆZkù]Z�ÛziL}Ãf‚~gppÅ¢zg]ìXZk|ÃiY)Üc*uºÐL7zc*YYXZ[ZyÓxEx~WÐ(,−°Šìzg:Z3ÿXLZgŠzZÏ!*]6,plƒDg÷ÐāLLZIèf[äƒ¼ëÐ1ìXóó

ZkÆˆ�×™r#Å‚(]~¦§%œ/e$ÆjZáÐLLeZËzik,WóóÆ*yLL‚(]Æ%œ/e$Æ¦gÃzu]Zß�ŠÅ„Æzóó'ecÔ ÅgzÝ~Š~ˆZ:qā

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cÆa**g8-™r#ÅÂ[ÐÃðMZVDÂic*Š{4åYèëäÍ8P**g8-™r#Æ°xñ�»f™HåXZÌJ-**g8-™r#ÅÂ[~ÜsÜÆgs**]6,ÂzŠ~ˆìX„ÆZ±gÐZyÆÓx§ŠZ]Zzg*yóg~Æ»çVÆ�ZyÅD0V»-Y,{71ŠHX�×™r#c***g8-™r#ZK$zg~Ãzik,W¸ÆLLzu]Zß�Šóóñ�ÐŠzg7™MhX@*ëzik,W¸»t¿ZkZ±gÐ‡&ÿELdìāz{ZCZq-ñ�gnp÷Ôz{¾uJ-e&»4n.ç GEH¨ZzgLLzu]Zß�Šóó~g*ˆl™0*ñÔZkZ%»‹t™**Zk*yÆŠZ],{Ð{g`ìXZ¤/�×™r#Ãzik,W¸»ñ�LLOóóÎìÂHËZzg¿Ã**3,v‚r#ÆËÌñ�ÃZ(g:™ä»

ÆŠÃq6, Intertexuality ¿ÌLLOóóÎìc*7?Z¤/Hx�×™r#ZyÅÜc*ZyÆ|x~#hƒMh÷ÂZyÆËñ�ÃÈVYV7™Mhþ?÷áh+z{ËZzg(tñ�7™,āÍ8P**g8-äLLæ¹Äc*]óózZá{~‚(C¹g~ÃegDÙZg',kIÔy*yÆËÇîV~ˆl™äÅÃÒÅìZzgtÌeìāz{Zq-c*ŠzLzV»jZ!Ìˆl™BÔÂŒV6,²n

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Begining Theory åX**g8-™r#ÂÑ»V6,‘‰!*[ÔT»F,ÀZrVäðÛ~ÅÂ[ÐHìÔ~Ñ»VZzg�ÛZàÆŠgxy§ŠÃÌ7Š3nX¬x‡g~Æf‚~tÎZwZ½@*ìā�ÛZàÃŒV6,ò³ÅH¢zg]7W¶?H**g&½}é EYr#ÜstC**eT¸āz{�ÛZàÆ!*g}~ÌY…÷?¡Y'„»°7ƒ@*X®Å„ÃWÐ(,J**Ì¢zg~ƒ@*ìXZ¤/ŠzÃt‚izV»f™HìÂŠzâVÆŠgxy�ÛtŠ3**¢zg~ƒY@*ì)ZkL}ÆˆZk!*]»ÌZ0+6ìā�×™r#Zk!*]6,Z‹ZnZVŠ,āÑ»VÃÃt‚i7Iecå(XZ¤/**g8-™r#„ËìwÃWÐ7(,JnÂ¤ÅïELDÐHZygOÐāz{ExÆZg»Y~ZCzùeZB?HExÃÜsZq-!*gG„¢zg~ƒ@*ìXZkÆˆZÐÃgñáÅ«™Š~YñZzgWäzZàYVÆaZÐlkŒÛZgŠ}Šc*YñXZŠ!¹g~Ô,c*‚bÆ‚BZk§b»gztZ(g7™**ecāz{‚~$ÕäOc*H]Ð1ƒZÃðŠgk¥xƒXZk§b$ÕäOÔH]c*Q**g8-™r#~�ÛtùHYñÇ?Zk§b»�Ût¡ñçqÆZƒäÅ¯6,‡ì7HYYXtŠ9ìāZkñçqJ-îÆaëÃy‚gZ3Z(g™D÷X

Z[QZÏbÅY+$ß3÷T~%œ/e$»f™HŠHìXZ¤/jZuŠgh+Z±_2.çJGÆî]»43¨éYEGE[+~âZÅŒ43›é EGC§ŠZzg%œ/e$ÃÈV™[åZzgZk~ö»Šúh+ZgåÂ�×™r#LLzu]Zß�Šóó»f™™ÆHU*"$™gì÷ÔZkÅ'×h+zŸs#Å¢zg]¶Xz,QyÐt²nìāT3i*»ZrVäf™HìT~*y7,JŠHåZk»Ãð**xÌÂƒ**ecc*÷áh+Zy»

1626

».$Ô¬Ô±_2.çGJÔ4lç XwZzg;àvz){ÅæŠÐ',u�gƒ@*g;ìÔW`ZkÅ¹g~Æ½"5é GEMM

ZÂ:ZzgZkÅñ]Æ&',kZkÅZKLñ�ŠÏóÓxŠ*ÃZq-!*gQ°xLñ�ŠÏóÆ¦gÆÜs±ä6,6g™gg„ìX�ÛŠñ�ŠìpZK°xñ�ŠÏÆh~ŠÑbŠ}g;ìXZkÅzz™sªCÙìāZkä¨Zq-—*Cìw6,„LâZÅŒ43›é EG]óÆÜskB±~¶XZ¤/pZk

ÂtHìāŠgh+Z Gershom Scholem äLâZÅŒ43›é EG]óÃ¡ZLŠârÆZ0+g„»™**e;åXLLŠ*Ç**)óÆ%œ/~¦gā·Š-V»}.Z�ÛŠÆZ0+gpŠÃªCÙ™ñÇÔÃe&»4n.ç GEH¨Æfg)U*"$™äÅÃÒ™g;ìX$¨45é GGGEMMt¦g·Š~!3{©ð

GEZ:gzZe$ÐYMìÔÂHëtÈMh÷āŠgh+ZeÑÅÐÓxŠ*Ã·Še$ÅCð»¢ŠÑäÅÃÒ™g;ìÔTÆaZkäZÖp»–gZ1X42.ç XGEâkÔŠgh+ZÆ!*g}~-VZÖ§ìw™@*ìā

All denails not withstanding, remains close to Jewish mysticism. (PDM, P, 183)

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27 17

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3747

occurring within discourse. It is evident that real power is exercised through discourse, and

that this power has real effects....... The father of this line of thought is the German

philosopher Nietzsche, who said that people first decide what they want and then fit the

facts to their aim: 'Ultimately man finds in things nothing but what he himself has imported

into them.' All knowledge is an expression of the 'will to power'.This means that we can not

speak of any absolute truths or of objective knowledge.... Foucault regards discourse as a

central human activity, but not as a universal, 'general text', a vast sea of signification. He is

interested in the historical dimention of discursive change. What it is possible to say will

change from one era to another. In science a theory is not recognised in its own period if it

deos not conform to the power consensus of the institutions and official organs of science.

Mendel's genetic theories fell on deaf ears in the 1860s; they were promulgated in a 'void'

and had to wait until the twentieth century for acceptance. It is not enough to speak the

truth; one must be 'in the truth'.

(Selden, Raman. Contemporary Literary Theory,3rd ed, Britain,1993,P158-159)

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**g8-™r#ÅÂ[Æuzgt6,‘ZÖp**g8-™r#ÃqàÆQgŠzŠ*»ƒÐ(,ZÕŠZzgÃt‚iU*"$™äÅÃÒ™gì÷XHZkÐtÈZ~.HYñāQgŠzZŠ[~ÕŠ“WÆn‚gtƒ**Ñiòì?Zq-Î‚w¬Tw•Å¯Y6,qà�§ÕŠ‚tWñZkÐ}ic*Š{uºÅ…rîãw•**g8-™r#™DŠ3ðŠ}gì÷XZkÐIā**g8-™r#ÅY+$ß›Ô¬ZyÆ'×h+uºÅY+$gcñhD÷X6,zWgZð_5Óå GHy˜÷Ô

There is another stand in poststructuralist thought which believes that the world is more

than a galaxy of text, and that some theories of textuality ignore the fact that the discourse is

involved in power. They reduce political and economic forces, and ideological and social

control, to aspects of signifying processes. When a Hitler or a Stalin seems to dictate to an

entire nation by wielding the power of discourse, it is absurd to treat the effect as simply

67 57

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®®®®yyyy˜ ™äÆn6,zW_5Óå GHyÆ�**ï°6,‘‰!*[ÐZ½k7™D÷XÐ÷÷÷÷ÔÔÔÔ

Jonathan Culler (see also chapter 5) has argued that a theory of reading has to

uncover the interpretative operations used by readers. We all know that different

readers produce different interpretations. While this has led some theorists to despair

of developing a theory of reading at all, Culler argues in The Pursuit of Signs (1981)

that it is this variety of interpretation which theory has to explain. While readers may

differ about meaning, they may well follow the same set of interpretative

conventions.... (Selden, P62).

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_5Óå GHyÆ�1™-Z6,‘‰!*[~ÐZkZ½kÃ5±�ÛâNÔThe word 'revolution' in Kristeva's title is not simply metaphoric. The possibility of radical

social change is, in her view, bound up with the disruption of authoritarian discourses.

Poetic language introduces the subversive openness of the semiotic 'across' society's 'closed'

symbolic order: 'What the theory of the unconscious seeks, poetic language practices, within

and against the social order.' Sometimes she considers that the modernist poetry actually

prefigures a social revolution which in the distant future will come about when society has

evolved a more conplex form. However, at other times she fears that bourgeois ideology will

simply recuperate this poetic revolution by treating it as a safety valve for the repressed

impulses it denies in society. Kristeva's view of the revolutionary potential of women writers

in society is just as ambivalent.... (Selden, P142).

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7787

**g8-™r#Å§sº÷:Æ£«~z�Še$äZKyÅZkãCŠ~WiZŠ~6,izgŠc* (ESSANTIALISM) LLÑièóó

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ÐªCÙìX MYTHOLOGIES (1957) ÐZkÃgŠ™@*å6āZkÅZq-Z’ZðcZ0"ÑièZzg1gjzZi~Å#¿~!*gBZq-Z±gÐ‚gF,ÐÌWÐòŠHÔYè‚gF,zu]

»”G7åÔp!*gBZKŠï~1gjzZi~‚YÆÜs“z (INTEGRITY) Zzg‚Y

g6Æ�Å×e$J-Ð¤/m,7™@*åXZk»IåZKyÅzu]Zq-§b»zZ!ìÔZ¤/gÐŠ¬YñÂë~ÐCÙZq-ŠgZÝLFóìXz{zu]»u}Ð‡b„7åÔ}.Z»Ì7ÔCÙz{q�)ÚZzg)zZuìÔ!*gBZkÅ×e$™@*åXZk»IìāÎZöZÏnZŠ[7ā

))))********gggg8888----ÔÔÔÔmmmmÔÔÔÔ222266661111XXXX111166661111((((XXXX zu]aZ™äÅÃÒ~%»%:7™CìZzg)ZÝìXóóYy7uÆZÏ*y~ÐZq-ZzgZ½k6,g™D÷Ô

his arch enemy is the doxa, the prevailing view of things, which very often prevails to the

extent that people are unaware it is only one of several possible alternative views. Barthes

may not be able to destroy the doxa but he can lesson its authority by localizing it, by

subjugating it to a paradox of his own......

Barthes is only fully to be appreciated, then, as some one who set out to disrupt as

profoundly as he could the orthodox views of literature he found in France...........The

grievances against contemporary criticism with which Barthes began were deeply influential

on what he came to write later. There were four main ones. First, he objected that literary

criticism was predominantly ahistorical, working as it did on the assumption that the moral

and the formal values of the texts it studied were timeless.....Barthes was never a member of

the Communist party - let us say neo-Marxist objection. He dismissed existing histories of

French literature as meaningless choronicles of names and dates... (Sturrock, P, 54-55)

ZÏÔ6,**g8-™r#ä‡g~ÅWç~ŠðwÑÝÆncZ¤/ZsÅ,Ã(,~'g]ÐpsHìÔZ¤/‡g~Ì™1ú»qïƒÂtu‘ÌZkÅÃÐZzÍ7g{YX**g8-™r#ÆZ½kÅ§sg�q™D÷X

ªZâYzßg�w»t”{¦g&ZÒe$Jw™CƒÔQÐ!*gBZCƒÐ(,Z DOXA LLÃn{™ec*7ÔpZkäZeZˆkŠÑŠc*ā|»z{¦g&!*kxßv DOXA ŠÔ&åXz{

9B÷Ô|ÆÂ¦gZ]~Ð¡Zq-ƒ@*ìXXXXOçZŠ[ÆªZ:¦g6,Ì

ëÜs,]Å,Š¶6,„Zr™,ÐX¤{‡g~ZÝ–~.Z]J-¢zgg‚ðqÝ™,ÐXgZð_5Óå GHyÅÂ[Æ,]XXXXXXXXXXXXXXXXÍ8P**g8-ÅÂ[Æ,]

79 -106 XXXXXXXXXXXXXXXXXXXXXXX 27 - 42

288 - 329 XXXXXXXXXXXXXXXXXXXXXX 49 - 70



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_5Óå GHyÅÂ[Ð**g8-™r#ÆuºÆ›ë;ÓxF,,7™äÆZ[Zq-Šzu~Â[ÅY+$g�q™D÷XZkÂ[Ð**g8-™r#ägzÑV!*gB6,‘‰*y»

ÐlZñ‰ Structuralist Poetics u‘�Ûâc*ìXc*ŠgìāZÏ*yÆ‰{�**ï°ÅÅÂ[Ðn‰÷X7u John Sturrock ÷XpŒV6,�Z½‚]7GYgì÷z{

äZkÂ[~0*õâˆ].h+®zV6,‘‰p}Ã%A$HìXT*y»**g8-™r#äu‘Hìz{7u»ZC’k,™Š{ìX7uäÅ:Cð»ÒpHZzgÓxp}ÃZyÆ–VÆ**xÐ÷áùHX**g8-™r#äŠzu~i!*y»½7gÃZ+{ZVDƒñ!*gB6,‘ƒñ*yÃZL**x™1XW�ŠzâV»ñZi:7™D÷XYy7u˜÷Ô

Existentialism, on the contrary, preaches the total freedom of the individual constantly to ðchange..... Barthes, like Sartre, pits therefore the fluidity, the anarchy, even, of existence

against the rigor mortis of essentialism; not least because, again following Sartre, he sees

essentialism as the ideology which sustains that tradional bugbear of all French intellectuals,

the bourgeoisie... he writes at the conclusion of his most feroriously anti-bourgeois book,

the devastating Mythologies (1957.........

In one way, Barthes goes beyond Sartre in his abhorrence of essentialism. Sartre, as so far as

one can see, allows the human person a certain integrity or unity; but Barthes professes a

philosophy of disintegration, whereby the presumed unity of any individual is dissolved into

a plurality or discontinuous. This biography is especially offensive to him as a literary form

because it represents a counterfeit integration of its individual. It is a false memorial to a

living person.......

(Sturrock, John. Structuralism and Since. London, Oxford University Press,1979, P 53)

08 97

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GGÆ!*g}~Zk»ÃtâgË:;ÂââgË¢zgìXZkäZLÇÅZŠ!@*g:VÃ**ñVZzg_54è

EGE»"Yy$k5é FNIGg{ŒÛZg

X ))))********gggg8888----ÔÔÔÔmmmmÔÔÔÔ333366661111XXXX222266661111(((( Šc*óó7uä!*gBÆjZáÐŠzuZZ‹ZnZyZÖp~ZVc*ì:

Barthes's second complaints against academic criticism was that it was psychologically

naive and deterministic....when critics chose to explain textual data by biographical ones, or

the work by the life....The elements of a literary work - and this is an absolutely central point

in literary structuralism - must be understood in the first instance in their relationship to

other elements of that work..... (Sturrock, P,56)

**g8-™r#ä7uÆ!*gBÆjZáÐŠzu}Z‹Zn6,ZyZÖp~ï)äÅÃÒÅì:

LL¶q-ÒW6,Zk»ŠzuZZ‹Zntåā¶W»;]»Ågêâ:uJ-9â:ìXÎZö¥â]ÅæŠÐQÃ'ZkÆ4,Šq-**‡&ÿELç°xåXXXZkÆ4,Šq-ZŠ!QÆÁÜÃÜsZyŠZ½g¤VÅæŠÐŒYYì�z{QÆŠzu}ÁÜÐgnp÷XtN

X ))))********gggg8888----ÔÔÔÔmmmmÔÔÔÔ333366661111(((( ‚(C„»ãCŠ~ßìóó7uÆ!*gBÆjZáÐ¶W6,ŠZZ‹Zn7uÆZÖp~¼-Vì:

They could see only one meaning in the texts they concerned themselves with, and that one

meaning was usually a very literal one. This they subsequently held the meaning of the text,

and that to search further for supplementary or alternative meanings was futile. They were

men of narrow and autocratic temper who fancied they were being scientific when they were

merely being culpably dogmatic. Their minds were closed to the ambiguities of language, to

the co-existence of various meaning within a single form of words,....... (Sturrock, P 57-58)

**g8-ä7uÆÒy™Š{!*gBÆŠ}Z‹ZnÃZyZÖp~ZLuºÅ®mJc*ì:LL¶WQÆÜsÙð”{pÃ9ŠìZzg.e$e˜ðÐZk6,ZÜZg™CìXÙpÂÜs½~pƒMh÷ÔZzgZŠ[~ZÒz9"ƒŠÏÅuJ-ßƒD÷X¶ÕŠzVÆ!*g}~!*gBä–ìāQy»f‚gN*ZzgÃözŠƒCìÔz{ZŠ¬e$»Dg÷ZzgZŠ[~ZÒe$ÆbŠZg÷XXXZŠ[°$©pî

EEZ·xÐ_m,ìZzgZq-„Ãgx~Fp‚B‚B¿))))********gggg8888----ÔÔÔÔmmmmÔÔÔÔ333366661111((((XXXX WgZYƒMh÷óó

ŒV6,ëtÂµgnp÷āaLZ‹ZnóÅCðY+Æn‡g~Yy7uÆ™�95X85Zzg**g8-™r#ÅÂ[Æ™�461»pŠ_·™}ÇXøgZŒV**g8-™r#Æäz‘LZ‹ZŸ]ó6,tZ‹Znìāz{ZkuJ-uºÆ%>ƒ™QgŠzZŠ[~¬Ð‡ìgzZe$ÃYVîwŠbeT?‡g~ZyZ½‚]Æˆt¢‹›é

GMM³Z~.:™}ā**g8-™r#Æ!*gB6,‘‰*yÆjZáÐuºÅuÜsŒVJ-„ìX:ÜstÉ**g8-™r#ä7uÆ*y~!*gBÅÓxÂ1VÆ¿‹bÃÌÂ/Âu‘HìXYy7u»t*y*K,]6,ŒìX7u»7™Š{‹tÌ½7gâÎ»ìX**g8-™r#äaèËÌZÝ–~.J-g‚ðqÝ™äÅÃÒ7ÅZknZyÅd‡/»Z0+Zi{Î**Â7ìX¾qwZyÆ´z{¼'×h+Ã6,g™D÷Xu+"5Ògö EG—ì:

From this post-Saussurean perspective it is clear that the theory of literature as expressive

realism is no longer tenable. The claim that a literary form reflects the world is simply

tautological. If by 'the word' we understand the world we experience, the world

differentiated by language, then the claim that realism reflects the world means that realism

reflects the world constructed in language. This is a tautology................

(Belsey, Catherine. Critical Practice, London, Routledge, 2003, P,43)

**g8-™r#-Vu‘�ÛâD÷:LLZkÎ_2.çGJ~ÚøÐªCÙìāZŠ[»z{Ãt&|óg~ë÷Ô‡&ÿELæZf7ìXt

(ìXZ¤/|Ðøg~ Tautological Šú~íāZŠ!Ãgx|»@7™CìÔÜsƒZg!*²Ô)%ZŠz{|ìT»ëŠ/™D÷Ôª�jîg6,i!*yÆfg)‡ìƒCìÂtŠú~āL|óg~|»@7™CìÔŠgZÝtƒZāÔ|óg~ZkŠ*»@7™Cì�i!*y

(ÆÎZ¼ Tautology (ªCÙìtLƒZg!*²ó) Constructed in Language Æfg)‡ìƒCìó)))))********gggg8888----ÔÔÔÔmmmmÔÔÔÔ88887777(((( 7ìXXXXXX

Í8P**g8-ä�Z½ku‘HìZk~Ð"5Ògö EGÆÂL7†óÃv.s™Šc*ìTÐ"5Ògö EG»‡ì™Š{pOW,™äÆ‚B‚BZkÆ™�»jZ!Ì}7Šc*ŠHXŠzuZZ,Vä

ÃzZz+~É™t@*W,‡ì™äÅÃÒÅìāt{mZ˜b " ƒZg!*² " qgz!*ÑZ½k~ËŠzu}®ÐâpfìZzgtx»x**g8-™r#pŠuZ�xŠ}gì÷ÔøgZ_·tHìā**g8-™r#äß@*W,‡ì™äÅÃÒÅìX‚g}»‚gZZ½kÔ&ŒV¿ùMM7HŠHìÔ"5Ògö EGÅÂ[ÐƒÉâpfìXqgz!*Ñ‹tu+"5Ògö EG»ìÔÍ8P**g8-»7ì

1828

Attempting to distinguish between constant and variable elements in a collection of a

hundered Russian fairytales, Propp arrives at the principle that though the personage of a

tale are variable, their functions in the tales are constant and limited. Describing function as

"an act of a character, defined from the point of view of its significance for the course of the

action," Propp developed inductively four laws which put the study of folk literature and of

fiction itself on a new footing. I their baldness and universality, laws 3 and 4 have the

shocking effect of certain scientific discoveries:

1. Functions of characters serve as stable, constant elements in a tale, independent of how

and by whom they are fulfilled. They constitute the fundamental components of a tale.

2. The number of function known to the fairy-tale is limited.

3. The sequence of functions is always identical.

4. All fairy tales are of one type in regard to their structure.

(Morphology of the Folktale, pp. 21,22,23)

In comparing the functions of tale after tale, Propp discovered that his total numbers of

functions never surpassed thirty-one, and that however many of the thirty-one functions a

tale had (none has every one) those that it had always appeared in the same order.... After

the initial situation, in which the members of a family are enemerated or the future hero is

introduced, a tale begins, consisting of some selection of the following functions in the

following order:

1. One of the members of a family absents himself from home.

2. An interdiction is addressed to the hero.

3. The interdiction is voilated.

4. The villain makes an attempt at reconnaissance.

5. The villain recieves information about his victim.

6. The villain attempts to deceive his victim in order to take possession of him or of his

belongings.

7. The victim submits to deception and thereby unwittingly helps his enemy.

tz„Zw6,Y™»ƒCìXåz„Š¶Ð*yÅîZª~ZŸ†ƒYñÇÔ�¬)¢zg~ƒÇXZ¤/åz„Š~YñÂ,]Å®ZŠ½"5é GEMMâJ-¬YCìXZkn‡g~Zy,]6,ZipŠg™ñÔ²**g8-ÆuºÅ,~−™g;ƒV

Scholes, Robert, Structuralism in Literature, New York, Vail-Ballou Press,1974 P, 62-70.

**g8-™r#Åw•6,Âz%Ãi™D÷:( LL6,z\äZq-Îßu¹EV»ZN[HZzgZL‹bÐCc*ā™ŠZgzVZzgZyÆL·¶ó

Å¯Y6,Zyßu¹EVÅŠZ½‚|#Ã"Õ[HYYìÔZzgZyÅŠgzÈ~¾ FUNCTIONS)

p!ÐÅY$ËìXZkäZy¹EVÆZZzgœuÁÜ»‹tHZzgZkË6,àāZyHgìÔZzgÓx (FUNCTIONS) ¹EV~Z¤/p™ŠZg$+sgT÷Ôp™ŠZgzV»L·¶ó

Xf[~"5Ògö EGÅtÂ[Zq-¬g°Â[ÅwgBbìÔ�',¤6~!Z}Æ¥ÆaW~Ãc*]»¿¬gs7™CìXŒV‡gMÆaZkZ%»ZŠgZuÌ¢zg~ìāÍ8P**g8-ä¡Zq-„Z½kÃÜ7HÉZ,Vä"5Ògö EGÅZÏÂ[ÐFZ½‚]Â/ÂF,À™ÆZL**xÐ÷áù™Zñ÷XZ["5Ògö EGÅ§sg�q™D÷:

Saussure's argument depends on the different division of the chain of meaning in different

languages. ' If words stood for pre-existing concepts' they would all have exact equivalents

in meaning from one language to the next; but this is not true' (Saussure, 1974: 116). The

truth is that different languages divide or articulate the world in different worlds. Saussure

gives a number of examples. For instance, where French has the single mouton, English

differentiates between mutton, which we eat, and sheep.............(Belsey, 36-37).

**g8-™r#Æ»g**óÅ§sŠB:LL±c.çJÅŠ?/VÅZyš/-V6,FFì�Zq-¦gÆaZi!*âV~0*ñYD÷XLZ¤/ÂâIñ�Š¦gZ]Æa‡ìóƒDÂZq-i!*yÐŠzu~i!*y~ZyÆp�Šw0*ñYDÔpZ(7ìÔ)ÃgkmÔ611(|tìāZi!*3Š*ÅqzVÃZîg6,Š÷[ZzgªCÙ™C

ZkÆ',@Zôm,~ZkÆ�Šw Mouton ÷X±c.çJäFVBŠ~÷X�ÛZú~Zq-Âì X ÍÍÍÍ8888PPPP********gggg8888----ÔÔÔÔmmmmÔÔÔÔ88886666(((( ~�Ût™Cìó) Sheep Zzg Mutton

îZªÆ!*)ZkZ½kÃÌ¿g3ŠHìXZkZ½k~Z•ð‡&ÿELÂzZ%tìā"5Ògö EG

äZL‹b~±c.çJÅÂ[Ða‰jZáÃøw™�7HìXZkÅzztìā"5Ògö EG

±_2.çGJ»‹tZLZ0+Zi~7™g„ìX**g8-™r#t@*W,‡ì™äÅÃÒ™D÷ā±c.çJ»jZ!Z,Vä"5Ògö EGÅÂ[ÐZ~.7HÉZ,Vä±c.çJ»',ZÓgZ„_·HìXtZŠ!$+Šc*„ÅzZãVwìX

**g8-™r#¾qwZkjZáÐ»°ÃuzZµƒñ÷āZrVäËZq-Â[6,;B™s7HÉFÂ1VÃk,âw¯c*ìÔZq-§sÂZyÃÂ[ÅB#ÖŠg»g¶²Šzu~§s÷áh+Z7ZKZŠ!‡#Ö£[¶XZyÃtÌZˆkåāZ3ÿXLZgŠzÅZÒe$�PZq-Zôm,~Æ**ñVÐ„OW,ƒYCìÔF§bÅÂ1VÆ**xheÐFŠ;×VZyÆZf;y6,**g8-™r#Æ»g**ó»ZW,gìÇX¾qwÜsZq-Š;ðJ-„ZyÅZkpZéÅúƒ0*ðìÔZkÆˆ**g8-™r#ÅLCðóÆ£gÆ',@Cð»ZÏsÑiòåX**g8-™r#äqgz!*ÑÓx!{3¨4è

EEGE»ŠZhZäÆgZ',j²6,ÌZKLCðóÃ™HìXW�¬j²Å§sº÷:

48 38

¹EV~Zq-‚gLìX™ŠZgÆ·¶Ã™ŠZg»z{¿ŒÛZgŠïƒñ�¹ãÅse$ÆŠzu}ZbZÐaZƒZìÔ6,z\äZ`Zg~îg6,egZ2%A$K2VäWÐ^™ßuZŠ[ZzgÒ6Æ_¬Æ5Š*�ÛZë™Š~XWÃ¹Z:EZzgœZ‰ÜÆZ±gÐ‡ây&ZzgegÃZÒ

®+ä‚³Šgc*Ä»ŠgzŠc*ì:1X™ŠZgzVÆ·¶¹ãÆgZtZzg)è&+[ÁÜ÷ÔsÃZkÐāÃyZyÃuZ�xŠêìÔt¹ãÆãCŠ~ZbZ÷X2XL·¶óÅ®ZŠ¹EV~özŠìX

åZq-ÏgSìX (SEQUENCE) 3XLL·¶óÅLF,âó4X!*z�ŠàqÆÓx¹EV~‚|#Zq-ÜìX

ÆZ±gÐZq-ÆZq-¹ã»‹t™Dƒñ6,z\Zk (FUNCTIONS) ™ŠZgzVÆL·¶óÅ®ÿ N®ZŠZw13ÐË§b7 (FUNCTIONS) ³6,àā¹EV~™ŠZgzVÆL·¶ó

(,fÔZzgZ¤/p‰¹EV~¿Å¼±c*V7IÔpåQyÅF,KMz„gSìXXXXXZ’Zð©ÆˆZ#yZäÆZ�ÛZŠ‚tWD÷ÔZzg‹zÅ¶K0+„ƒYCìÂ

~Ðƒc*‰ÅæŠÐZÏF,KMÐÒyƒCì: (FUNCTIONS) ¹ãZy·¶1X{0+Zy»Ãð�ÛŠyÐ¸T$ƒY@*ìX2X‹zÅÆÅYCìX3XÆÅÜszgi~ÅYCìX4XzÞYÎÏÅÃÒ™@*ìX

Æ!*g}~Z:qQìX (VICTIM) 5XzÞÃZLLDgó6XzÞZLLDgóÃŠðāŠêì@*āZk6,c*ZkÆâwzZò[6,ï™áX

))))********gggg8888----ÔÔÔÔmmmmÔÔÔÔ999900001111XXXX000011111111((((XXXX 7XLDgóŠZÄH,zk,~WY@*ìZzg**ŠZ·ZLŠÔÅæŠ™@*ìX**g8-™r#ÌZkz„ÃZwJ-Â/ÂÜ™äÆ´z{j²Æ‹bÃÂ/ÂÜ™Dƒñ™�711J-áYD÷Ôp}ÌjZ!Šb¢zg~7BXZy,]Æ´z{**g8-™r#ZÏÂ[ÆZ”VÐÌ{§pZ{Z½‚]»u‘™DŠ3ðŠï÷XW�¬Zôm,~~gZ',j²ÆZkZ½k6,g™,:

The last half of the nineteenth century and the last half of the twentieth were charecterized

by the fragmentation of knowledge into isolated disciplines so formidable in their

specialization as to seem beyond all synthesis. Even philosophy, the queen of the human

sciences, came down from her throne to play solitary word games. Both the language

-philosophy of Wittgenstein and the existentialism of the Continental thinkers are

philosophy of retreat......

(Scholes, Structuralism in Literature, New York, Vail-Ballou Press,1974, p,1)

Í8P**g8-ÆqgzfsZ½kÃŠ¶:LLZÞ,œ~Æ${ý ELWyZzg�,œ~${ý ELZÍw~¡¾æ

ELZKãHÆZyZâV~

#$J™ZkuJ-0*g{0*g{ƒ¶āZk~Ë§bÅÃðèZi{È~eÃ7WC¶XZzgÂZzg{Ø,Ì&EÄZK6»!*Š÷á{¹Y@*ìÔz{Ì/VÆZµê7,YäzZáö~µ[

X mmmmÔÔÔÔ44443333(((( åXz&»4k5é HYEHí»,—yƒc*-g8®+Åz�Še$ÔZuÕäMMtƒ%Z‡Æ�÷XX)ZkZ½k~j²�,œ~ÅZkßg�wÃZLiZzbÐÒy™äÅÃÒ™@*ìX›**g8-Z¤/Zyf!’rVÐ',Z{gZ„zZ/gnpÂ÷áh+ZkÐZ}òZ~.™DX�,œ~~Šzu~kBxÆŠzgZyƒäzZàn„Æyz*y6,ÌZW,Z]%A$ƒñ¸X**g8-™r#ÃZkZ%ÐÃðŠp7ìXz{ÂtU*"$™äÅÃÒ™gì÷āZrVäz&»4k5é HYEHí»_·HìXZ¤/tpŠz&»4k5é HYEH+»_·™äÅiØ�ÛâDÂZ}òZ~.™Mh1z{j²6,¢ZNŠgnp÷XZkÆ}òÃ:ÜsZLnÉŠzuzVÆnÌîŒÛZgŠ¶ÅÃÒ™D÷XgZ',j²ÅèÃg{!*ÑÂ[Ð›**g8-äZKÂ[ÆFZ’Zð,]ÜK÷XZkÆ´z{±c.çJZzg‚(]6,–ŠH‚gZñZŠZÏÂ[»Â/ÂF,ÀìXgZ',j²äZkÂ[~‚(]Å×e$~–ìXtZy»‹tì&æÜ§jÐšŠÌHYYìXQÞ,Zzg�,œ~Æ�YÔ(Ïc*QçÙ“ÆË~Ãc*]ÅCd$ZzgúÆˆ�‚(CâewZ,Väâ8çXL—*]±§Ð»g1ìZk»Z%ZxÌ$øFL‚(]ÆIt#ÆW¸iÆ‚BƒY@*ìXZkz‰ÜF®pŠÃ‚(]»qòìÐÄZäÑX¿tāt‹tØ²Æ„Ð„»YÃìXgi+pâgË®+ZkZ½¦ÚøÅZ§i6,=ôz‹t7™D÷�7†âegy¹g~ÆjZáÐ¢oÌìZzgñ*.çJIÌXÎZwtìāÍ8P**g8-¹V9}Š3ðŠï÷?XXXXX',¤â~Î®™:�Ûâgk˜÷:

Derrida's professional training was as a student of philosophy (at the Ecol Normale

Superieure in Paris, where he taught until recently), and his writings demand of the reader a

considerable knowledge of the subject. Yet Derrida's texts are like nothing else in modern

philosophy, and indeed represent a challenge to the whole tradition and self-understanding

of that discipline.

5868

ZLp}~ËÌ…ÆZ°g6,c7ZVðXZk»tÈìāz{�Æ!*g}~¼7Y…Ô�ZyÆZkZ½kÐzZãìLLpŠgh+Z**‡&ÿELF,Šh+îg6,U*"$™@*ìā�ÅtÂµzZcÐic*Š{w7gBbÔZzg�»i!*yÆËÐWiZŠƒ**¢‹›é

GMM**eìóó)m812(XtÎZwZ•ð+Bºé EF:ìāi!*yÆ%Ën»Ãðìw7HYYìÔc*ËcznÃZkÆÓxF,c*ËÌUÃÒyHYYìXZkÆnŠgh+ZÐË]‘�Å¢zg]7ìXZC�~ZâRöñ�Šìāe&»4n.ç GEH¨Ü¹g-VÃ7‚ãpŠ~ËnXZÌJ-f[~Üsâˆ].h+®zV!*<mŠgh+ZÅe&»4n.ç GEH¨ZC�ÆÜs¿WgZYƒCìXpÎZwtìāHe&»4n.ç GEH¨41ºÒ5é XGGð=c*ÑièÃgŠ™mìc*ŠÑbÅ¯6,ZkÃßU*"$™mìc*ZkÅuzŠ»ç™0*ðì?**g8-™r#Ìf!âˆ].h+e$ÆD',ŠZgzVÅÇ~tÈ{Ì—™`÷āLLâˆ].h+e$CÙ§bÅ=I~ÃgŠ™CìXóógŠYVZzgù™Cì?ZkÆ!*g}~**g8-Æ´z{ËÌÕŠÆ0*kìÃegL}J-7÷ÔzzZkÅtìātZŠ[Ðic*Š{�»XìZzg�ÆIt#»QgŠz~hZyg;ìXQgŠz~ZyßÍVÃ…¦g™1ŠHì��Ðic*Š{¦sÅV6,#hgì÷X**g8-™r#»f[ÆË÷ágbÃãCŠ¯™41ºÒ5é XGGð=c*ÑièÆÎZwÃ�gLCðó7™**Šg„7ìÔYèZkÅwÌ**g8-™r#ÆZLLCðóÆ£gÐZ7ìX˜VJ-jZuŠgh+Z»mìÂz{Óxi0+Ï¬»mg;ìXXZô[ä¬»ÂzÐ_·Hìz{Y…÷ā¬ÆnLZíZtóÅw§ŠÅ¯6,îìÔp¬Æ§ŠÅ¹ƒYCìÔªÔÅÔÔpZíZtCÙz‰Ü',ŒÛZggLìXZk§b¬»ZíZtZq-2wð™ÆÌîgL

Ã÷áï™©8ìÔT»»xZíZtÅ8-.3ïG

GGÅ¯6, Differance ìXŠgh+Z¬ÆZíZtÅ(ZLÙ|#Ãgz)ìXZÏb6,jZuŠgh+ZÔ¬ÅÑÃZyZÖp~t™@*ìÔ

Differance (at a point of almost absolute proximity to Hegel, as I have emphasised....

(Positions, 1982, P44).

f[~Zk§bÅc‡ìƒìā˜VZŠ!zW~¹g-VÆjZáÐÃt‚iZKwÃ(„ÆjZáÐzZã™**¹¢zg~B÷XZÏ§bZyÆ÷ág±Ã6,z"Z

™ä»çz£Šc*Y@*ìXZy»»x„tìāz{ZZ°gÃ1gjzZi~Æ¢ŠZ]ÅgzÝ~zZã™,Xf!Ã-VÆjZáÐZk:©Ã‚tgZ•ð¢zg~ìXZKãf‚ÆZ0+gÀhezZáìÑ]ÅZkz‰ÜJ-ÃðZÌ7ƒCZ#J-ZyÅÃðiñ�Š:ƒX:‚(C

Norris, Christopher. Deconstruction.3rd ed, London, Routledge,2002, P18-19)

**g8-™r#˜÷:~Ecol Normale Superieure, Paris LLF,šMÆZ±gÐÌŠgh+Z…ìÔZzgZkz‰ÜÌz{XX

�»Z*ŠìX2ZkÅ’k,zVÃ�ÅãCŠ~!*ÂVÃYä%'Ì**eìX@*ëŠgh+ZÅ’k,zVÃ�~Ñg™**ÌÂìÔZknā�~Šgh+ZÅ’k,zVÆzÃðq7QÔYè

))))********gggg8888----ÔÔÔÔmmmm z{7g~‘:gzZe$ÃZzgZyãCŠzVÃX6,,¨Ÿ‚D‡ììÔ½™@*ìóóXXXXX™:�Ûâgk˜÷: 777711112222((((

Derrida refuses to grant philosophy the kind of privileged status it has always claimed as

the sovereign dispenser of reason. Derrida confronts this pre-emptive claim on its own

chosen grounds. He argues that philosophers have been able to impose their various systems

of thought only by ignoring, suppressing, the disruptive effects of languages. His aim is

always to draw out these effects by a critical reading which fastens on, and skilfully unpicks,

the elements of metaphor and other figural devices at work in the texts of philosophy.

Deconstruction in this, its most rigorous form acts as a constant reminder of the ways in

which language deflects or complicates the philosophers project. Above all deconstruction

works to undo the idea-according to Derrida, the ruling illusion of Western metaphysics-

that reason can somehow dispense with language and achieve a knowledge ideally

(unaffected by such mere linguistic foibles. Norris, P18-19).

Í8P**g8-ÅÂ[ÆZkZ½k6,g™,:LLŠgh+Z�Ã¨Ÿ‚DtW%Z:ŠgzŠ¶Ã»g7ā¡¾æ

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88 78

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|Æz�ŠÅìXp¬Z(iâyÆ¦g~:āúÒ{2]ÅÎaÐmÅ¯Y6,ìw6,„ìXšZ•ð!*¾w§jÐ¬Åìw6,4ÃzZã™D÷XtÐeìāìw6,„\VÆn)',µz){(¬ìw6,„:ƒXŒV6,âˆ].h+®)uº!*i7(t

ÎZwZVMh÷āz{LÅgóÅc~Zú„7eTÔYèZyÃÂi!*yÆjZáÐL=ZyóÆWè!*ŠÐŠ*LCðóÅZ÷á®)»ÑáYg~ƒ[ìXZk§bÂÐeìāz{i0+ÏÆÓx

ŸÌi!*yÆ4ÅL™6óÐ™**e÷X**g8-™r#ŠzegZZwÍ™:}™Šg�Ûâgì÷Xâˆ].h+®zVÅZ0+SÇ~CÙZk�ÃÜs�Æîg6,šŠ™ŠbeT÷Ô�ÚøÅZÌÃzZã™@*ìXZyÆnÑixìāz{Zy‘:,t»DqÝ™,Zzgf!¹g-V6,ZKwÃZLÚø~zZã™,Xd,c*Åc~Zk½Ð¬t¢zg~ìā**g8-™r#ÃZyÆuºÆ!*g}~c*ŠŠ;ã™ZðYñXz,Z¤/**g8-™r#ÃuºÐ�Û›QÂ÷áh+Zy,c*Ã

KÅÃÒ™DXZq-ZzgZ½kÃŠÙ÷X™:�Ûâgk˜÷ÔIn this sense Derria's writings seem more akin to literary criticism than philosophy. They

rest on the assumption that modes of rhetorical analysis, hitherto applied mainly to literary

texts, are infact indispensable for reading any kind of discourse, philosophy included.

Literature is no longer seen as a kind of poor relation to philosophy, contenting itself with

mere fictive or illusory appearances and forgoing any claim to philosophic dignity and truth.

This attitude has, of course, a long prehistory in Western tradition. It was plato who

expelled the poets from his ideal republic, who set up reason as a guard against the false

beguilements of rhetoric, and who called forth a series of critical 'defences' and 'apologise'

which runs right through from Sir Philip Sydney to I. A. Richards and the Americans new

critics. The lines of defence have been variously drawn up, according to whether the critic

sees himself as contesting philosophy on its own argumentative ground, or as operating

outside its reach on a different - though equally privileged - ground. (Norris,P19)

**g8-™r#ZkZ½kÐOW,ƒ™H¾wŠ3gì÷:LLZkÃÐŠ¬YñÂ�Ðic*Š{ZŠ[Åfs~WC÷ÔZk»ãCŠ~Z‹ytìā—ãc*

(øw‘:Òy discourse $+$™öG‹t��ZŠ!Q»£ŒY@*ìÔz{Šg|ËÌÒy)Æ¤{_¬Æn¢zg~ìXŠgh+Z»ñ�ìāZŠ[�»Šzg»gŠZg7ÔTÃ…¡/VÆ

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™D÷X™:�ÛâgkätÌzŸs#Åìāz&»4k5é HYEHí�g…±_2.çJGZzgâˆ±_2.çJG~—*CÃb~ÁÕ÷ÃŠ8ì?**g8-™r#z&»4k5é HYEHíÅ±_2.çJG6,‘:WÃ7™**oƒ7BÔYèZk§b**g8-™r#Å‚(]ÅVOW,ƒYCXZÏn**g8-™r#Ãz&»4k5é HYEHíÅWI7WðXZ7ÂÜsZycZ¤/Zs»u‘°Šå�ZyÆ4,Šq-g›úÅCðU*"$™äÆn¢zg~åXª]Å!*]tìā**g8-™r#»ÃðÌäz‘Z½kLLzZz+~7ìÔpqgz!*ÑZ½kÆˆzZáZ½kÃzZz+~˜÷ÔÍātZ½kÌZrVäâgkÅÂ[„ÐZVc*ìX**g8-z&»4k5é HYEHí»jZ!Šïƒñ˜÷ÔLLZ¤/?CÙq6,—™äÏÐÂQ?Ëq6,

XZk»ÈtƒZā**g8-ÃZk ))))********gggg8888----ÔÔÔÔmmmmÔÔÔÔ999911112222(((( Ì—:™jÐXCÙ—Åµ~Œƒ@*ìóóZ%»ZŠgZuìā¾§bZrVä‡g~ÅW\V~ŠðwÑ)ìXZÏnZq-„Ô6,‘‰Z½‚]~ÐÜsŠzÓVÃ„zZz+~Š3D÷²9{ÃZKL‹c*Cù]ó»™ÖU*"$™gì÷X

**g8-™r#ÆZk§bu‘™äÆZkìw»f‚~Z½**Y,ìāZ¤/**g8-™r#pŠâˆ].h+¹g~Ã7™nÂ¤9VÃùŒMh÷?Z¤/z{pŠZk¹g~Ã™`ƒDÂÂ/ÂuºÅ¢zg]7:WCXZ¤/¹g~Ã™™ZÐf!:©~Òy™DÔªâeg‹ÆZqÐi~Zz™s�ZÐ7†âeg‹ÐZµ™D÷ÔZkÆˆ%æELRÅ�Yc*pDßg�wÆ‚BZk»ñZi:ZzgZyZqÐiZ]Å¶K0+„�ZyŠzâVÚø~ñ�Š÷XZkßg]~t**g8-™r#»Zq-Zë»g**)¦gHY@*XÂ„6,FFÂ1VÆ!*g}~åÃð:Ãð®¬gs7™@*Wc*ìÔT»Ñtƒ@*ìāÂ[ÆÂ|xÃZk§b7HYñāŠzuzVÆnZÐ'W‚yƒYñX˜VJ-\Vc*¬>V»mìÂZyÆ!*í~d®Å”]„ZkŠgƒCìāz{',S{gZ„ZÝfgZù»ûqÝ™**eT÷XZÖgZ!qìāZkäZgTÅà{YWÃt"LwÐ‚Û¾ó»e:!*g_·HpQÌZÐ™:0*c*XZk§bf!…Ø©zgHìāz{».$Å"é"LLW=¡óóÃZô!*g7,"Æ™0*c*XQgŠzÆL¬>VóÐtÂµ™**"»gìāz{Ë‘:Â[ÃP!*g7,"ÆˆZ¤/ƒ7ƒmÂZkÃŠz!*g{KÅÃÒ™,ÐXZyÆ4,Šq-Ë®Æ7™Š{¬gsÃ%ƒÆZL**xÐ™[™Šbic*Š{

**gZn:ƒYNXZkÆ‚B‚BZrVäejgkÃZôm,~~ÉŠc*ìÔTÐt@*W,Z½}ā**g8-™r#pŠt‹t7™gì÷˜VZrVä¢zg~ŒZôm,~Â»ZEwÌ™Šc*XgZ¶»tŠúòìāÍ8P**g8-ÅÂ[~Šgh+ZZzgg›ú6,–ƒZÓxñZŠ™:�ÛâgkÅÂ[ÐƒÉF,ÀìXW�Zq-ZzgZ½k6,g™,X™:�Ûâgk˜÷:

The counter-arguments to deconstruction have therefore been situated mostly on

commonsense, or 'ordinary-language' ground. There is support from the philosopher Ludwig

Wittgenstein (1889-1951) for the view that such sceptical philosophies of language rest on a

false epitemology, one that seeks (and inevitably fails) to discover some logical

correspondence between language and the world. Wittgenstein himself started out from such

a position, but came round to believing that language had many uses and legitimating

'grammars', non of them reducible to a clear-cut logic of explanatory concepts. His later

philosophy repudiates the notion that meaning must entail some one-to-one link or

'picturing' relationship between propositions and factual status of affairs. Languages now

conceived of as a repertoire of 'games' or enabling conventions, as diverse in nature as the

jobs they are require to do (Wittgenstein 1953). The nagging problems of philosophy most

often resulted, Wittgenstein thought, from the failure to recognise multiplicity of language

games. Philosophers looked for logical solutions to problems which were only created in the

first place by a false conception of language, logic and truth. Scepticism he argued, was the

upshot of a deluded quest for certainty in areas of meaning and interpretation that resist any

such strictly regimented logical account. (Norris, P127-128).

**g8-™r#ÅL—*CewóŠB:(ORDINARY-ANGUAGE) LLŠgh+ZÅg›úÆÜsÎÌcÅˆìz{¬xi!*y(LUDWIG ÆNYÃÐÅˆìX{§¶KygìāZ,ßÍVÐ¬−zvz&»4k5é HYEHíXX

È[ìāi!*yÐ0$4h½¹é GI:ÃbZkÑK‘Ð.5éG] WITTGENTEIN 1889 - 1951)

»z÷�i!*yZzgZâY~Ë:Ë§b»xg*aZ™**eS (EPISTEMOLOGY)

ìXz&»4k5é HYEHíäpŠZC‘:ZÏùÐÑzqHÔpˆ~z{ZÏË6,àÆi!*yÆF§bÆZEw÷ÔXÐF§bÅ¤/ZÎ,aZƒC÷ÔZzgZy~ÐÃðÌ¤/ZÎyÆ™sËsZßßVÅR6,7ÑðY$ËXz&»4k5é HYEHí»,Zk!*]ÅF,Šh+ìāi!*y~ÂZzg—~Zq-ZzgZq-»gZ‚ìXz{i!*y»¦gZq-Z,ÂxÆîg6,™@*ìT~§b§bÆ£œÆn§b§bÆörYD÷z&»4k5é HYEHí»Iìā�»Xtìāz{i!*yÅMZÅ.›43ï EGG

Ãi%çGLŠZx7ÑYX#aÃ)bÆxiÅ¢zg]ƒCìÔZzgùŒÅÅ`»³ìYèpÅx¹e7X¾n–wz&»4k5é HYEHíz{Óx$4h½¹é GI:��i!*yÔyZzg|ÆŠgxy

29 19

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úÆjZáÐ‡&ÿELƒƒCX**g8-™r#ä�§iY»gZ(gHìÔZq-§sÂz{Wîu‘ìŠzu~§sZrVäâˆ].h+¹g~ÃÀŠ¶zZá§ŠZ]ÃÃZ0+Zi™Æâˆ].h+¹g~Ãåîg6,Šh+~g8-~:Üs7HìÔÉZÐJwÌHìX˜VJ-**g8-™r#ÅZK

Ï»ÎZwìÂªCÙìā�¿Üsu‘„7™eìZzgªCÙƒäÆuºÃÌt™äÃ»g7ìÂZk»øu$¨45é GGGEMMDÐ›7É,6,4»UìXf!igyh+ŠZ›gzVÅÇ~,6,4ÆUÃ‚tgnpƒñÕÆ»ƒäÆŠú}GYgì÷X²ZÏÕ6,,6,4ÆÓx¦gÅãCŠìÔZ¤/t¦§Õ»ƒŠHìÔÂz{ÃyÏîÙ|#‡ì

™ä»ŠZ¦ì?**g8-™r#ÃÂf‚~gecā°xÙ|#»Óx¦g„"»gìXpƒÐ¬t…CÙZKyÆ!*í~MìÔ��YúZïÅ_“c*°x_“Ð$zgc*¢oƒ@*ìXÙ|#»¦gÔTÆÜsâˆ].h+®',açL�g÷Ôz{…¬Æ�~MìÔ1Zk|x~7āT~ZÐ7HYg;ìÔÉZk¦gÃf!1gjzZðÆ¢ŠZ]ÐëW}™Æ7HYg;ìX¬ÆnLŠzuZóZëìÔZk»Z¡w7ƒYÔÍā¬Ænt¦gìw6,*:Z0+Zi~ñ�ŠìXZk»tÈCÙ¦/7ìā¬czè»çVÆ�ZKãaZzZg~¿Å]ÐWÇ{7åXtŠg„ìā¬»L¦gó»°uJ-¿Æ',@Æfg)p~»pZ;VìXâg¾ä¬ÅÂ[L4^Å1c*]ó~œÐzZhZkUÃŠN1åXZzgZkÅZå{÷Zð~ZF,™ZC�ÅOñp~Ã¿Ðæzo™Šc*XjZuŠgh+ZÌâg¾ÅÆ',@

¿~p~Æ¿ÃzZãîg6,Š8ì1z{¬Æ�~ZyúZïÃ7ŠNe�âg¾ä»°²āIŠNn¸)Šgh+ZÆZk6,f™ÆjZáÐŠ&ÀŸ/õ GGL7i:ó™�Ô34(XŠgh+ZY}ìāZC�6,ú™**W‚yìÔZÏzzÐZk»úZÐZk£x6,áY@*ì˜V6,jZuŠgh+ZÜsZzgÜsìw6,„0™„‚tW@*ìÔYèz{ÌZC].1]Ã¿Æ',@i!*y~„ˆl™@*ìX˜VJ-âg¾ÔZxZzgš»mìÂZyÆÜsŠgh+ZÃðÌîÒyYg~7

™@*Xz{Y}ìāâg¾c*š»Åg¬ÆÅgÐãCŠ~îg6,ZìZknZkÆZqð~:Šg„7ìÔ�YR6,âŠ~].1]ãCŠ~îg6,aZzZg~¿Zzg DifferanceÃ

ZKâVÆ¿ÐÀheÅzzÐZC].1]ÐZìÔT~¬ï¿ÆŠzgZy:Üs{gYßg�wÃ7Ãg‚rìÉz{pŠÃ¿ZzgZk¿ÃÃc*ñYäÆ¿ÃÌ‹b~÷áï™@*ìXZk§bz{pŠ‹bÆŠzgZy‹b~ŠZ½ZzgczèjZßVÐ÷áïƒ@*ìXcz†ÐŒV%ZŠ‹bÆ¿Åcz†ÐÌìXŠgh+ZHì:

But it is true that in Marx, as in Engels and Lenin, the putting into question of the

self-certainty of consciousness is not "based on Differance".(Position,P62)

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»™ŠZgãCŠ~ì�LZpZóZzgLZó Differance W»Ãð�Ziñ�Š7g{Y@*ÔYèŠgh+ZÆ�~ÆgZ5~qbgLìZzgÙ|#Ã‡ì7ƒäŠêXŠgh+ZzZãZÖp~tZ‹Zs™@*ìāLL

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Eagleton, like Althusser, argues that criticism must break with its 'ideological prehistory' and

become a 'science'. The central problem is to define the relationship between literature and

ideology, because in his view texts do not reflect historical reality but rather work upon

ideology to produce an effect of the 'real'. The text may appear to be free in its relation to

reality (it can invent characters and situations at will), but it is not free in its use of ideology.

'Ideology' here refers not to formulated doctrines but to all those systems of representations

(aesthetic, religious, judicial and others) which shapes the individuals mental pictures of

lived experience. The meanings and perceptions produced in the text are a reworking of

ideologie's on working of reality. This means that the text works on reality at two removes.

Eagleton goes on to deepen the theory by examining the complex layering of ideology from

its most general pre-textual forms to the ideology of the text itself. He rejects Althusser's

view that literature can distance itself from ideology; it is a complex reworking of already

existing ideological discourses. However, the literary result is not merely a reflection of

other ideological discourses but a special production of ideology. For this reason criticism is

concerned not with just the laws of literary form or the theory of ideology but rather with

'the laws of the production of ideological discourses as literature'.

Eagleton surveys a sequence of novels from George Eliot to D.H Lawrence in order to

demonstrate the interrelations between ideology and literary form.... Eagleton examines each

writer's ideological situations and analyses the contradictions which develope in their

thinking and the attempted resolutions of the contradictions in their writing. After the

destruction of liberal humanism in the first world war Lawrence developed a dualistic

pattern of 'female' and 'male' principles. This antithesis is developed and reshuffled in the

various stages of his work, and finally resolves in the characterisation of mellors (Lady

Chatterley's Lover) who combines impersonal 'male' power and 'female' tenderness. This

contradictory combination, which takes various forms in the novels, can be related to a

'deep-seated ideological crises' within contemporary society.

The impact of poststructuralist thought produced a radical change in Eagleton's work in the

late 1970s. His attention shifted from the 'scientific' attitude of Althusser towards the

revolutionary thought of Brecht and Benjamine. This shift had the effect of throwing

Eagleton back towards the classic Marxist revolutionary theory of the Thesis on Feuerbach

(1845): 'The question whether objective truth can be attributed to human thinking is not a

question of theory but is a practical question...The philosophers have only interpreted the

L(,}ÕŠóƒä6,ÌÎZÑ]‡ìKYMh÷XZ¤/Zy»_·zWìZzg¤/z{È-V~ÈtÕŠpŠ‚�ÕŠ7÷ÔÂQ¨ZŠd$zÕŠZyÆZŠ!zW~™ŠZgÃ—Ð!*ÑŒÛZgŠbÁZiÁøg}

ae7ìXøgZtCÙ¦/Ñ7ā**g8-Ã$+**xHYñÔ$+**x™äc*ƒä»UËÅfZ]ÐaZƒ@*ìXZkz‰Ü**g8-ÃZKZŠ!‚|#ÆjZáÐZ¤/ËÐÃðç{Šg7ìÂz{Üs‚gt**g8-„ÐìXTŠyÍ8P**g8-äZŠ!Šc*-$»bCÙ{™Dƒñ‚gt**g8-»‚o™1ÔÂÕŠ**g8-„‚gt**g8-ÃŠ®™ä~»x[ƒYñÇX**g8-ä¾qw¼Zk§bÆN}ZEw™äÑzq™Šb÷ÔX»ZŠ[zDÐÃðm7ìX**g8-ZzgZyÆjZg-VÅY+$Ð÷áùƒäzZà’k,~,6,4¼ZkZ•ÃBŠ3ðŠ~ìāZŠ!ZŠZg0*g{0*g{ƒCÃWg„÷XZyL’k,zVó~øg}p}Æ_¬Æ%¡**g8-Ætg}„ÐZÝï]ÐÂzUäÆaÔ›ëÃ*™DƒñÔ'ÅfZ]Ãñçq¯c*Yg;ìÔZka¢zg~tìā**g8-Zzg6.3ð XEZZzg¤{‡gMÅÂzZq-!*gQ**g8-ÆuºZzg**g8-Åßâˆ].h+

zV6,%ÃigOÔ@*ādz„~$+Šc*„»tUÔ&**g8-ZzgjZg-Väƒ*ÛÅÃÒÅìÔ}fZ»]Zzg�Û‘6,4ÅÃ:ƒYñX**g8-ÆjZg-VÅ’k,,gZ¶Æp}Æ_¬»â°7÷X¡ZŠ!‚il»z÷Xdz„~Z±gÐZyL’k,zVó»�Z[Šb¢‹›é

GMM)¢zg~ìXZy’k,zV~**g8-c*uºÅæbuZðÆ´z{fZCjZßVÐ‘‰ñZŠ~‚ZYzg›ëÃ*HYg;ìÔZkn‰ñV6,t¢zg~ƒY@*ìā›ëÃŠg\oÆ‚B7HYñX**g8-ÆZq-jZg~©gSSðäZ•ðŠgzrÍð»bCÙ{™DƒñøgZmLL)®)Z£tóóÐ�häÅÃÒÅìXÎZwtìāZk»**g8-ÆuºÆ0K‰ZÏÃ]ÐHm?ZŠ!zdç5]Ã�Û‘6,4Å2+g™**zZª**g8-ZzgjZg-VÐ4ZzgÃð7Y}XZk§bÆZ•ð5&N}$¨45é GGGEMMz{ßvZEw™D÷�pŠ6,ZŠ[»]Š{ÂZzh|fe÷ÔpZKu“~k„)ZŠšMÆUîVÐ�]70*MhXZkñµ6,tY'¢gz~7ā¾»¾�Ûºc*è<ØÐHmìÔYètcÂZŠ[zWÆ!*g}~ƒg„ìÔZzgZŠ[ZyßÍVÆaLZdWŠgØVóZzgLLWÃ¹ZŠZg»F,)yóóƒ@*ìXZŠ[Åc~L)®)Z£tóƒc*L)®)QtóÔ)Î',6)40î XEGƒc*L)®)ØŠgtóZkÐÃð�Ût77,@*ÔZDw„ÃŠBā�Û‘6,2VäZkÑpZKyÃ)®)»�ÛtÐ�h**Ñq™Šc*XpŠ**g8-ÃŠBā¾§b=ZyÅAÆÜsY™f!J®zVÅ¹g-VÃL6,÷áŠó™™Jw™gì÷XøgZItìāZŠ[Åc~Z¤/Ë�ÛºÃ#ÅÃÐŠ9ìÂz{Üs�Û‘‚gµìÔŠz§].h+~TÆƒÐZëúÒ}ZgŠzÆâ8çXL—*]Ôyz*yÆxF,+Z³ZiZ]ÐâZi´ƒñÑ~Í8P**g8-÷X�Û‘‚gµÐÐ]™**FZIßÍVÅ6g~ìXtÐ]ŠZE7ìÔt‚gVÅZLuºÃJw™äZzg

021 911

world in various ways; the point is to change it'. Eagleton believes that 'deconstructive'

theories, as developed by Derrida, Paul de Man and others can be used to undermine all

certainties, all fixed and absolute forms of knowledge..............

Raman Seldon, Contemporary Literary Theory, 3rd ed, Britain, 1993,P, 92-93.

zZãgìā_5Óå GHy»Z$ºÓ4è GHE6,t*y»7ƒZ)ëŠBÐā**g8-»u‘Ì»7ƒ@*(ÔÉ

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GGÐÆ‚³gzbÐ?Ø™',6Zzg+ÅZz!„6,%ÃiƒX&4-B5é

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GMMZ$ºÓ4è GHEâg¾ÆThesis on Feuerbach (1845). ¯oZz!Ãb

''THE QUESTION WHETHER OBJECTIVE TRUTH CAN BE ATTRIBUTED TO

HUMAN THINKING IS NOT A QUESTION OF THEORY BUT AIS A PRACTICAL

QUESTION.... THE PHILOSOPHERS HAVE ONLY INTERPRETED THE WORLD IN

VARIOUS WAYS; THE POINT IS TO CHANGE IT''.

Z$ºÓ4è GHEÃZkÐZ·tìāÃtgŠúTÃŠgh+ZÔ0*wŠ~âyZzgŠzuzVä‡ìHìÔZkÃ¬Ðð”{pÃ"Š4™äÆaZEwHYYìóó)**g8-Ô562X462(X

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ÂVZVä»ÈtƒZāZ$ºÓ4è GHE„Å§b**g8-ä8-.jèEGEÅÌËÂ[»_·7HÔ_5Óå GHy

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In America, where the labour movement has been partially corrupted and totally excluded

121221

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~].1C„ÆöÆ‚B THE POLITICAL UNCONSCIOUS, (1981)

8-.jèEGEÅÂ[¼Š„ŠÁÜÃÈä»¿MìÔ!5Õä

IMM‚(]Ô$øFL‚(]â�ÛZàe$ÔZÊ-Ÿ3ð GGÐZŠzgâz){X 8-.jè

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8-.jèEGE»tÌìwìāÓxWàc*ßY

(Æîg§hVÅì��`ÃZk!*]» CONTAINMENT ZMZgqÝ™äZzg‡1~gpp)ñµŠîìā@*gõÆµe§ŠZ]ÃŠ!*c*YnXZzgÅ!*]tìā@*gõ�LLZOŠ~¢zg]

''THE BRUTE REALITY OF ECONOMIC NECESSITY'' Åz“|ìóóƒÆZyîg§hVÃpŠ„™™CìXZŠ!QÌZÏ§b¿WgZƒ@*ìÔYè!*kxQ�i7™@*ìÔz{pŠ@*gõÆƒÅ´#Öƒ@*ìX8-.jè

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8-.jèEGEäÒ6ZzgZkÅÂ±Æ!*g}~(,~»gWæcÅìXZk»ìwìāÒ6¡Zq-ZŠ!

(ìÔZkaā EPISTEMOLOGICAL CATEGORY Ãgxc*îg7ìÉZq-L‘Ð.5éGCi%{ó)|‡&ÿELûƒäÆapŠZLW\Ã¹ãÆÃgx~7™CìXZzgÂZzgZq-‚³ÃtÌ¹ãƒYìóó)962X762(X

**g8-»tZ½kD6,»7ƒ@*XZ¤/‡g~ÃÂ=ƒÂZÏö~ŠzâVÂ1VÃ‚tgnpƒñ_·Yg~gppÐtZÏsƒYñÇāÂ/ÂF,3»ŸYg~gLìXÍā**g8-Z•ðÈg~ÐZcZ¤/Z¯VÃÂ/ÂF,À™äÆ!*z�ŠZyÅF,KM$+%ÅÃÒ™D÷Ô

pgZ¶ääz‘ñZŠÅÙ|#ÃW‚y™äÆaöÃ»7ƒäŠc*XVwÆîg6,**g8-

from political power, the appearance of a major Marxist theorist is an important event.

Jameson believes that in the post-industrial world of monoply capitalism the only kind of

Marxism which has any purchase on the situation which explores the 'great themes of

Hegel's philosophy - the relationship of part to whole, the opposition between concrete and

the abstract, the concept of totality, the dialectic of appearance and essence, the interaction

between subject and object'. For dialectical thought there are no fixed and unchanging

'objects'; an 'object' is inextricably bound up with a larger whole, and is also related to a

thinking mind which is itself part of a historical situation. Dialectical criticism does not

isolate individual literary works for analysis; an individual is always a part of a larger

structure (a tradition or a movement) or part of a historical situation. The dialectical critic

has no pre-set categories to apply to literature and will always be aware that his or her

chosen categories (style, character, image, etc.) must be understood ultimately as an aspect

of the critics on historical situation........ A Marxist dialectical criticism will always

recognise the historical origins of its own concepts and will never allow the concepts to

ossify and become insensitive to the pressure of reality. We can never get outside our

subjective existence in time, but we can try to break through the hardening shell of our ideas

'into a more vived apprehension of reality itself'.

His The Political Unconscious (1981) retains the earlier dialectical conceptio of theory but

also assimilates various conflicting traditions of thought (structuralism, poststructuralism,

Freud, Althusser, Adorno) in an impressive and still recognisably Marxist synthesis.

Jameson argues that the fragmented and alienated condition of human society implies an

original state of primitive communism in which both life and perception were

collective.............. All ideologies are 'strategies of containment' which allow society to

provide an explaination of itself which suppresses the underlying contradiction of history; it

is history itself (the brute reality of economic Necessity) which imposes this strategy of

repression. Literary texts work in the same way: the solutions which they offer are merely

symptoms of the suppression of history. Jameson cleverly uses A.J Greimas' structuralist

theory (the 'semiotic rectangle') as an analytic tool for his own purposes. Textual strategies

of containment present themselves as formal patterns. Greimas' structuralist system provide

a complete inventry of possible human relations... which when applied to a text's strategies,

will allow the analyst to discover the posibilities which are not said. This 'not said' is the

represses history.

Jameson also developes a powerful argument about narrative and interpretation. He believes

that narrative is not just a literary form or mode but an essential 'epistemological category';

reality presents itself to the human mind only in the form of the story. Even a scientific

theory is a form of story.( Seldon, P, 95-97).

**g8-ÅÂ[»_·™D÷Ô

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421 321

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8-.jèEGEŠzâVZŠ!zpD**Š+÷Ôf!Š*~ZyÃÃ

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8-.jèEGEÆ´z{

"ÑgŠzu}**Š+ÅÃÃ;BJ-7Îc*XZka**g8-DÅZkR6,7āZ¹ÕŠ¹YnÔW~ZyÅw÷ágbÐic*Š{7ìXsÃZkÆāZyÆjZg~Z¹¾£x6,Ã,™D÷XZLŠú}Æh~o]�ÛZë™äÆa…Zq-!*gQgZð_5Óå GHyÅÂ[ÆZk!*[»_·™**ƒÇ�**g8-ÆuºÅ®mJìXWNc*îk6,‘‰!*[6,g™D÷Ô_5Óå GHyÆZÖp5±™,Ô

Jauss, an important German exponant of "reception" theory, gave a historical dimension to

reader-oriented criticism. He tries to achieve a compromise between Russian Formalism

which ignores history, and social theories which ignores the text. Writing during a period of

social unrest at the end of the 1960, Jauss and others wanted to question the old canon of

German literature and to show that it was perfectly reasonable to do so.... He borrows from

the philosophy of science (T.S Kuhn) the term "paradigm" which refers to the scientific

framework of concepts and assumptions operating in a particular period. "Ordinary science"

does its experimental work within the mental world of a particular paradigm, until a new

paradigm displaces the old one and throws up new problems and establishes new

assumptions. Jauss uses the term "horizon of expectations" to describe the criteria readers

use to judge literary texts in any given period.... For example, if we consider the English

Augustan period, we might say that Popes's poetry was judged according to criteria,

naturalness, and stylistic decorum (the words should be adjusted according to the dignity of

the subject) which were based upon values of Popes's poetry. However this does not

establish once and for all the value of Pope's poetry. During the second half of the

eighteenth century, commentators began to question whether Pope was a poet at all and to

suggest that he was a clever versifies who put prose into ryrhyming couplets and lacked the

imaginative power required of true poetry. Leapfrogging the ninteenth century, we can say

that modern readings of Pope work within a changed horizon of expectations: we now often

value his poems for their wit, complexity, moral insight and their renewal of literary

tradition.

In Jauss's view it would be equally wrong to say that a work is universal, that its meaning

is fixed forever and open to all readers in any period: 'A literary work is not an object which

stands by itself and which offers the same face to each reader in each period. It is not a

monument which reveals its timeless essence in a monologue.' This means, of course, that

we will never be able to survey the successive horizons which flow from the time of a work

down to the present day and then, with an Olympian detachment. to sum up the works final

value or meaning. To do so would be to ignore the historical situation. Whose authority are

we to accept? That of the readers? The combined opinion of readers over time?

(Raman Seldon. P,52-53).

ZkZ½kÆˆ6,zW_5Óå GHyz&Í-,ç GGE�ÅVwŠ¶”÷Zzg**g8-ÌZLuº»»xYg~gnp÷ÔWN**g8-Æêâ:÷ÃŠÙ÷Ô

LLgz',^c*îkäÃtJqÆfg)L‡g~Z‚kWóÃ@*g]ò«ÅìXc*îkägzÏÎ~)Tä(,~uJ-@*gõÃÃZ0+ZiHå(Zzg�YÃ-V~)�QÃÃZ0+Zi™D÷(ëW°aZ™äÅÃÒÅìXXX0691~Z#*~ZCZ[»ŠzgåXc*îkZzgZkÆ‚¹VäðZŠ[ÃQÐ”ÑÔZzgðZŠ!gzZe$6,5ÃeZ%Å¢zg]6,izgŠc*Xc*îkÅ

ŠgZÝ‚bÆ…KZöÃ‚Ð»gìZkÐc*îk¦gZ] (PARADIGM) Z˜bLi%{óZzgczŸ]»z{ù·%ZŠ©8ì�ËÌÇ~»g�Ûâƒ@*ìX‚b~åŠ!*C»xËZq-{mLi%}óÅf6Š*~Z�x0*@*gLì8-ö

GWā¦gZ]»ÃðŠzuZLi%{ó¬Li%}óÃ"Š4™ŠêìÔZzgZk§b6¦gZ]Zzg6GzŸ]‡ìƒYD÷XËÌÇÆ‡gMQÅ6,ÄÆ

(HORIZON AND aX¸Z2»ZEw™D÷Ôc*îkZyÆaLZ¬ZzgÂu]óÅZ˜²ZEw™@*ì�Li%}óÆ‚³¦g6,FF÷Xz{HìāVw EXPECTATIONS)

521621

competent readers go beyond surface meaning. If we regard a poem as a string of

statements, we are limiting our attention to its 'meaning', which is merely what it can be said

to represent in units of information. If we attend only to a poem's 'meaning' we reduce it to a

(possibly nonsensical) string of unrelated bits. A true response starts by noticing that the

elements (signs) in a poem often appear to depart from normal grammar or normal

representation: the poem seemes to be establishing significance only indirectly

and in doing so ' threatens the literary representation of realty'. It requires only ordinary

linguistic competence to understand the poem's 'meaning', but the reader requires'literary

competence' to deal with the frequent ' ungrammaticalities' encountered in reading a poem.

Faced with the stumbling-block of ungrammaticalness the reader is forced, during the

process of reading, to uncover a second (higher) level of significance which will explain the

grammatical features of the text. What will ultimately be uncovered is a strcutural 'matrix',

which can be reduced to a single sentence or even a single word. The matrix can be deduced

only indirectly and is not actually present as a word or statement in the poem. The poem is

conected to its matrix by actual versions of the matrix in the form of familiar statements,

cliches, quotations, or conventional associations. it is the matrix which ultimately gives a

poem unity. this reading process can be summarised as follows:

1. Try to read it for ordinary 'meaning':

2. Highlight those elements which appear umgrammatical and which obstruct on ordinary

mimetic interpretation:

3. Discover the 'hypograms' (or commonplaces) which receive expanded or unfamiliar

expression in the text;

4. Derive the 'matrix' from the ' hypograms'; that is, find a single statement or word

capable of generating the ' hypograms' and the text.

(Seldon, P,60-61).

**g8-ÆuºÅY+$º÷ÔLLâ¡gÃ¢Ä~i!*yÆ!*g}~gzÏ343ï XJGGIzV»ëâZìā÷á²~i!*y»{mZEwìX

(Ã7™CìÔ²Ä~i!*yZk REALTY ¬xi!*yZÖgÆiU6,FFìÔZzgË:Ë|)LZ:qó6,FFì�343ï XJGG»zìZzg°Š!*ÉåEOZ]ìXªCÙìZkczè454-ö

XJGGgzb~gÃ¢Ôgzð85»4jè EGEEÐOW,ìÔpz{85»4jè EGEEÆZy}òÐ57�85»4jè EGEEZzgC~7Zkä1ŠÅ2.çJGÆ

Æ‹b~7K¸Xgd¢Hìāz{—ãá÷X»f™85»4jè EGEEZzg7Zk Les Chat ‚.$™D÷Ôz{Ë¬xL!*&¢A‡g~óÆ'Æ7XZyŠzâVäZL‚(C_¬~T§bÆ§CZzgß»C%âV»f™HìÔtá÷ËÌLYïg‡g~óÅf6&¢A»z7ƒMhXZq-F,šMc*C‡g~ÐtÂµ7ÅY$Ëāz{QÃZk{m§jÐ7,ñX@*ëgÃ¢tCäÐ‡Üìā85»4jè EGEE»_·Zk!*]ÅÞŠ]YV�ÛZë7™@*ā‡g~Q»${ð

GOg¾§b™@*

~QìXZk~gÃ¢ä semiotics of poetry (1978) ìXgÃ¢ÆÃbÅúZkÅÂ[:ZkZ6,gzÝeZàìā!*&¢A‡g~QÅR6,aZƒäzZápÐWÐY@*ìXZ¤/ëÄÃ

Æîg6,Z¤/ëZôm,~÷á²~ÆW±h4èYHEŠzg6,ÃeZBÂ¥xƒÇā7\Å÷á²~Zkz‰ÜÆZŠ!

Z¬ZzgÂu]ÆÐ_.¶XOçZkz‰ÜZkÅs„zŠg]Ô÷á-Zzg“{ÔZzgZkÆìÑ]Æ¡]Æ_.ƒäÅŠZŠŠ~ˆX@*ëZkiâäÆZŠ!Z¬ZzgÂu]ÅgzÐ7\Å÷á²~ÅŠgz7åÆað7ƒXOçZVgz,œ~ÆÛŠzìÅZôm,~W~ZÒtÎZwZVc*YäÎāH7\zZª÷á²åÔc*z{¡Zq-‡ŠgZæx**òåTäÄ~‡¢/õ

EGeZw

™ZÐàx™Šc*XE÷á²~Æa�ÇÑoìÔHz{7\ÆŒVìc*7X�,œ~~Zk!*g}~Qp~ƒðXZŠOŠBÂ7\Å].h+ŒÛP'Zq-$+áƒñf6Z¬ZzgŠzu~§bÅÂu]Æ‚BQ÷XW`À7\Å÷á²~ÃZq-„g8-~Š¬Yg;ìXª0¦Æ´z{Zk~'×ZbÔZÜ¹ù]ZzggzZe$ÅD',ŠZge$ÔtƒpÒVˆl™àˆ÷ÔZzgŠgÅóƒVÐŠ@YäÐ÷óó)**g8-ÔmÔ403X303(X

**g8-»u‘ZÌYg~ìÔÜs™ps™äÐÈVƒY@*ìXÂz�ÛâNÔZzgZkÆˆ**g8-Å°¶VÆ>Þ!*0+"ÅOñZkw•Ã›g]ÅÃÐŠÚÅZÜ¹zZŠ!P]aZ™,X_5Óå GHy»cZ¤/Zsz„ì�Zz6,7HŠHìX**g8-»u‘ZÏ»öìX

LLc*îkHìātÎOßìāÃðÌ®0*g{ÓxiââVÆaìc*WÃ¹ìÔc*ZkÆ�ppŠZkÆiâä~³ƒ‰Ôz„pCÙÇ~‡g~6,zZZ#÷XZŠ!®0*g{Z+q7�‡ì!*¯Z]ƒÔZzg�CÙÇ~‡g~ÃZq-„n{Š3@*ƒX–wc*îk®0*g{Ãðc*ŠÇg@*g]qg]7Ô�ÓxiââVÐZq-„i!*y~!*]™ñÏXÍc*ZŠ[ÅŠ*~ëËZ,LZ¬ZzgÂu]ó»¦g‡ì

7™Mh�ƒiââVÆaƒXZ(™**@*g]qªÃÃZ0+Zi™**ƒÇXªë¾Ã9â3Ô‚—‡gMÅgZñÃÔc*âˆÆ‡gMÅgZñÃÔc*pŠZLŠzgÅ‡gMÅgZñÃóó)**g8-Ôm603X503(XZkÆz&Í-,ç GGE�Æf™Ð**g8-äu‘Yg~g3ƒZìXzZãgìā}Ì™�

7Šc*ŠHXZq-!*gQgZð_5Óå GHyÅY+$º÷ÔThe French semiotician Michael Riffaterre agrees with the Russian Formalists in regarding

poetry as a special use of language. Ordinary language is practical and is used to refer to

some sort of 'reality', while poetic language focuses on the message as an end in itself. He

takes this formalist view from Jakobson, but in a well-known essay he attacks Jakobson's

and Levi-Strauss's interpretation of Baudelaire's 'Les Chats'. Riffaterre shows that the

linguistic features they discover in the poem could not possibly be perceived even by an in

formed reader. All manner of grammatical and phonemic patterns are thrown up by their

structuralist approach, but not all the features they note can be part of the poetic structure for

the reader.

However, Riffaterre has some difficulty in explainig why something perceived by Jakobson

does not count as evidence of what readers perceive in a text.

Riffaterre developed his theory in Semiotics of Poetry (1978), in which he argues that

821 721

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÷á²~~p&~!*ßZôîg6,¿WgZƒCìÔZzgZk§bz{|Å½~F,)ãÐ¤/m,™CìÔQÅR6,ÆpY+Æa©à—ãZq»°ìÔpZŠ!ZÖgÆgñizï]Zzg¬x¤/Z%Ð¤/m,ÃKZzgZkÅd»g~Æa{m§bÅRŠ!ZqÑoìXZ,—ãá÷X~ZEÁ¬xÐZāZsHŠHƒÔ‡g~Ã6g™D÷āz{p&~ÅŠZ½RÃÌŠAÔ˜VZÖgÆZbá÷pÐgz×ƒYD÷X2ZyÓx£â]6,Ìó{gÇX~i!*yzÒyÆ‰

Hì&¿™ÆZq-ßc*Zq-Â MATRIX á÷ÅƒZgƒðìXgd¢ZÐÄ»‚(CZq-ßc*F,IÅßg]~Ä~ñ�ŠƒÔOp MATRIX ~ÌÚYYìX¢zg~7ā

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ÅŠ+ìXXXX MATRIX zu]ZkÆŠZ½1XƒÐ¬QÃ¬xpÆa7,−ecX2XQZyÁÜÃ¶KyiŠ™**ecÔX~i!*yÆ¬x¤/Z%~ªÐ¤/m,ìÔZzg�|Å¬xF,)ãÅgZ{~g»z^‘W÷X3XZkÆZy¬xZÖgZ]6,Ãg¿YñXÃQ~Z8545é EEEGc*ŠHìX

Z~.HYñÔªz{ã~Ýc*Âc*F,I�ÓxZÖgZ]c* Matrix 4XWyùMMZyÓxZÖgZ]ÐŠZ½™Cƒóó)**g8-ÔmÔ813X613(X generate QÃ»

ZkZ½k~Zq-ŠNNtìZzg�ZkZ½kÃŠzu}Z½‚]Ð¡™@*ìāZk~**g8-ä_5Óå GHy»**x1ìÔ$¨45é GGGEMM_5Óå GHyZC**xpŠ7áMh¸X_5Óå GHy»**xheÆˆ**g8-ä_5Óå GHyÆZÖpÃÂ/ÂF,À™Šc*ÔÍāZk»jZ!7Šc*ÔaèÂ/ÂF,ÀHŠHìÔZzg_5Óå GHyÆ**x»jZ!ÌŠc*ŠHìÔZka**g8-Ãtg¬e$ï$Ëìā˜VZ,Vä_5Óå GHy»jZ!Šc*z;V6,Z¹‚gt:¹YñÔpáWZkßg]~ÌI¢zg~ìXªZkZ½kÆÜsŠzu}

¿{~‚gt7ÂáW÷ÔÍājZ!Š¶»§i»gßìÔZ#ËÆìÑ]»ÜāHY@*ìÂZkßg]~ZLZÖp»ZEw¢zg~ƒ@*ìX**g8-ä_5Óå GHyÆÜáÃ7HìÔZkaZk~LLZ~xzƒóóJ-_5Óå GHyÅìX�Ûn™,Ãð¿Z#îyÅÂ[LLgÄóó»ZgŠz~Šk,]6,¬gs7™@*ìÔZ+ßg�w~LLZ~xzF,−óó»£gZk»ZCƒÇXZ¤/ZkZgŠz¬gsÃÃð¿Zôm,~~F,À™ŠêìÂz{tCÙ¦/7ÈYāLZ~xzF,−óZkÅZKìXZ¤/z{ËZzgi!*yÆ®Æ*yc*¬gsÃZKi!*y~Â/ÂF,À™@*ìÂZkßg]~pŠÃLLZ~xzF,−óó

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The notion of 'structure', he argues, even in 'structuralist' theory has always presupposed a

'centre' of meaning of some sort. This 'centre' governs the structure but is itself not subject to

structural analysis (to find the structure of the centre would be to find another centre).

People desire a centre because it guarantees being as presence. For example, we think of our

mental and physical life as centred on an 'I'; this personality is the principle of unity which

underlies the structure of all that goes on in this space. Freud's theories completely

undermine this metaphysical certainty by revealing a division in the self between conscious

and unconscious. Western thought has developed innumerable terms which operate as

centring principles: being, essence, substance, truth, form, begining, end, purpose,

consciousness, man, God, and so on. It is important to not that Derrida does not assert the

possibility of the thinking outside such term; any attempt to undo a particular concept is to

become caught up in the terms which the concept depends on. For example if we try to undo

the centring concept of consciousness by asserting the disruptive counter force of the

'unconscious', we are in danger of introducing a new centre, because we can not choose but

enter the conceptual system (conscious/unconscious) we are trying to dislodge. All we can

do is to refused to allow either pole in a system (body/soul, good/bad, serious/unserious) to

become the centre and guarantor of presence. This desire for a centre is called

'Logocentrism' in Derrida's classical work Of Grammatology. 'Logos' (Greek for 'word') is a

term which in the New Testament carries the greatest possible concentration of presence: '

In the begning was the word'......... Phonocentrism treats writing as a contaminated form of

speech. Speech seems nearer to originating thought. When we hear speech we attribute to it

a presence which we take to be lacking in writing. The speech of the great actor, orator, or

politician is thought to posses presence; it incarnates, so to speak, the speaker's soul.

Writing seems relatively impure and obtrudes its own system in physical marks which have

a relative permanence; writing can be repeated (printed, reprinted, and so on) and this

repition invites interpretation and reinterpretation. Even when a speech is subjected to

interpretation it is usually in written form. Writing does not need the writer's presence, but

speech always implies an immediate presence. The sounds made by a speaker evaporate in

the air and leave no trace (unless recorded), and therefore do not appear to contaminate the

originating thought as in writing. Philosophers have often expressed there dislike of writing;

they fear that it will destroy the authority of philosophic truth. This Truth depends upon

pure thought ( logic, ideas, propositions) which risk contamination when written. Francis

bacon ............ (Seldon, 144-145).

zZãgìā_5Óå GHyŒV6,»7™DÔ"5½è EGEÅcŠÚÆa‡g~èÃg{Zi+cÆ

921031

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