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Ideology and Inscription: Cultural Studies After Benjamin, de Man, and Bakhtin

Ideology and Inscription: Cultural Studies After Benjamin, de Man, and Bakhtin BOOK REVIEWS/73 or in an object. Scarry’s instances of the quickening effect of radiant ignition come mainly from Homer’s Iliad, as with the flickering of the Achaeans’ campfires or the gleam of Hector’s helmet. By lighting the image, radiant ignition facilitates the image’s movement. A second compositional practice, rarity, works by introducing “rare” (i.e., not dense) substance, petals, butterfly wings, feathers, gauze, veils, shadows—into the representation; Scarry asserts that despite their inherent “fragility or filminess, rare objects “can ” move in the mind with direction and force” (p. 239). Rarity slips onto the mental screen, for example, when Monsieur Lheureux “enthralls” Emma Bovary with his “gossamer silks and scarves” (p. 91) or, again in the Iliad, when Homer reports that not Paris’s spear but “his spear’s long shadow flew” (p. 93; Fagles translation). Writers also can move the reader’s mind from picture to picture (panning, so to speak) or, keeping it focused on a static image, alter the image through the practice Scarry labels dyadic addition or subtraction, as when Leon suddenly slips into and out of the longing frame of Emma’s window on the street (p. 101), or when Catherine, for an instant “held asunder” from Heathcliff, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Comparative Literature Duke University Press

Ideology and Inscription: Cultural Studies After Benjamin, de Man, and Bakhtin

Jenckes, Kate
Comparative Literature , Volume 54 (1) – Jan 1, 2002
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Publisher
Duke University Press
Copyright
Copyright 2002 by University of Oregon
ISSN
0010-4124
eISSN
1945-8517
DOI
10.1215/-54-1-78
Publisher site
See Article on Publisher Site

Abstract

BOOK REVIEWS/73 or in an object. Scarry’s instances of the quickening effect of radiant ignition come mainly from Homer’s Iliad, as with the flickering of the Achaeans’ campfires or the gleam of Hector’s helmet. By lighting the image, radiant ignition facilitates the image’s movement. A second compositional practice, rarity, works by introducing “rare” (i.e., not dense) substance, petals, butterfly wings, feathers, gauze, veils, shadows—into the representation; Scarry asserts that despite their inherent “fragility or filminess, rare objects “can ” move in the mind with direction and force” (p. 239). Rarity slips onto the mental screen, for example, when Monsieur Lheureux “enthralls” Emma Bovary with his “gossamer silks and scarves” (p. 91) or, again in the Iliad, when Homer reports that not Paris’s spear but “his spear’s long shadow flew” (p. 93; Fagles translation). Writers also can move the reader’s mind from picture to picture (panning, so to speak) or, keeping it focused on a static image, alter the image through the practice Scarry labels dyadic addition or subtraction, as when Leon suddenly slips into and out of the longing frame of Emma’s window on the street (p. 101), or when Catherine, for an instant “held asunder” from Heathcliff,

Journal

Comparative Literature – Duke University Press

Published: Jan 1, 2002

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