By Catherine Liu
Literary Theory/Cultural experiences Explores literary theory's worry of and fascination with the mechanical. Anxieties approximately solving absolutely the distinction among the man or woman and the mechanical reproduction of the man or woman, the automaton, are as outdated because the first visual appeal of the computing device itself. Exploring those anxieties and the efforts they caused, this e-book opens a window on the most major, if refined, ideological battles waged on behalf of the human opposed to the computing device because the Enlightenment-one that maintains within the wake of technological and conceptual growth at the present time. A sustained exam of the automaton as early sleek desktop and as a curious ancestor of the twentieth-century robotic, Copying Machines bargains prolonged readings of mechanistic photographs within the eighteenth century in the course of the prism of twentieth-century statement. In readings of texts through Lafayette, Molire, Laclos, and l. a. Bruyre-and in a bankruptcy at the eighteenth-century inventor of automatons, Jacques Vaucanson-Catherine Liu presents a desirable account of how within which figures of the automaton and of the preindustrial laptop hang-out the mind's eye of ancien rgime France and constitution key moments of the canonical literature and feedback of the interval. Catherine Liu is assistant professor within the division of Cultural experiences and Comparative Literature and within the division of French and Italian on the collage of Minnesota. Translation Inquiries: college of Minnesota Press
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Extra resources for Copying Machines: Taking Notes for the Automaton
For many critics, it remains a scandal to think of the text as a thing that works, and even more scandalous to think of a reading as participating in mass production. ” studies itself and designates one tendency to criticism that is resistant to a theorization of repetition: Traditional literary studies habitually use the language of machines in a negative way, deploring the mechanical and the technical as the death of values attached to life, form, inspiration, and so on. At best, a “technical” use of concepts is accorded an uneasy neutrality, without ever being allowed to become the heart of the matter.
Klein, 43) This touching and embarrassing display of ﬁlial piety is an excellent example of the kind of idealization among de Man’s students, which John Guillory will later identify as symptomatic of the kind of transferential ﬁxation that de Man’s teaching and personality produced. In Klein’s article, we see the attempts to secure a familial bond with his teachers, especially de Man: the son’s ambivalence, however, is only readable as a contradiction in his own text. Although Klein claims that one of de Man’s qualities as a father has to do with not effacing himself as such, earlier he praises de Man for his great powers of self-effacement: “There are very few modern critics .
Studies itself and designates one tendency to criticism that is resistant to a theorization of repetition: Traditional literary studies habitually use the language of machines in a negative way, deploring the mechanical and the technical as the death of values attached to life, form, inspiration, and so on. At best, a “technical” use of concepts is accorded an uneasy neutrality, without ever being allowed to become the heart of the matter. 4 The most immediate threat embodied by the mechanical is repetition itself: in the denigration of the machine, literary criticism repeats itself, and in order to cast off the shadow of repetition it must all the more vehemently distance itself from the machine.
Copying Machines: Taking Notes for the Automaton by Catherine Liu