Blanchot, Derrida, Gadamer and the anarchy of style
This dissertation examines the possibilities of thinking and reading style nonteleocratically through the work of Hans-Georg Gadamer, Maurice Blanchot, and Jacques Derrida. The title evokes the non-foundational aspect of styleâstyle as that which is not conceptualisable and which defies categorisation by previously established rules. Chapter 1 shows how traditional theories and definitions of style are essentially teleocratic in being always directed towards some external function. Style is considered as a signifier of social, biographical or political signifieds, or else it is discussed as a representation of linguistic, generic, formal, or cognitive structures. Style as an event, on the other hand, cannot be fully understood theoretically but must be encountered always singularly and in performance. Style as an event does not simply represent something that exists before it but creates the possibilities of its readability. Style is then also anachronic, suspending teleocratic conceptions of the temporality of style in terms of original and more essential sources. It is oriented towards the future, the aleatory, that which is always still to come. Chapters 2, 3, and 4 explore the subject through successive,
Aquilina, Mario
Blanchot, Derrida, Gadamer and the anarchy of style. This dissertation examines the possibilities of thinking and reading style nonteleocratically through the work of Hans-Georg Gadamer, Maurice Blanchot, and Jacques Derrida. The title evokes the non-foundational aspect of styleâstyle as that which is not conceptualisable and which defies categorisation by previously established rules. Chapter 1 shows how traditional theories and definitions of style are essentially teleocratic in being always directed towards some external function. Style is considered as a signifier of social, biographical or political signifieds, or else it is discussed as a representation of linguistic, generic, formal, or cognitive structures. Style as an event, on the other hand, cannot be fully understood theoretically but must be encountered always singularly and in performance. Style as an event does not simply represent something that exists before it but creates the possibilities of its readability. Style is then also anachronic, suspending teleocratic conceptions of the temporality of style in terms of original and more essential sources. It is oriented towards the future, the aleatory, that which is always still to come. Chapters 2, 3, and 4 explore the subject through successive,
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