By Richard R. La Croix
An interdisciplinary choice of essays of a few of the thoughts relevant to Augustine's philosophy of paintings, mostly neglected in earlier works.
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Extra resources for Augustine on Music: An Interdisciplinary Collection of Essays (Studies in the History and Interpretation of Music)
286. See also my own comments on writing and the eighteenth century in Walter Benjamin, or Towards a Revolutionary Criticism, pp. 14—19. 5 vol. l , p . 190. 6 vol. 1, p. 188. 42 The Rape of Clarissa its capacity to exceed and invert her precise meaning: 'But whither roves my pen? ' Anna once reminds Clarissa;8 but though the novel certainly trusts in this profound tautology, it cannot help noticing, being after all a novel, that such self-identity is ceaselessly disrupted by the practice of writing itself — indeed, that once taken literally, it would bring all writing to an abrupt end.
On one knee, kneeling with the other, I write! ' l Richardson does not, presumably, intend this kind of thing to be funny. To confess the humour of the wet-wigged Lovelace scribbling an exasperated note on his frozen knee would be to strike at the root of the Richardsonian ideology of writing: the fiction that 'experience' can be conveyed in all its living immediacy by language, the faith that writing and reality may be at one. Richardson saw that he had invented a new species of writing, a set of 'instantaneous descriptions and reflections' which were 'to the moment';2 but it might equally be called a kind of anti-writing, one which strives to abolish the materiality of the sign, its treacherous power to divide and displace meaning, by reducing it to the humble receptable of the 'real'.
By this time Richardson was becoming distinctly irritated, a fact he made plain in correspondence to Lady 28 Introduction have understood all but the last word of T. S. 37 His writing would seem in part aggressive compensation for a sense of social inferiority, a virile dominance meekly defused in everyday life. 39 Literary licence and libidinal release, digressions and indecencies, are implicitly equated, as they are rather differently in his friend Elizabeth Carter's arch comment about the need to keep the pre-publication volumes of Grandison he had sent her out of the hands of other women.