By Karen Christine Underhill
Within the previous chapters, i've got mentioned points of Schulz’s writing that truly show a
desire to barter a dialectical/redemptive courting among the cherished, fragmentary,
profane international, and the messianic – understood as residing and everlasting potentiality. In final, i want circulate outward from the specificity of Schulz’s textual content, to contemplate back what sort of writing Schulz’s texts signify, and in what experience it really is ordinary of or consultant of contemporary Jewish messianic texts. with a view to do that, i'm going to go back now to think about the idea that of a “third language” in additional intensity, describing the resource of this actual formula of Jacques Derrida’s, and constructing a typology for what a textual content written within the ‘third language’ might seem like. Schulz’s writing, I argue, belongs to this classification – person who originates within the glossy messianic writings of philosophers in his new release, and divulges its strong legacy within the paintings of latest critics that still proceed the culture of recent Jewish messianism.
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Additional info for Bruno Schulz and Jewish Modernity
In place of a philosophical solution, in place of a resolved system of belief, either materialist or theological, comes a new reliance on gesture – performance. In the key example of the chessplaying puppet, for example, the central gesture employed is not a philosophical solution, but rather an unveiling of an already functioning tactic of concealment; and, in the case of Benjamin’s narrative strategy, it also relies on a powerful image – one that can evoke the internally divided but co-dependent operation of the whole; and, one that can (as image and not argument) speak to the presence of theological desire and presentiment, without making a claim as to its truth-value.
Where thinking suddenly stops in a configuration pregnant with tensions, it [that is, materialistic historiography] gives that configuration a shock, by which it crystallizes into a monad. […] In this structure he recognizes the sign of a Messianic cessation of happening” (Theses, 262-3). The historical materialist in this way “blasts a specific era out of the homogeneous course of history” – or “a specific life out of an era;” or “a specific work out of the lifework” (Theses, 263). Benjamin argues that by this “method,” that piece that is blasted out of the continuum becomes like the shard of a hologram – it preserves in itself an entire era, and even the entire course of history.
Musimy pointować nasze wywody wieloznacznymi uśmiechami i, jak szczyptę soli, rozcierać w koniuszkach palców delikatną materię imponderabiliów. Nie nasza wina, jeŜeli czasami będziemy mieli wygląd tych sprzedawców niewidzialnych tkanin, demonstrujących w wyszukanych gestach oszukańczy swój towar. (BN, 118) No sense in denying that we can already feel that tightening of the heart, that blessed unease and holy tremor, that precede matters of eschatological import. Soon even our mixing cups will lack the colors, and our souls the radiance, to be able to lay down the strongest features, to highlight the most wondrous and even transcendental contours of this painting.