Blanchot's Communism: Art, Philosophy and the Political by Lars Iyer

By Lars Iyer

Iyer argues for the transformative capability for philosophy and political perform of the idea of Maurice Blanchot. The publication lines Blanchot's advanced negotiations of the idea of Hegel, Heidegger, Bataille and Levinas, which allowed him to strengthen his precise account of the murals and his account of the hole to the opposite. Iyer additionally examines the importance of Blanchot's interventions in French political lifestyles, particularly, his participation within the occasions of could 1968.

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Extra resources for Blanchot's Communism: Art, Philosophy and the Political

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28 The Blanchotian intellectual is not merely condemned to writing, enduring the risk of an infinite detour from what he or she really intends to say. 29 For the Blanchotian intellectual, it is not merely a question of seeking out other testimonies, or of broadening the range of phenomena under theoretical scrutiny. The task is to transform this scrutiny itself by understanding how the testimony of the dislocation of community is experienced. For the right, the appeal to the community is always conservative, an attempt to restore a lost sense of values.

How does it tempt us? The author can take refuge in the power and the glory of literary renown, laying claim to the greatness of the artwork; the reader confirms this renown by celebrating that greatness as the greatness of human creativity. This is the temptation, according to Bataille, to which the Surrealists succumbed, when the dream of a creative revolution that would restore the totality of human existence yielded only works of art that disappeared into the museum. Bataille struggled to resist this temptation in his own literary practice.

55 To answer to the impossible – is this the chance art offers 32 Blanchot’s Communism the man of unemployed negativity? Bataille does not admit the existence of ‘true’ poetry in his letter to Kojève. But for Blanchot, and later, too, for Bataille, art is dead in a more profound sense, a nondialectical death linked to a non-dialectical becoming – not an evasion or a lure, nor even an answer, but a deeper experience of unemployable negativity. Art gives itself to be experienced as becoming, as a traumatising and singularising reserve.

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