1000 x European Architecture by Joachim Fischer, Chris van Uffelen

By Joachim Fischer, Chris van Uffelen

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Hartman, like Barthes, asserts the critic’s freedom to exploit a style that actively transforms and questions the nature of interpretative thought. In itself this marks a decisive break with the scrupulous decorum of critical language maintained in Eliot’s wake. Eliot famously defined the ‘perfect critic’ as one who showed ‘intelligence itself swiftly operating the analysis of sensation to the point of principle and roots: structuralism and new criticism definition’. This is to argue that theory, in so far as it is valid at all, is strictly a matter of placing some orderly construction upon the ‘immediate’ data of perception.

Once the term is fixed within a given explanatory system, it becomes (like ‘structure’) usable in ways that deny or suppress its radical insights. Hence Derrida’s tactical recourse to a shifting battery of terms which cannot be reduced to any single, self-identical meaning. Différance is perhaps the most effective of these, since it sets up a disturbance at the level of the signifier (created by the anomalous spelling) which graphically resists such reduction. Its sense remains suspended between the two French verbs ‘to differ’ and ‘to defer’, both of which 31 32 deconstruction: theory and practice contribute to its textual force but neither of which can fully capture its meaning.

Thus Barthes (drawing on Saussure) refers metaphorically to ‘the speaking mass’ in a context which purportedly invokes the totality of language, but which appeals even so to actual speakers and their speech as the source of that totality. Barthes may state, as a matter of principle, that language is at once the ‘product and the instrument’ of speech, that their relationship is always ‘dialectical’ and not to be reduced to any clear-cut priority. In practice, however, his theorizing leans upon metaphors which implicitly privilege individual speech above the system of meaning that sustains it.

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