By Helmut Müller-Sievers
Do literary texts offer certain entry to the background of technology? Is the research of literature in accordance with medical techniques? Is there a connection among clinical approaches and literary types? The essays during this assortment exhibit how literary and medical texts from the past due 18th to the overdue nineteenth centuries revolve round those questions. What emerges is an image of the mutual dependence and the incalculable distinction among literature and technological know-how within the interval in their smooth formation.
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Additional resources for The Science of Literature
Sample text
In this way, the regularity of the species could be explained without having to invoke qualitates occultae and thus letting theological and secular forces enter into scientific discourse. The emancipatory impetus behind this well-known defensive gesture (which guarantees the regularity of observed phenomena by excluding the problem of origins) should not be forgotten, because the theorists of epigenesis will raise with great fanfare the question of freedom in their biological theories. The enormous intuitive difficulties of encapsulating all past and future organic life were contained by the aesthetics of the sublime, which preformation’s chief practitioner, Albrecht von Haller, used throughout his poetry.
His frequently invoked “Original Insight”46 is an insight into the epigenetic origin of absolute self-consciousness: following the guidelines of epigenetic polemics in the natural sciences, he attempts to show that self-consciousness does not – in the manner of Russian dolls, or encapsulated preformed embryos – contain the consciousness of objects and the consciousness of objects does not contain objects. Such a philosophy of reflection would not only result in an illegitimate regressus ad infinitum, but, like the preformationists’, it also could not demonstrate the essential relationship between container and contained, between knowing and the known.
At a time when omniscient narration became the standard mode, writers had to cede extra-diegetic omniscience – the control over the course and the personnel of their narrative – to the exigencies of serialized publication [“A Novel Machine,” 195–208]. For the first time, the theologically fraught gesture of creating a fictional world, which had approximated authors of books to the author of The Book was superseded by the existential predicament, shared by writers and readers, of not knowing what tomorrow will bring.