By Karen Christine Underhill
Within the previous chapters, i've got mentioned features of Schulz’s writing that truly demonstrate a
desire to barter a dialectical/redemptive dating among the cherished, fragmentary,
profane international, and the messianic – understood as residing and everlasting potentiality. In final, i want movement outward from the specificity of Schulz’s textual content, to think about back what sort of writing Schulz’s texts characterize, and in what experience it truly is standard of or consultant of recent Jewish messianic texts. in an effort 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’ could seem like. Schulz’s writing, I argue, belongs to this classification – one who originates within the glossy messianic writings of philosophers in his iteration, and divulges its strong legacy within the paintings of up to date critics that still proceed the culture of recent Jewish messianism.
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Additional resources for Bruno Schulz and Jewish Modernity
This image of penetration or fluctuation, which we will explore, is central to Schulz’s own work, and to his description of the goals and sources of the artistic process. 50 Jacques Derrida. ‘White mythology: Metaphor in the text of philosophy,’Margins of Philosophy, trans. Alan Bass (Hemel Hempstead: Harvester Wheatsheaf, 1982), 255. As cited by Dillon, Palimpsest, 47. 28 Through their individual articulations of a “nothingness of revelation”, the writers I will discuss are able to evoke a reality which remains both deeply ironic – writes Schulz, “[…] z substancji tej emanuje aura jakiejś panironii.
Obecna tam jest nieustannie atmosfera kulis” (BN, 445) (“[…] an all-pervading aura of irony emanates from this substance. There is an ever-present atmosphere of the stage”) (CW, 369)51 – and yet filled with redemptive potential. That potential lies in a return to the very source of potentiality itself. Into the Now: Writing a Trace of the Messianic. ”52 As experimenters in literary genre, both Benjamin and Schulz were engaged in developing new modes of writing – as much new hermeneutical approaches as new narrative forms – that could evoke that messianic potentiality to which, as Scholem writes, the prophets had access, and reformulate it for a modern age.
Constellation and (Broken) Mirror: The Whole in a Fragment Benjamin’s conception of the messianic, and use of messianic imagery, are present in their most condensed form in his last work, On the Concept of History, written in 1940,53 compiled and published after his death. He returns in this work to recapitulate mystical and theological themes that he had introduced two decades earlier in his habilitation on Trauerspiel, and in his earlier mystical writings on language, only now with a greater emphasis placed on history, memory and time.