George Steiner- Real presences Flashcards
(11 cards)
What is the significance of the phrase “real presence” in the text? (Steiner)
The text proposes that the experience of aesthetic meaning, particularly in literature, the arts, and musical form, suggests the possibility of a “real presence.” This presence is not explicitly defined but is connected to the assumption of God’s presence and is understood as a “necessary possibility.” The text suggests that this presence is not easily proven through rational or scientific means, but it is experienced.
What is the relationship between language and the concept of “God” in the text? (Steiner)
The text states that the reference to “God” persists in language through phrases and allusions. It is suggested that “God” is a phantom of grammar that is embedded in the history of rational speech. The text also argues that language is where God “clings to our culture” and our routines of discourse. The text connects language with meaning and the possibility of God’s presence, suggesting that language itself is a vehicle for transcendence.
What does the text mean by the phrase “a wager on transcendence”? (Steiner)
The text refers to the act of engaging with art, particularly when one encounters the text or work of art, as “a wager on transcendence”. This means that, when we experience art, we are, in a sense, gambling that there is something beyond the literal or ordinary. This wager suggests that there is a possibility of meaning and insight that exceeds what is immediately present and that this meaning may be connected to God.
What is the text’s critique of academic and journalistic interpretations of art? (Steiner)
The text criticizes academic and journalistic interpretations of art for often being overly analytical, detached, and failing to capture the actual experience of engaging with the art itself. The text notes that these interpretations are not “’philogical’”, meaning that these interpretations are not in the most rigorous, lucid form. It suggests that such commentary often reduces art to summaries, extractions, and opinions rather than engaging with the inherent “presence” of the art. The text asserts that such commentary can cause a “blank and passive silence” that can be harmful to a deeper understanding of art.
What does the text mean by “hermeneutics” and its relation to understanding art? (Steiner)
Hermeneutics is described as the study of interpretation of texts and other forms of art. The text notes that the tradition of hermeneutics is inhabited by the figure of Hermes, the god of reading, who is a messenger between the gods and the living and the dead. According to the text, hermeneutics often relies on systems of explanation and interpretation, but it is ultimately oriented toward understanding the meaning inherent in the art itself. The text also notes that interpretation must ultimately lead to a lived reality of understanding.
How does the text define “interpretation”? (Steiner)
The text defines interpretation as a “decipherer and communicator of meanings”. It is further described as a translator between languages, cultures, and conventional forms. The text emphasizes that the interpreter should act to make the material intelligible so as to give it a renewed life. The interpreter, in a sense, “acts out” the material to help others understand it.
What does the text mean by “the dramatic critic’s excellence”? (Steiner)
The phrase “the dramatic critic’s excellence” refers to the ability to experience and respond to art in a way that is both perceptive and insightful. This form of criticism is achieved through performance, through the engagement of the audience with the work of art itself, and is not mere summary or an explanation of the work. This involves an awareness of and attention to the “life” of the art.
What is the text’s view on “critical judgment” in art? (Steiner)
The text states that critical judgment of art is not an external survey but a response, and a commitment to meaning and value. The text emphasizes that critical judgment involves a responsibility, rather than a detached analysis, and is a part of a “risk” that the critic must take. The text insists that this responsibility is both intellectual and ethical, and goes beyond detached or objective survey of the art.
What does the text mean by “active apprehension”? (Steiner)
Active apprehension is described in the text as the “enactment of answerable understanding,” and involves the ability to engage and learn from a work of art. The process of learning by heart means that knowledge is inscribed in one’s being, creating a lived experience of the artwork. This learning goes beyond detached intellectual engagement and leads to a change in the person engaging with the art. The text notes that a “face-maker” in our consciousness, like a poem, for instance, can affect our identity.
What is the text’s perspective on the relationship between art and life? (Steiner)
The text asserts that art should be lived and is not merely a matter of theoretical or intellectual understanding. The text argues that interpretation should be lived, and that the meaning of art should ultimately affect how we live in the world. It is proposed that “the arts are also criticism” and that they “embody an expository reflection on, a value judgement of, the inheritance and context to which they pertain”.
How does the text address the issue of “originality” in art? (Steiner)
The text states that originality is not the only measure of value in art and that “imitation and modulation” can be just as significant. It is noted that the act of “re-reading” or “re-making” can be just as important as the original creation. The text suggests that art should build upon the past, engaging with traditions and prior works and that the purpose of art is not merely novelty but a deeper engagement with meaning.
