This isn't an ordinary ship. The work is Steiner Agonistes, a full out grappling with history, theology, and the import of the long-prophesied triumph of the technological. A far-reaching exploration of the idea of creation in Western thought, literature, religion, and history, this volume can fairly be called a magnum opus. About this Item: Yale University Press. About this Item: Yale University Press, 2002.
Steiner looks to experiments in the complete abstract -- automatic writing, Dada -- but sees only their inevitable failure. And the beauty that may have been found in a particular scientific theory or machine hardly outlasts its usefulness: once disproved or bettered it is only its inferiority and inadequacy that stand out. Less appealing is the aesthetic theory that underlies the particular interpretations. He has absorbed them so thoroughly that he warns against subscribing to a vulgar conception of Nietzsche's declaration about the death of God. It is in these passages that Steiner's talent for tactful and imaginative close reading comes alive.
Dust Jacket Condition: Very Good. Steiner early on quotes Cyril Connolly's line about its being ''closing times in the gardens of the West. Great thinkers, the giants of our common humanity are the fossil record of humanity's psyche at various points in our lineage as a species on this planet. Book is in Used-Good condition. My argument, throughout, is vulnerable and open to what Kierkegaard called the 'the wounds of negativity. Socrates is the captain and Plato is our faithful journalist and dramatist. It is an observation and a lament, and it is the focus of Grammars of Creation.
What drove Abraham, and what made him carry out such an absurd and extreme request from God? May show signs of minor shelf wear and contain limited notes and highlighting. Very minimal writing or notations in margins not affecting the text. So should readers expect yet another outpouring of millennial Angst or the ravings of man who perhaps is beginning to face his own mortality? We acknowledge and remind and warn you that they may, in fact, be entirely unrepresentative of the actual reviews by any other measure. Francis George Steiner is an essayist, novelist, philosopher, literary critic, and educator. Overall, however, this is a mesmerising book that demands and amply repays the closest attention.
But the greater price of his desire to unite all the knowledge within his reach -- to turn every mathy into polymathy -- is an inordinate juggling with generality in his prose. An apparently unread copy in perfect condition. He moves swiftly from argument to argument in a conceptual glissade, throwing out references and allusions like the gold of a spendthrift. Among his many awards, he received The Truman Capote Lifetime Achievement Award from Stanford University 1998. Grammars of Creation is a broad examination of beginnings and ends, of past and possible future, and especially of art, the consummate human achievement. We diligently dissect various aspects of the book with weighted emphasis on posthumous references, interpretations, and citations. After a few pages retailing the horrors of the 20th century, he stuns us with the remark that he wants to consider ''something of the impact of this darkened condition on grammar.
If Grammars of Creation is typical of his passionate eloquence and immense level of erudition and culture, I have some thrills ahead. The self-deconstruction of the Aeneid comes only from within the author. In a new introduction, Steiner addresses language and philosophy and the rise of Nazism. Steiner studiously avoids Spenglerian doom-and-gloom comparisons his argument is quite a different one. The spine may show signs of wear. If western culture was the defender against the Germans, we were, in fact, the last aggressor standing but what has this done to our conscious? One sign of this is his perpetual wish to expand the already gigantic range of his references, even if it takes him inadvertently over the border of his competence.
Another part has to do with ''correlations between the eclipse of the messianic'' -- a favorite phrase, that -- and the 'recession into empty phrasing' of 'God' on the one hand and the evolution of nonrepresentational and aleatory art forms on the other. At the same time, he wants to infuse his writing with supreme existential, which means religious, pathos. From a deterministic standpoint, it would be ideal if we could pull out patterns in the data emulating fractals found in nature as in Ken Ono's 2011 discovery of the first finite formula to calculate the infinitely repeating partition superstructure. It is often difficult to say. He was then a scholar at the Institute for Advanced Study in Princeton, New Jersey, for two years.
The atmosphere is one of permanent, though inextricably bookish, emergency. The greatness and uniqueness of literature is in its being bound so closely to language and, necessarily, usage , and that it comes with all the baggage the language has. About this Item: Yale University Press. Pages and cover are clean and intact. Because creation is connected with the artistic enterprise, with the hope of immortality and the chance to capture something of the divine. About this Item: Yale University Press, 2002.