{"product_id":"140867","title":"The Edge of Fiction ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/WQtVEhrKXKZHEl0S4Y0l3S.png?v=1764956507\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e The Edge of Fiction \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/133186262\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eThe politics of fiction as discussed by Jacques Rancière, a thinker of our time,\u003cbr\u003e\u003cbr\u003e A narrative of intellectual adventure that transforms nothing into everything.\u003c\/b\u003e \u003cbr\u003eHow are the words and writings of those without a share engraved in fiction?\u003cbr\u003e\u003cbr\u003e A story about a revolution that turns nothing into everything.\u003cbr\u003e\u003cbr\u003e Jacques Rancière, a contemporary thinker, has published his book, “The Edge of Fiction,” which explores the “politics of fiction.”\u003cbr\u003e The term 'fiction', commonly used as a literary term, is also a long-standing philosophical question in that it is connected to the problems of dividing reality from fiction, reality from unreality, and truth from lies.\u003cbr\u003e Rancière uniquely considers not only literature but also social science as a kind of fiction in that they pursue a 'rational' explanation of humans and society.\u003cbr\u003e So, in this book, Marx's 『Capital』 is meaningfully covered as a chapter.\u003cbr\u003e As can be easily inferred from the title, this book is an aesthetic work that stands in opposition to Rancière's representative political-philosophical work, At the Edge of the Political (1990). \u003cbr\u003eIf 『At the Edge of the Political』 was one of the main entrances to understanding the 'sensibility of politics,' 『At the Edge of Fiction』 contains the core ideas of the corresponding 'politics of aesthetics.'\u003cbr\u003e\u003cbr\u003e This book examines how literary revolutions have followed the margins of democracy through analyses of a wide range of literary works, from Stendhal to Balzac, Baudelaire, Hugo, Maupassant, Proust, Rilke, Edgar Allan Poe, Conrad, Sebald, Virginia Woolf, and Faulkner, to the contemporary Brazilian writer João Guimarães Hoxha.\u003cbr\u003e In addition, he analyzes Marx's dramaturgy in 『Das Kapital』 and explores who the new subjects are in modern and contemporary fiction and what their common world is.\u003cbr\u003e This book can be said to be one that broadens the horizon of thought in examining what we call the world and the ways in which we live in that world. \u003cbr\u003eIn other words, this book is a story about “the revolution that continues through all these adventures, transforming nothing into everything” (p. 20).\u003cbr\u003e This book explores the possibility of how people who are nothing can emerge as subjects through the 'politics of fiction' and change an unchanging world.\u003cbr\u003e\n\n\u003c\/div\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e introduction\u003cbr\u003e\u003cbr\u003e \u003cb\u003ePart 1 Doors and Windows\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e Behind the Glass Window: Stendhal and Balzac\u003cbr\u003e 2.\u003cbr\u003e The Eyes of the Poor: Baudelaire, Victor Hugo, Maupassant\u003cbr\u003e 3.\u003cbr\u003e What Peeping Eyes See: Proust's In Search of Lost Time\u003cbr\u003e 4.\u003cbr\u003e A window facing the street: Rilke's The Notebooks of Malte\u003cbr\u003e\u003cbr\u003e \u003cb\u003ePart 2: The Threshold of Science\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e The Secret of the Commodity: Marx's \"Das Kapital\"\u003cbr\u003e 2.\u003cbr\u003e Adventures in Causality: A History of the Detective Novel\u003cbr\u003e\u003cbr\u003e \u003cb\u003ePart 3: The Shores of Reality\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e The Unthinkable: The Novels of Joseph Conrad\u003cbr\u003e 2. \u003cbr\u003eLandscapes of Documents: Sebald's Novels\u003cbr\u003e\u003cbr\u003e \u003cb\u003ePart 4: The Edge of Nothing and Everything\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 1.\u003cbr\u003e Random Moments: The Novels of Virginia Woolf\u003cbr\u003e 2.\u003cbr\u003e Two Tales of the Poor: William Faulkner's \"Light in August\"\u003cbr\u003e 3.\u003cbr\u003e The Words of the Silent: William Faulkner's The Sound and the Fury\u003cbr\u003e 4.\u003cbr\u003e The Infinite Moment: The Novels of João Guimarães Hoxha\u003cbr\u003e\u003cbr\u003e Acknowledgements\u003cbr\u003e Translator's Note\u003cbr\u003e Search\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e Only the poor know how to love, how to love beautifully, in other words, how to love without hope.\u003cbr\u003e Without even the slightest hope of continuing beyond a few pages of a short story.\u003cbr\u003e Because this is where the beauty of the novel comes from.\u003cbr\u003e --- p.57\u003cbr\u003e\u003cbr\u003e The writer's interest cannot, of course, be to discover truths he did not know.\u003cbr\u003e By definition, the author knows everything about his characters. \u003cbr\u003eThe author's interest lies in showing the reader that his book is a work of science, and in organizing the ignorance of both the characters and the readers to achieve this.\u003cbr\u003e\u003cbr\u003e --- p.61\u003cbr\u003e\u003cbr\u003e The condition of writing will be an invasion from the outside.\u003cbr\u003e The outside teaches us to see by dismantling all the sensory syntheses that have already been constructed.\u003cbr\u003e Paradoxically, this is precisely what allows people to connect with pedestrians. \u003cbr\u003eIt is not about observing them from the window, but about going down among them, following them until they no longer pass, until they no longer move, until their eyes see no more, their voices become no more than the murmur of a lamp, their bodies no more than the wick of a dying candle, sharing that “little time” that separates them from their transformation into immovable objects.\u003cbr\u003e\u003cbr\u003e --- p.84~85\u003cbr\u003e\u003cbr\u003e For work requiring special physical strength or qualifications, the body of an adult male should be retained; for work that is easier and requires only the body to be there for as long as possible to perform the necessary and sufficient gestures, the bodies of women and children, which are less expensive than the body of an adult male, should be retained. \u003cbr\u003eTo achieve this, it is important to completely minimize the time workers spend simply reproducing the value of their labor power and maximize the time they spend producing new value.\u003cbr\u003e\u003cbr\u003e --- p.103\u003cbr\u003e\u003cbr\u003e These confessions lead to the revelation of secrets about secrets.\u003cbr\u003e That is, it exposes the secret that primitive accumulation exploited workers through violence, separated them from their means of livelihood, and forced them, through the brutal force of law, to hand over their bodies to blood-sucking monsters.\u003cbr\u003e This history is not only recorded in manuscripts that describe this history in detail.\u003cbr\u003e This history is “written in the annals of mankind in indelible letters of blood and fire.”\u003cbr\u003e\u003cbr\u003e --- p.106~107\u003cbr\u003e \u003cbr\u003eSo-called realistic novels, with their banal characters, repetitive time, and insignificant events, risk reducing the old logic of fictional action to a \"dull and unproductive routine.\"\u003cbr\u003e --- p.133\u003cbr\u003e\u003cbr\u003e The task is to create life out of the dead, to create something new out of the old, to create art out of industrial materials, to create history out of trivial events and almost erased traces.\u003cbr\u003e In short, it is about challenging and atonement for the activities of destruction.\u003cbr\u003e\u003cbr\u003e --- p.195\u003cbr\u003e\u003cbr\u003e This equal connection not only preserves the flowers in the window, the beauty of speech, and the admiration of the craftsman side by side in their equal right to existence, but also enriches them by transforming them into translations, echoes, and reflections of one another, and by transforming them endlessly into further translations, echoes, and reflections, in principle. \u003cbr\u003eThis is another application of knowledge.\u003cbr\u003e This not only produces a new kind of fiction, but also a different kind of common sense, a common sense that connects without subordinating or destroying.\u003cbr\u003e\u003cbr\u003e --- p.203~204\u003cbr\u003e\u003cbr\u003e But if Woolf's story opens up to the future in this way, it is not in spite of the fact that it disrupts the arrangement of actions that had until then been considered the very principle of fiction, but because it disrupts it.\u003cbr\u003e --- p.210\u003cbr\u003e\u003cbr\u003e The democratic revolution of fiction is not the mass emergence of the crowd on the stage of history.\u003cbr\u003e Yet, the democratic revolution in fiction is not unfaithful to the modern definition of revolution.\u003cbr\u003e Revolution is the process of making those who were nothing into everything.\u003cbr\u003e But in the realm of fiction, becoming everything doesn't mean becoming the main character of the story. \u003cbr\u003eTo become everything is to become the very fabric of time, a fabric in which events are woven together in the middle of the fabric—by the mesh of the fabric.\u003cbr\u003e --- p.218~219\u003cbr\u003e\u003cbr\u003e The victors' time is supposed to be the same for everyone, but this is to more effectively repel those who cannot adapt to its rhythm to the periphery and the concentration camps.\u003cbr\u003e --- p.245\u003cbr\u003e\u003cbr\u003e The new fiction does not offer solutions to cure people with disabilities.\u003cbr\u003e But the new fiction stops the domination of those who send disabled people to camps.\u003cbr\u003e The new fiction keeps disabled people in the present by infinitely delaying the time of the evidence that supports sending them to places where they will be trapped through the time of writing.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- p.247\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eThe politics of fiction according to Rancière\u003cbr\u003e : A common world and a common story\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eIs Rancière a philosopher, a political scientist, an aesthetician, or a historian? A visit to a library reveals Rancière's books, not concentrated in one place, but scattered across various fields, including philosophy, social science, history, and art.\u003cbr\u003e To that extent, Rancière writes texts that do not belong to philosophy, history, or literature.\u003cbr\u003e He rejects both the traditional position of philosopher providing meaning and the position of historian describing historical facts, and instead writes across the boundaries between the disciplines of philosophy, history, and literature.\u003cbr\u003e Rancière's thought, which controversially intervenes in the theoretical and practical situations of his time, crossing over politics and art, occupies a unique position in modern discourse.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e As is well known, the first important turning point in his intellectual journey was his meeting with Louis Althusser. \u003cbr\u003eHowever, after the May Revolution of 1968, he had a falling out with Althusser and eventually broke up with him.\u003cbr\u003e Essentially, Althusser was a teacher who taught workers about exploitation and revolution, and this was the same logic that the workers' voice could not be conveyed without going through intellectuals.\u003cbr\u003e Rancière questioned this division between intellectuals and the ignorant masses, and after breaking with Althusser, he spent about eight years examining various cases of intellectual equality in the archives of 19th-century workers and utopian socialists.\u003cbr\u003e The fruit of this work is the national doctoral dissertation, “Night of the Proletariat” (1981).\u003cbr\u003e He discovered that workers can speak for themselves, think for themselves, and dream of another world. \u003cbr\u003eRancière says that political subjects are not predetermined by a specific social status or position, but are created through a process of subjectification that allows them to make their own voices heard.\u003cbr\u003e\u003cbr\u003e In this context, 『The Edge of Fiction』 is an important book that contains Rancière's unique ideas and writing strategies.\u003cbr\u003e Just as he drew out the political subjectivity of those who have nothing through the concept of “the share of the shareless” in works such as “On the Edge of the Political” and “Discord,” this book unfolds his thoughts through an analysis of “insignificant beings” and “random moments.” \u003cbr\u003eIn this book, Rancière says that even the most insignificant human being is a subject with a deep soul, and that a random moment, a moment of fulfillment where the inactivity of dreaming harmonizes with the activity of the world, can “transform the simple misery of a life that is nothing into everything.”\u003cbr\u003e “The random\/insignificant moment is the force that explodes the time of the victors, even when the ‘victory’ of the dominant time, the time of the victors, is most certain.\u003cbr\u003e “This force operates at the edge of nothingness, where the dominant time has pushed those outside of words, outside of time.” (p. 248)\u003cbr\u003e\u003cbr\u003e Making 'nothing' into 'everything'.\u003cbr\u003e The goal is to build a common world and a common story.\u003cbr\u003e This is what Rancière calls the ‘politics of fiction.’ \u003cbr\u003eThis is further elaborated upon by analyzing the novels of Virginia Woolf, William Faulkner, and João Guimarães Hoxha.\u003cbr\u003e “In other words, through these sensual adventures, words become flesh and divert life from its destination, night disturbs the normal cycle of day and night, and the gaze through the window produces a division of the proletarian body.\u003cbr\u003e Moreover, the statues damaged by these sensual adventures, the children infested with fleas, the acrobatics of the clowns create a new beauty, and the groping of the ignorant before the written symbols defines another intellectual life.\u003cbr\u003e “What continues through all these adventures is the same investigation into the revolution that transforms nothing into everything.” (pp. 19-20)\u003cbr\u003e\u003cbr\u003e \u003cb\u003eThe Birth of a New Fiction, a New Subject\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Rancière derives the concept of rationality of fiction from Aristotle's Poetics. \u003cbr\u003eThe fictional rationality that Aristotle speaks of is composed of three elements: 1) a chain of cause and effect [causal temporality], 2) truthfulness [probability], and 3) reversal [sudden change].\u003cbr\u003e This factor has had a major impact to this day.\u003cbr\u003e However, Rancière points out that the number of actors here was limited.\u003cbr\u003e As can be seen in Oedipus the King, the subjects of action in Aristotle's time were limited to a small number of acting humans, namely kings and nobles.\u003cbr\u003e The vast majority of other humans were thought to be trapped in the shackles of labor or reproduction, doing the same thing over and over again, and thus could never be the subject of fiction.\u003cbr\u003e “They make things, raise children, carry out orders, provide services, and repeat the next day what they did the day before. \u003cbr\u003eIn all of this, there are no expectations, no reversals of expectations, no mistakes to be made that could cause you to transition from one destiny to another.\u003cbr\u003e Therefore, classical fictional rationality was related to a very small number of human beings and human activities.” (p. 9) For this reason, for Aristotle, truth was considered to be something that could be reached only by active human beings living in the world of light, which is action and event, rather than by passive human beings who remain in the world of darkness, which is repetition and reproduction.\u003cbr\u003e\u003cbr\u003e Rancière points out that this Aristotelian principle has been overturned in modern times.\u003cbr\u003e Social science, represented by Marx, followed Aristotle's principles and elevated the world of things and people that could be ignored, that is, ignored, to the world of truth. \u003cbr\u003eAccordingly, the world of people and things that active humans did not need to know about or could ignore became the world of truth, the world that produces knowledge.\u003cbr\u003e On the other hand, rather than expanding the scope of application of classical fictional rationality, modern literature discovered a new fictional rationality in those things that had remained on the margins, in the insignificant individuals capable of feeling the most intense and complex emotions.\u003cbr\u003e The narrative structure opens up to the world of emotions and events experienced by insignificant beings, and the strategy is to “turn the simple misfortune of a life that is nothing into everything” through random moments.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e So what does a writer do? Rancière says this in his chapter analyzing Sebald's novels: \u003cbr\u003e“The task is to create life out of the dead, to create something new out of the old, to create art out of industrial materials, to create history out of trivial events and almost erased traces.\u003cbr\u003e In short, it is to challenge and redeem the activity of destruction.” Furthermore, the writer is someone who “creates another image of time, that is, the time of coexistence, the time of equality, the time of expressivity between moments, which is opposed to the time of continuity and destruction” (p. 196).\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e What is the new fiction that Rancière speaks of? It is “the production of a common sense that connects without subordinating or destroying” (p. 240).\u003cbr\u003e That is, it takes insignificant lives and random moments beyond the limits that classical fiction presupposes.\u003cbr\u003e “The new fiction does not offer solutions to cure the disabled. \u003cbr\u003eBut the new fiction stops the domination of those who send disabled people to camps.\u003cbr\u003e “The new fiction holds them in the present by infinitely delaying the time of the evidence that supports sending them to a place where they will be trapped through the time of writing” (p. 247).\u003cbr\u003e\u003cbr\u003e \u003cb\u003eA story of moving through doors and windows, over thresholds, onto shores, and finally to the edge.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e \"The Edge of Fiction\" passes through the \"doors and windows\" (Part 1), the dividing line between the nobility and the commoners, and the \"threshold\" of science (Part 2) where the rationality of narrative and the rationality of science meet, and stays at the \"shore\" of reality (Part 3) that delves into the imagination and temporality of the writer, before moving on to the \"edge\" of nothing and everything (Part 4), which delves into the community depicted by fiction and the humanity promised by fiction.\u003cbr\u003e This book, consisting of four parts, unfolds through analysis of the work. \u003cbr\u003eIn Part 1, “Doors and Windows,” literary works that emerged after the French Revolution, which ushered in the era of democracy, are analyzed using the metaphor of “windows.”\u003cbr\u003e The 'window' signifies the barrier that separated the nobility and the commoners, and it was only in this era that the door was opened.\u003cbr\u003e For Stendhal, the window was a passage through which the nobility and the common people met, based on the similarity of transparent souls. However, in Balzac's novel, the window once again blocks the view between inside and outside the window, and becomes an 'opaque' obstacle that divides the nobility and the common people.\u003cbr\u003e Through the poetry of Baudelaire and the novels of Hugo and Maupassant, we examine the 'eyes of the poor' that hide the dizzying depths of the soul, and through the gaze of the voyeur in Proust's 'In Search of Lost Time', we examine the 'truth of lies', that is, the way to reach knowledge. \u003cbr\u003eThrough Rilke's 'The Notebooks of Malte', we explore the meaning of the poet relearning how to look outside the window facing the street.\u003cbr\u003e\u003cbr\u003e For Rancière, both social science and literature are forms that make the common world we live in perceptible and thinkable according to the logic of fiction.\u003cbr\u003e From this very perspective, in Part 2, “The Threshold of Science,” Chapter 1, “The Secret of the Commodity,” Marx’s “Das Kapital” is analyzed, and in Chapter 2, “The Adventure of Causality,” detective novels are analyzed.\u003cbr\u003e First, Rancière illuminates the nature of science as tragedy and Marx's unique dramaturgy that organizes the antagonism between science and history.\u003cbr\u003e In 『Capital』, the logic of tragedy, which is the hostility and opposition between the characters and the reversal of the situation, is at work. \u003cbr\u003eFurthermore, the “hidden” in the exchange of commodities, the “revealed” in the reality of the factory, and the “infernal narrative” written about the bodies working in the factory give Capital a “unique narrative structure.”\u003cbr\u003e Rancière says that Marx's dramaturgy reveals the dark world of production and the reproduction of life, and opens up a future of humanity without hierarchy to those who understand the laws of history.\u003cbr\u003e Chapter 2 traces the evolution of detective fiction and examines how, in the process of evolution, detective fiction has sought to reject “ordinary characters, repetitive time, and insignificant events.”\u003cbr\u003e\u003cbr\u003e Part 3, “On the Shores of Reality,” features Joseph Conrad and W.\u003cbr\u003e In analyzing G. Sebald's novel, the relationship between the real and the imaginary is addressed.\u003cbr\u003e In particular, Chapter 2, “Landscape of Documents,” focuses on Sebald’s fiction and draws a model for a new fiction. \u003cbr\u003eBy horizontally connecting, through repeated digressions, things that happened, could have happened, or might happen at a specific moment, in a specific place with things that happened, could have happened, or might happen at the same moment, in a different place, or things that happened, could have happened, or might have happened at the same moment, in the same place, in a different place, Sebald creates a new fiction by weaving an endlessly expanding 'space of coexistence' that potentially includes all other real and imaginary spaces and times.\u003cbr\u003e\u003cbr\u003e Part 4, “The Edge of Nothing and Everything,” analyzes the novels of Virginia Woolf, William Faulkner, and João Guimarães Hoxha to examine how the politics of fiction take on new shapes and forms, are transformed, and are expanded.\u003cbr\u003e Chapter 1, “Random Moments,” shows how Virginia Woolf’s novels open up a new world of common sense. \u003cbr\u003eAny moment is an element that constitutes the space-time of coexistence, and is also a ‘moment of disturbance’ in itself.\u003cbr\u003e It is a moment when those who live within the world of time and meaning of events and those who live outside of this time and world meet.\u003cbr\u003e By depicting this very moment, the moment when the common sense or order of forms is disintegrating, Wolf foreshadows the coming common life, the new world of common sense.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Chapter 3, \"The Words of the Silent,\" shows how Benji, the idiot from William Faulkner's The Sound and the Fury, turns nothing into everything.\u003cbr\u003e Just as Benjamin spoke of the suspension, unfolding, return, and collision of time against the time of the victors, Faulkner's fiction elevates nothing to everything by compressing and expanding time, fragmenting and mixing it. \u003cbr\u003eChapter 4, “The Infinite Moment,” explores how João Guimarães Hoxha’s fiction creates infinite moments beyond the temporality of classical fiction.\u003cbr\u003e João Guimarães Hoxha's novels show that the political subject of fiction is anyone, anyone who reads life as a story and creates a story as life in the cycle created by life and story. \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e September 9, 2024\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 336 pages | 424g | 138*210*20mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791168731240\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 1168731240 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43894409429034,"sku":"140867","price":29.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/997e7eefc0372707fef53053f626e747.jpg?v=1765432724","url":"https:\/\/librairie.coreenne.fr\/en\/products\/140867","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}