28 sept. 2010

Suppose there's a work that is very much, on its surface, fretting about a particular problem. Then why do you need a Freudianism that somehow removes that surface worry and puts it into the textual unconscious? Then you can talk about a cultural anxiety writ large across an entire spectrum of works. What makes something visible (as opposed to concealed) in a literary work? Something are not visible until you point them out; then they become hypervisible and you wonder why nobody saw them before.

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