(30) I borrow the notion of the "fictitiousness
of knowledge" (die Fiktivitat des Wissens) from Panajotis Kondylis, Die Entstehung der Dialektik.
"Impostures succeed because, not in spite, of their fictitiousness
of the literary "audience" was long ago pointed out by Walter J Ong, (8) but it is valuable to remind ourselves just how difficult it is to capture the full range of relations amongst poets and publics.
as a reason for denying them legal rights.
of it all is dramatized not only by these existential absurdities, but by second and third threads of narrative, also delivered by installment in each chapter: letters from a "One-Pint Li," a doctoral candidate in alcoholic studies, and a self-dramatized "Mo Yan," to whom Li writes in hopes of changing his line from brewery to creative writing.
He dwells on the formal aspects of the work, which is self-consciously literary, even theatrical in its division into prologue, acts, scenes and entr'actes, and hyper-aware of its uncertainties and necessary fictitiousness
. Dening is not only trying to cover the story of the Bounty, but the story of the story, especially as represented in three Hollywood versions, to explore how history enters the realm of cultural literacy -- "that knowledge of the past that sustains the values of the present." Windschuttle is commendably fair in describing an approach to history that he considers a serious threat to the discipline's basic commitment to the primacy and permanence of factual evidence.
Trinh explains the predicament most effectively: Every representation of truth involves elements of fiction, and the difference between so-called documentary and fiction in their depiction of reality is a question of degrees of fictitiousness
. The more one tries to clarify the dividing line between the two, the deeper one gets entangled in the artifice of boundaries.
Thus the white writer's profound dilemma of an adequate perception of black culture and character disappeared in fictional solutions whose fictitiousness
could not really be questioned.
Caroline's interpretation is, of course, one way of "taking it," and the content of the voice's utterances changes accordingly, announcing the fictitiousness
of all of the characters when it next appears.
of the medium and the Otherness of Medea's gender and ethnicity might also permit evaluation of these painful experiences while maintaining the 'distance' from audience members' personal histories proposed by Loraux.