By Lars Iyer (auth.)
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Additional resources for Blanchot’s Vigilance: Literature, Phenomenology and the Ethical
This is what remains of the Husserlian reduction: the world is revealed in the fundamental mood of anxiety as it deprives beings of their familiar places and functions in Dasein’s world. No longer are beings ready-tohand, placed at our disposal. Dasein breaks from its involvement with intramundane things; they lose all significance. 76 Yet even as it does so, things in the world come forward without the animation of Dasein’s tasks and projects as though they were no longer ‘existed’ by the ek-static projection of Dasein.
As such, she was nothing; if he had written of her, writing out of his adoration, it was only to determine her as the focus of his capacity for loving. She was ideal, not real; as the object of his love, as his beloved, she existed only as an archetype belonging to an eternal past. 53 That is to say, he has not reached her; recollecting, he plunges into himself; he is lost. His relation to the beloved is a pseudo-relation, or at least it is one which falls, with him, into his past and to the ceaseless recollection of an archetype which inhabits the past.
This is why, one presumes, K. suffered a great weariness at the moment the secrets of That Merciful Surplus of Strength 45 the castle were to be vouchsafed to him. He would live on in a phantom version of Kafka’s novel: a book with an infinite number of pages; a book which, somewhere, Kafka is still writing. * * * The vicissitudes of K. are only one aspect of what, for Blanchot, makes The Castle a symbolic story. 103 But what does this mean? The positive absolute might be understood in term of the absolutum which Nicholas of Cusa used to name God or das Absolute of post-Kantian philosophy as it indicates what is unconditioned, self-contained and perfect.
Blanchot’s Vigilance: Literature, Phenomenology and the Ethical by Lars Iyer (auth.)