LEADER 03873nam 22006615 450 001 9910480848203321 005 20210715005659.0 010 $a0-8232-7814-X 024 7 $a10.1515/9780823278145 035 $a(CKB)3790000000548333 035 $a(OCoLC)1013521947 035 $a(MdBmJHUP)muse61345 035 $a(MiAaPQ)EBC5151542 035 $a(DE-B1597)555422 035 $a(DE-B1597)9780823278145 035 $a(EXLCZ)993790000000548333 100 $a20200723h20182018 fg 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aOf Stigmatology $ePunctuation as Experience /$fPeter Szendy 205 $aFirst edition. 210 1$aNew York, NY :$cFordham University Press,$d[2018] 210 4$dİ2018 215 $a1 online resource 225 0 $aVerbal Arts: Studies in Poetics 311 0 $a0-8232-7811-5 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tTranslator?s Note --$t1 Stigmatology --$t2 From the Rubrica to the Smiley: A Portable History --$t3 The Point of (No) Monument, or Tristram?s Cut --$t4 (Un)pointings --$t5 P.S.: On Restitching (Lacan vs. Derrida) --$t6 Phrasing, or The Holes in Meaning --$t7 The Dotted Lines of Auscultation --$t8 Monauralisms, or The Bubble of Quotation Marks --$t9 Punctum Saliens, or The Pulsating Point --$t10 The Point of the Overcast Stitch --$t11 Ekphrasis --$t12 General Chatter --$t13 Punctuation and Politics, or Th e Dot above the i --$t14 Final Survey --$tNotes --$tIndex 330 $aWhat if our existence is a product of its interruptions? What if the words that structure our lives are themselves governed by the periods and commas that bring them to a close, or our images by the cinematic cuts that mark them off? Are we, like Chekhov's clerk, who dreams of being pursued by angry exclamation marks, or Scorsese's Jake LaMotta, bloodied by one violently edited fight after another, the products of punctuation?or as Peter Szendy asks us to think of it, punchuation? Of Stigmatology elaborates for the first time a general theory of punctuation. Beginning with punctuation marks in the common sense, Peter Szendy goes on to trace the effects of punctuation more broadly, arguing that looking and hearing are not passive acts of reception, but themselves punctuate the images and sounds they take in. Szendy reads an astonishing range of texts and traditions, from medical auscultation to literature (Chekhov, Sterne, Kafka), philosophy (Hegel, Nietzsche, Heidegger, Derrida), psychoanalysis (Lacan), and film (Raging Bull, The Trial, Fight Club).Repeatedly, what Szendy finds in these works is a punctuation that marks experience itself, that seeks (and ultimately fails) to bind the subject to itself. This is the stigmatology of the punctuation mark on the page that structures texts from ancient to digital, as well as the punchuation of experience, as though at the hands of a boxer. 410 0$aVerbal arts--studies in poetics. 606 $aWritten communication 606 $aSigns and symbols 606 $aPunctuation 608 $aElectronic books. 610 $aAuscultation. 610 $aLiterature. 610 $aPunctuation. 610 $aStigmatology. 610 $adeconstruction. 610 $aexperience. 610 $afilm. 610 $aphilosophy. 610 $apsychoanalysis. 615 0$aWritten communication. 615 0$aSigns and symbols. 615 0$aPunctuation. 676 $a411 700 $aSzendy$b Peter$4aut$4http://id.loc.gov/vocabulary/relators/aut$0625456 701 $aPlug$b Jan$01030738 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910480848203321 996 $aOf Stigmatology$92474617 997 $aUNINA