The model for understanding history is literary narrative. We are accustomed to determining whether a story makes sense or remains unfinished. If both historical and literary narratives follow the same patterns, then distinguishing between them is not a pressing theoretical issue. Similarly, theorists have insisted that rhetorical devices like metaphor, thought to be crucial in literature, are also important in non-literary texts. In demonstrating how rhetoric shapes thought in other discourses as well, theorists show a powerful literariness at work in supposedly non-literary texts, complicating the distinction between the literary and non-literary.
The model for understanding history is literary narrative. We are accustomed to determining whether a story makes sense or remains unfinished. If both historical and literary narratives follow the same patterns, then distinguishing between them is not a pressing theoretical issue. Similarly, theorists have insisted that rhetorical devices like metaphor, thought to be crucial in literature, are also important in non-literary texts. In demonstrating how rhetoric shapes thought in other discourses as well, theorists show a powerful literariness at work in supposedly non-literary texts, complicating the distinction between the literary and non-literary.
The model for understanding history is literary narrative. We are accustomed to determining whether a story makes sense or remains unfinished. If both historical and literary narratives follow the same patterns, then distinguishing between them is not a pressing theoretical issue. Similarly, theorists have insisted that rhetorical devices like metaphor, thought to be crucial in literature, are also important in non-literary texts. In demonstrating how rhetoric shapes thought in other discourses as well, theorists show a powerful literariness at work in supposedly non-literary texts, complicating the distinction between the literary and non-literary.
Literariness outside literature (La literariedad fuera de la
literatura)
The model for historical intelligibility, in short, is
literary narrative.
El modelo para su comprensión histórica, en síntesis, es
la literatura narrativa.
We who hear and read stories are good at telling
whether a plot makes sense, hangs together, or whether the story remains unfinished.
Nosotros, los que estamos adiestrados en escuchar y leer
relatos, podemos precisar si un fragmento tiene sentido, está bien entramado o si la narración ha concluido sin un final.
If the same models of what makes sense and what
counts as a story characterize both literary and historical narratives, then distinguishing between them need not seem an urgent theoretical matter.
Si tanto los esquemas de lo que se relata objetivamente
como de lo que se relata ficcionalmente son simultáneamente característicos de las narrativas históricas y de la literatura, entonces establecer una diferencia entre ellas no se presenta como una apremiante problemática teórica.
Similarly, theorists have come to insist on the
importance in non-literary texts –whether Freud’s accounts of his psychoanalytic cases or works of philosophical argument– of rhetorical devices such as metaphor, which have been thought crucial to literature but have often been considered purely ornamental in other sorts of discourses.
Asimismo los teóricos no dejan de insistir en la
importancia en los textos no literarios –sean los informes de Freud sobre sus casos psicoanalíticos o las obras de debate filosófico- de las figuras retóricas como la metáfora, que han sido juzgadas fundamentales para la literatura,
In showing how rhetorical figures shape thought in
other discourses as well, theorists demonstrate a powerful literariness at work in supposedly non-literary texts, thus complicating the distinction between the literary and the non-literary.