Ralph Waldo Emerson, ou le génie de l’imitation

Emerson’s essays testify to the writing subject’s desire for originality, his will to stop “[groping] among the dry bones of the past” (Nature, 27) in order to project himself ahead, literally to ex-press himself. This prospective impulse is however undermined by the subject’s realization that he is...

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Main Author: Thomas Constantinesco
Format: Article
Language:English
Published: Centre de Recherche "Texte et Critique de Texte" 2012-01-01
Series:Sillages Critiques
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Online Access:https://journals.openedition.org/sillagescritiques/2809
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author Thomas Constantinesco
author_facet Thomas Constantinesco
author_sort Thomas Constantinesco
collection DOAJ
description Emerson’s essays testify to the writing subject’s desire for originality, his will to stop “[groping] among the dry bones of the past” (Nature, 27) in order to project himself ahead, literally to ex-press himself. This prospective impulse is however undermined by the subject’s realization that he is “warped by [his predecessors’] attraction clean out of [his] own orbit, and made a satellite out of a system” (“The American Scholar,” 59). That tension between originality and imitation, creation and quotation, leads the Emersonian subject to boast his inalienable right to plagiarism, counterfeiting and despoilment. Imitation, then, would be the genius’s birthright, the condition of his originality. For Emerson, imitation is neither what the subject cannot reject, nor what he must accept. Rather, mimetic appropriation – what “Quotation and Originality” calls “assimilating power” – becomes the means for self-invention as Emersonian imitation involves imitating nothing but what comes ahead.
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spelling doaj-art-c174bd4005114829b5974396a608bef12025-01-30T13:46:44ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022012-01-011410.4000/sillagescritiques.2809Ralph Waldo Emerson, ou le génie de l’imitationThomas ConstantinescoEmerson’s essays testify to the writing subject’s desire for originality, his will to stop “[groping] among the dry bones of the past” (Nature, 27) in order to project himself ahead, literally to ex-press himself. This prospective impulse is however undermined by the subject’s realization that he is “warped by [his predecessors’] attraction clean out of [his] own orbit, and made a satellite out of a system” (“The American Scholar,” 59). That tension between originality and imitation, creation and quotation, leads the Emersonian subject to boast his inalienable right to plagiarism, counterfeiting and despoilment. Imitation, then, would be the genius’s birthright, the condition of his originality. For Emerson, imitation is neither what the subject cannot reject, nor what he must accept. Rather, mimetic appropriation – what “Quotation and Originality” calls “assimilating power” – becomes the means for self-invention as Emersonian imitation involves imitating nothing but what comes ahead.https://journals.openedition.org/sillagescritiques/2809imitationRalph Waldo Emersonquotationoriginalityidentityotherness
spellingShingle Thomas Constantinesco
Ralph Waldo Emerson, ou le génie de l’imitation
Sillages Critiques
imitation
Ralph Waldo Emerson
quotation
originality
identity
otherness
title Ralph Waldo Emerson, ou le génie de l’imitation
title_full Ralph Waldo Emerson, ou le génie de l’imitation
title_fullStr Ralph Waldo Emerson, ou le génie de l’imitation
title_full_unstemmed Ralph Waldo Emerson, ou le génie de l’imitation
title_short Ralph Waldo Emerson, ou le génie de l’imitation
title_sort ralph waldo emerson ou le genie de l imitation
topic imitation
Ralph Waldo Emerson
quotation
originality
identity
otherness
url https://journals.openedition.org/sillagescritiques/2809
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