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Open AccessArticle

“Time is Production”: Process-Art, and Aesthetic Time in Paul Valéry’s Cahiers

Department of Comparative Literature, Binghamton University, State University of New York (SUNY), Binghamton, NY 13902, USA
Humanities 2018, 7(1), 4; https://doi.org/10.3390/h7010004
Received: 30 October 2017 / Revised: 15 December 2017 / Accepted: 29 December 2017 / Published: 5 January 2018
(This article belongs to the Special Issue New Encounters Between Philosophy and Literature II)
This paper offers a contextually inflected discussion of the extensive investment Paul Valéry makes in going beyond formal understandings of time. To this end it takes the processual work Cahiers as both a repository of insights, and a practical motor of conceptual creation for new time concepts through its very writing and production. In a speculative engagement with Valérian concepts such as phase, prolongation as well as reconfigured relations between central categorical pairings such as quality-quantity and succession-simultaneity, the paper situates Valéry’s writings on time with regard to their ambiguously critical attitude to a given image of philosophy as a form of verbal exercise ungrounded in empirical observation of local systems. View Full-Text
Keywords: rhythm; phase; incompletion; form; meontology; simultaneity rhythm; phase; incompletion; form; meontology; simultaneity
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MDPI and ACS Style

Ustun, B. “Time is Production”: Process-Art, and Aesthetic Time in Paul Valéry’s Cahiers. Humanities 2018, 7, 4. https://doi.org/10.3390/h7010004

AMA Style

Ustun B. “Time is Production”: Process-Art, and Aesthetic Time in Paul Valéry’s Cahiers. Humanities. 2018; 7(1):4. https://doi.org/10.3390/h7010004

Chicago/Turabian Style

Ustun, Berkay. 2018. "“Time is Production”: Process-Art, and Aesthetic Time in Paul Valéry’s Cahiers" Humanities 7, no. 1: 4. https://doi.org/10.3390/h7010004

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