The motto of the ‘project of verisimilitude’: There is no ‘ultimate’.
As narrative elements, villains and pillow talk scenes don’t intersect a ton.
Hegel’s ‘geist’ = Discourse
Phenomenology of Spirit = Hegel’s discourse on his own perception, as he made explicit to himself (if not to everyone else)
Was he writing that way because he thought it was important to write about himself to himself, as himself?
“Some panels and pages [of some erotic comics, like the work of Molly Kiely and Colleen Coover] unfold like snapshots, gesturing at a larger hole that is unrepresented and perhaps unrepresentable.” -Lyndsay Brown, ‘Pornographic space-time and the potential of fantasy in comics and fan art’
My own question, then, isn’t whether unrepresentability is possible in the ways we communicate our narratives–especially our fictions–but how.
The real, in a Lacanian sense, is bigger than the sum total of human knowledge, if only by mass; we can at least know that what we don’t yet know is bigger than what we know, if only because we can see so many places, out in space, that we haven’t yet been able to visit. But language–human reality–gets the upper hand and becomes the predator, the master and quantifier of even the unknown, through that one little word, articulated whenever necessary: ‘yet’. Even if there is an infinitude that we don’t know, even that infinitude only ever gets smaller, since what we know generally only ever gets bigger.
The sign is arbitrary because language, though arising from nature, is not demanded by nature.
Logocentrism: The pegging of metaphysical responsibility for the disappointments of material being.