“Never has there been a more hectic prodigality or specialized erudition—in literary studies, in musicology, in art history, in criticism, and in that most Byzantine of genres, the criticism and theory of criticism. Never have the metalanguages of the custodians flourished more, or with more arrogant jargon, around the silence of live meaning” (George Steiner, In Bluebeard’s Castle, p. 106).
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