Flight from Eden
  A NOTE ON TRANSLATION AND TRANSLITERATION

 collapse sectionINTRODUCTION: HOW LITERARY CRITICISM CAME INTO ITS OWN IN THIS COUNTRY AND HOW THE POETS GOT THERE FIRST
 •We Are the Real Text
 collapse sectionFour Themes of Modern Criticism and How the Poets Got There First
 •Language
 •Theology
 •Relationalism
 •Ontology
 •The Cast of Characters and What's Not Here

 collapse sectionPART I—  LANGUAGE
 collapse sectionChapter One—  Flight from Eden:  Myths about Myths about Language in Modern Times
 •The Myth of the Fractured Myth
 •The Fracture
 •The Myth of the Poetry-Prose Distinction . . . and the Myth That There Is No Myth
 collapse sectionThe Russian Tradition from Potebnia to Shklovsky, with Some Poets in Between
 collapse sectionAleksandr Potebnia:  From Myth to Science—  And Back Again
 •The Poetry-Prose Distinction
 •The Word Is the Work
 •Bely:  The Value of Formalism and the Formalism of Values
 •The Zaumniks
 •The Early Shklovsky, or How It All Becomes Official in the Work of an Actual Critic
 collapse sectionChapter Three—  Mallarmé and the Elocutionary Disappearance of the Poet
 •English Words and the Game of Cratylism
 •"Crisis in Verse"

 collapse sectionPART II—  THEOLOGY
 •Introduction:  The Hidden God
 collapse sectionChapter Four—  How God Didn't Quite Die in France
 •In the Beginning Was . . . Nothing
 •Iconology-Ironology
 •. . . And in the End Is the Book
 collapse sectionChapter Five—  Icon and Logos, or Why Russian Philosophy Is Always Theology
 •Icons
 •Logos
 •Vladimir Solov'ev
 •Andrei Bely
 •Sergei Bulgakov
 •Pavel Florensky
 •Chapter Six—  Roman Jakobson, or How Logology and Mythology Were Exported

 collapse sectionPART III—  RELATIONALISM
 •Chapter Seven—  Numbers, Systems, Functions—and Essences
 collapse sectionChapter Eight—  Descartes in Relational Garb
 •Mallarmé and the Light of Reciprocal Reflections
 •Valéry and the Discourse On His Method
 collapse sectionChapter Nine—  How Numbers Ran Amok in Russia
 •Bely's Baskets, Roofs, And Rhombuses
 •A Story of Squares, Rays, and Exhausted Toads

 collapse sectionPART IV—  ONTOLOGY
 •Chapter Ten—  The Being of Artworks
 collapse sectionChapter Eleven—  Being in the World and Being in Structures in Mallarmé and Valéry
 •The "Unique, Difficult Being" of Language
 •The "Unique, Difficult Being" of the Work
 •Valéry and the Relational Essence of Human Things
 collapse sectionChapter Twelve—  Into the World of Names and Out of the Museum
 •Bely's Second Space
 •More Unique, Difficult Being in Khlebnikov, and Khlebnikov's Book
 •Bursting the Boundaries of Being
 collapse sectionChapter Thirteen—  Rilke's House of Being
 •De Man and De Trut

 collapse sectionNotes
 •INTRODUCTION:HOW LITERARY CRITICISM CAME INTO ITS OWN IN THIS COUNTRY AND HOW THE POETS GOT THERE FIRST
 •Chapter One— Flight from Eden: Myths about Myths about Language in Modern Times
 •The Russian Tradition from Potebnia to Shklovsky, with Some Poets in Between
 •Chapter Three— Mallarmé and the Elocutionary Disappearance of the Poet
 •Introduction: The Hidden God
 •Chapter Four— How God Didn't Quite Die in France
 •Chapter Five— Icon and Logos, or Why Russian Philosophy Is Always Theology
 •Chapter Six— Roman Jakobson, or How Logology and Mythology Were Exported
 •Chapter Seven— Numbers, Systems, Functions—and Essences
 •Chapter Eight— Descartes in Relational Garb
 •Chapter Nine— How Numbers Ran Amok in Russia
 •Chapter Ten— The Being of Artworks
 •Chapter Eleven— Being in the World and Being in Structures in Mallarmé and Valéry
 •Chapter Twelve— Into the World of Names and Out of the Museum
 •Chapter Thirteen— Rilke's House of Being
 collapse sectionINDEX
 •A
 •B
 •C
 •D
 •E
 •F
 •G
 •H
 •I
 •J
 •K
 •L
 •M
 •N
 •O
 •P
 •Q
 •R
 •S
 •T
 •U
 •V
 •W
 •Y
 •Z
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