The interrupted dialectic

In The Interrupted Dialectic Suzanne Gearhart argues that Hegelian speculative philosophy and Freudian psychoanalysis--and ultimately, important currents of contemporary literary theory as well--find their origins and self-justification in the particular interpretation each gives to tragedy. Gearhart shows not only what draws philosophers and psychoanalysts to tragedy--especially to Antigone, Oedipus, and Hamlet--but also why tragedy both yields confirmation of their. Theoretical insights and resists their conclusions. Philosophy and psychoanalysis, she contends, entertain a "dialectic" with tragedy, yet this dialectic is "interrupted" constantly by the deeply problematic character of the model of tragedy being used to support theoretical speculation. In addition to reassessing the relation between Kant, Hegel, and the tragic, Gearhart analyzes the process of "tragic identification" in texts such as Corneille's Horace, Racine's. Iphigenie, Prevost's Manon Lescaut, and Beaumarchais's Le Mariage de Figaro. Through her readings of Nietzsche's Birth of Tragedy, Freud's theory of primary masochism, and Diderot's Le Neveu de Rameau, and the work of theorists such as Lessing, Benjamin, Auerbach, and Lacoue-Labarthe, she argues for the fundamental complexity of the "subject of tragedy" and against all attempts to reconstruct the subject in terms of an aesthetic, unconscious, sexual, and cultural. "Identity."