TABOO: THE ACTUAL MODERNIST AESTHETIC, MADE REAL A ...

that metalepsis is a useful heuristic. However, what we find after we take the material
substrate of language acquisition seriously as it is tropologically refracted into theoretic
discourses like Blasing's, may not be that it constitutes the ground for the subject's
eventual metaleptic formation. Finding a world without an irrational-Symbolic that is
different in kind from the rational-Real leaves metalepsis open to the possibility that what
it breaks is only ever a question of degree and not the transumptive leap into the symbolic
order Blasing argues that it is. Rather than being a "metonymy of a metonymy"
metalepsis implies understanding that metonymy (replacement) is a species of the genus
synecdoche (condensation). Implied by this understanding is the knowledge that poetic
tropes are learned from the confrontation of the will to repeat and the natural law that
abhors all repetition. For Deleuze, this confrontation produces the ground of scriptable/
sayable Symbols that disguise Nature's profound independence from the mimetic
principles of identity(genus), resemblance(perception), opposition(predication), and
analogy(judgment). Metalepsis, on these terms, registers rather than represents the
subject‘s disguise in Symbol. Blasing's concern to instantiate the ontological priority of
the non-rational to lyrical language forces her to smooth over the foundational difference
between Lacan and Deleuze. That Deleuze‘s linguistic theory closely recalls Benjamin‘s
processual understanding of the relationship between names and titles is not, perhaps,
surprising.
In fact, poetic-subjectivities like that which belong to Ezra Pound, and obliquely
acknowledged by Saunders, follow Deleuze‘s appraisal for the multiple more readily than
Blasing‘s implicit favoring of the singular in the metaleptic break into the symbolic order.
Pound's distinct impersonality, one in which he grants his narrator the power to construct
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