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Those days were extremely different than it is now because the builder randomly took neck plates that were pre-made and stamped from a pile and put it on the guitar. The best way is to unscrew the neck and body and look at their individual dates that were written on them.

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Questions of ethical judgment are initially bracketed, because before we can judge, we must know.

De Man’s first formulation here is, it seems to me, more accurate than his second.

Eventually she cries, but she refuses to counterattack Rousseau.

Basile’s household and shop in Turin upon the return of her husband, Rousseau, now sixteen years old, finds new work as a servant for the Comtesse de Vercellis, a childless widow dying herself of breast cancer.

I reject de Man’s last moves and argue that the meaning of Rousseau’s action is to be found not in a slippage of signifiers, but in an intertextual web of differing and possible narratives.

The conception of the self at work in the Confessions is thus not simply discursive, but specifically one in which we are the products of narrative and its conventions.

In the barest case, where one confesses something to oneself, it seems that the double structure of self-consciousness is highlighted: we speak of having known “deep down” or in “some part” of ourselves and revealing that finally to our higher faculties.

Structurally, confession relies on finding an objective forum where judgments can rightfully be made, not merely in publicly pronouncing with certainty one’s own subjective judgments of oneself.