The fact that the novel, particularly since Joyce, has found a new language in the mode of an 'Enquiry' or 'Questionnaire' and presents essentially problematic events and characters obviously does not mean that nothing is certain; it is obviously not the application of a generalised method of doubt nor the sign of a modern scepticism but, on the contrary, the discovery of the question and the problematic as a transcendental horizon, as the transcendental element which belongs 'essentially' to beings, things and events.