scholarly journals Minor preoccupations, major endeavors: The community of poets and painters

2020 ◽  
Vol 32 (1-2) ◽  
pp. 14-30
Author(s):  
Adelaide M Russo
Keyword(s):  
Ethical Principles ◽  
The Gaze ◽  
Visual Objects ◽  
The Spectator ◽  
Michel Deguy ◽  
Yves Bonnefoy

In Au fond des images (2003), Jean-Luc Nancy introduces concepts about the image, pertinent to understanding the minor genre of poets’ writings on painting. Nancy begins by stating that the image is sacred, clarifying that the sacred should not be confused with the religious, which is based on rituals. The sacred signifies that which is separated, excluded, distanced. The image’s attraction is derived from this, from its untouchable nature. Because of its separation from the viewer, the image inspires a desire for intimacy, and draws the spectator to it. Poets’ texts on painting constitute minor forms: prefaces to catalogs, criticism, or poems that are verbal transpositions of visual objects ( ekphrasis). These minor forms often express major preoccupations. In this essay, we address Mark Strand, Michel Deguy, Nicolas Pesquès, Yves Bonnefoy, and T. Alan Broughton from this perspective of a desire for contact in their efforts to develop their aesthetic and ethical principles through the gaze.

From Retrogradism to Post-Gravitational Art and Back

Maska ◽  
2016 ◽  
Vol 31 (177) ◽  
pp. 51-57
Author(s):  
Bojan Anđelković
Keyword(s):  
The Gaze ◽  
Works Of Art ◽  
The Spectator

Dragan Živadinov creates conceptual total works of art that are procedural and processual in nature. At the centre of interest of his art is the spectator, or the gaze, since the essence of this theatre is produced by a constant turning of the perspective. The project(ile) Noordung 1995-2045 has been conceived as a 50-year project to show the instability of the relation between body and technology. It stages itself and thus repeats the drama of the cosmos. A theatre of repetition that again finds the primary (ritual) sense of theatre.

The Difficulty of Being Dead: Aleksandr Veledinskii’s Alive (2006)

2016 ◽  
Author(s):  
Vlad Strukov
Keyword(s):  
Political Agency ◽  
Life And Death ◽  
The Gaze ◽  
Spectral Effect ◽  
The Status ◽  
The Subject ◽  
The Dead ◽  
The Spectator

The dis/appearances of the characters in Veledinskii’s Alive denotes ruptures in continuity (including the continuity of the gaze). The role of the phantom is to overcome the complete break between the living and the dead as well as to overcome the ruptures in discourse. The persistent revenant is an epitome of the return: they become by coming back and in doing so they create a repetitive experience—teleological aporia, a certain inheritance. The phantom is a trace and also a differance (in Derridean terms) in that their spectral effect is in the ideological tendency and the promise of emancipation. In Alive, the phantom resists the totality of representation and so emerges as a method of paralogy: legitimacy of the subject is determined by a denial of the possibility of legitimation. The spectre as a mediation of discourse which lies in between, and in Alive—not between life and death but between death and death. In Alive political agency is the phantom’s expediency whereby the gaze onto the spectator—the pervasiveness of the ghostly experience problematizes the status of the spectator who—in the presence of the posthumous narrator—emerges as a posthumous spectator.

Frédéric Le Play and 19th-century vision machines

2016 ◽  
Vol 30 (1) ◽  
pp. 66-93 ◽  
Author(s):  
Harry Freemantle
Keyword(s):  
Social Sciences ◽  
19Th Century ◽  
Linear Time ◽  
Western Civilization ◽  
Late 19Th Century ◽  
The Gaze ◽  
The Social ◽  
History Of ◽  
The Spectator ◽  
Historical Moment

An early proponent of the social sciences, Frédéric Le Play, was the occupant of senior positions within the French state in the mid- to late 19th century. He was writing at a time when science was ascending. There was for him no doubt that scientific observation, correctly applied, would allow him unmediated access to the truth. It is significant that Le Play was the organizer of a number of universal expositions because these expositions were used as vehicles to demonstrate the ascendant position of western civilization. The fabrication of linear time is a history of progress requiring a vision of history analogous to the view offered the spectator at a diorama. Le Play employed the design principles and spirit of the diorama in his formulations for the social sciences, and L’Exposition Universelle of 1867 used the technology wherever it could. Both the gaze of the spectators and the objects viewed are part and products of the same particular and unique historical formation. Ideas of perception cannot be separated out from the conditions that make them possible. Vision and its effects are inseparable from the observing subject who is both a product of a particular historical moment and the site of certain practices.

Mosaïque de présents

2018 ◽  
Vol 18 (1) ◽  
pp. 7-19
Author(s):  
Michel Deguy
Keyword(s):  
Michel Deguy ◽  
Yves Bonnefoy

Michel Deguy, poète et philosophe, a publié une cinquantaine de livres (1970–2018) chez Gallimard, Seuil, Galilée et différents éditeurs. Professeur émérite à l'Université de Paris 8, il a dirigé le Collège international de philosophie de 1989 à 1992, puis présidé son Conseil d'administration de longues années. Il est le rédacteur en chef de la revue Po&sie, qu'il a fondée en 1977 aux éditions Belin. Il a reçu en 1989 le Grand Prix national de poésie, et en 2004 le Grand Prix de poésie de l'Académie française. Les titres les plus récents sont des poèmes — Poèmes et tombeau pour Yves Bonnefoy (La Robe noire, 2018); Divan amoureux (APIC, 2018); Prose du suaire, poème en vingt langues (Al Manar, 2015) — et des textes de poétique: Noir, impair et manque, dialogue avec Bénédicte Gorrillot (Argol, 2016); L'Envergure des comparses. Écologie et poétique (Hermann, 2017).

Entrando al cinema. Il ritmo come segreto del mondo

2019 ◽  
Vol 21 ◽  
pp. 239-251
Author(s):  
Gianluca Solla ◽  
Keyword(s):  
Actual Usage ◽  
The Gaze ◽  
Collège De France ◽  
The World ◽  
The Spectator ◽  
Cette Notion

Nella conferenza su Le cinéma et la nouvelle psychologie Merleau-Ponty introduce una singolare, ma decisiva notazione sull’arte filmica, legandola alla nozione di “ritmo”. Tale nozione dà avvio a una riflessione sull’immagine e sul rapporto tra l’immagine e lo sguardo dello spettatore al cinema. Nel presente articolo, l’uso che Merleau-Ponty ne fa e il senso di questa operazione saranno letti in riferimento alla riflessione di Émile Benveniste sul ritmo e ad alcune annotazioni contenute nei corsi di Merleau-Ponty al Collège de France, di qualche anno successivi alla conferenza, su Le monde sensible et le monde de l’expression e quello sulle Recherches sur l’usage littéraire du langage. Dans le texte de sa conférence sur Le cinéma et la nouvelle psychologie, Merleau-Ponty introduit une lecture, singulière mais décisive, de l’art filmique, en la rapprochant de la notion de « rythme ». Cette notion engage une réflexion sur l’image et sur le rapport entre l’image et le regard du spectateur au cinéma. Dans cet article, l’utilisation que Merleau-Ponty en fait et le sens de cette opération seront lus à partir de la réflexion d’Émile Benveniste sur le rythme et à partir de certaines notes présentes dans les cours de Merleau-Ponty au Collège de France sur Le monde sensible et le monde de l’expression et sur les Recherches sur l’usage littéraire du langage, qui suivent de quelques années la conférence.In the text of his lecture on “Film and the new psychology,” Merleau-Ponty introduces a singular and decisive reading of filmic art, approaching the notion of “rhythm.” This notion engages in a reflection on image and on the relation between the image and the gaze of the spectator at the cinema. In this article, Merleau-Ponty’s actual usage of this notion and the meaning of this operation will be read starting from the reflection of Émile Benveniste on rhythm as well as certain notes presented in Merleau-Ponty’s courses at the Collège de France on The sensible world and the world of expression and Research on the literary usages of language, that follow some years after the lecture.

Sign/or/Sigm: Freud and the Name of Signorelli

October ◽  
2019 ◽  
Vol 167 ◽  
pp. 130-148
Author(s):  
Hubert Damisch
Keyword(s):  
Language Games ◽  
Work Of Art ◽  
Visual Objects ◽  
French Art ◽  
The Spectator ◽  
The Impact ◽  
First Time ◽  
Public Lecture

In December 1972, French art-historian/philosopher Hubert Damisch, who was a senior fellow of the Society of the Humanities at Cornell, gave a public lecture on the Freud-Signorelli case, which is published here for the first time. Damisch discusses the theoretical montage proposed by Freud and attempts to evaluate the impact of the language games analyzed by the psychoanalyst for the study of visual objects. Moreover, the case allowed Damisch to reflect on how a work of art involves the spectator-analyst and how this relationship affects interpretation. This essay was Damisch's first to address the Freud-Signorelli case, and it can be considered as the nucleus of his article “Le maître, c'est lui (He is the master),” published in Savoir et Clinique in 2010, and more generally of a book that was to remain in manuscript, La machine d'Orvieto.

Introduction

2019 ◽  
pp. 1-22
Author(s):  
James Phillips
Keyword(s):  
Ethical Dimension ◽  
Human Face ◽  
Silent Cinema ◽  
Sound Film ◽  
The Gaze ◽  
The Face ◽  
The Spectator ◽  
The Moviegoer ◽  
The Way

Sternberg’s films are famous for their close-ups of the female face. This Introduction discusses the way in which Dietrich’s face functions in his early sound films. Whereas silent cinema charged the human face with carrying the plot or at least with taking up the narrative slack between intertitles, sound film with its additional resources for expounding the narrative opens a space for a face that is inscrutable. Sternberg’s films release the face for spectacle without thereby surrendering it to the gaze of the moviegoer: in its independence of the enclosed world of a narrative, Dietrich’s face is in a position to look out and back at the spectator. Contrasting Morocco with An American Tragedy (in which Dietrich does not appear), the Introduction argues that there is thus an image of autonomy that Sternberg and Dietrich construct and that contributes an (often overlooked) ethical dimension to their cinema of spectacle.

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