The Rise of Prophecy: Figural Neuter, Desert of Allegory
Chapter two lingers on Maître François’ design, treating its suggestive ambiguity as a premonitory witness to the twentieth-century postwar turns to the Sodom archive in Maurice Blanchot and Emmanuel Levinas’ delicate yet fraught philosophical conversation about the ethical aptitude of artworks. The Sodom archive’s figural suggestiveness guides Blanchot and Levinas’s shared predisposition to identify the primordial affinity of artworks with the disruptive urgency of prophecy and its figural analogue, the desert. Lot’s wife’s subliminal association with the prophecy/desert nexus becomes the site of an ecumenical settlement between Blanchot and Levinas over the captivating and dislocating aesthetic power of artworks. On this note, Maître François’ image and the late modern moment of philosophical hospitality between Blanchot and Levinas speak to each other across centuries. Through different registers of discernment, the two scenes conjure the figure of Lot’s wife as the material remains of a thinking beyond the limit of the phenomenal face of appearances and cognition, so as to give witness to the radiant and interruptive force of artworks’ worlding and unworlding dimensions.