A Poetics of Co-Naissance

2020 ◽  
pp. 31-67
Author(s):  
Emmanuel de Saint Aubert
Keyword(s):  
The Body ◽  
Three Dimensions ◽  
Andre Breton ◽  
Claude Simon ◽  
Work Site ◽  
Paul Claudel ◽  
André Breton ◽  
The Invisible

Merleau-Ponty’s reading of André Breton, Paul Claudel, and Claude Simon allows us to shed some light on the relations between Being and Flesh in his philosophy, as well as how these relations promise a genuine poetic art. The poetic of Merleau-Ponty is, inseparably, a poetic of the flesh (poetic of the body and desire), a poetic of mystery (which is not primarily what is hidden, but what expresses itself inexhaustibly), and a poetic of the visible in its relation to the invisible. These three dimensions touch respectively on the overdetermination Merleau-Ponty gives to the questions of desire, expression, and perception—and are deployed in their corresponding horizons, the first more anthropological, the next more epistemological, and the last more ontological. The bold and broad inspiration that Merleau-Ponty finds in André Breton, Paul Claudel, and Claude Simon is a particularly rich leading thread in the exploration of this poetic, which plunges us into the heart of the unfinished work site of the philosopher’s last manuscripts, some of which are not yet published.

Merleau-Ponty's Poetic of the World

2020 ◽  
Author(s):  
Galen A. Johnson ◽  
Mauro Carbone ◽  
Emmanuel de Saint Aubert
Keyword(s):  
Walter Benjamin ◽  
Literary Works ◽  
Francis Ponge ◽  
Claude Simon ◽  
Philosophy And Literature ◽  
Collège De France ◽  
André Breton ◽  
The World ◽  
Visual Apparatus ◽  
The Invisible

Merleau-Ponty’s Poetics of the World offers detailed studies of the philosopher’s engagements with Proust, Claudel, Claude Simon, André Breton, Mallarmé, Francis Ponge, and more. From Proust, Merleau-Ponty developed his conception of “sensible ideas,” from Claudel, his conjoining of birth and knowledge as “co-naissance,” from Valéry came “implex” or the “animal of words” and the “chiasma of two destinies.” Thus also arise the questions of expression, metaphor, and truth and the meaning of a Merleau-Pontyan poetics. The poetic of Merleau-Ponty is, inseparably, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. This poetics is worked out across each co-author’s chapters in dialogue with Husserl, Walter Benjamin, Heidegger, and Sartre. A new optic proposes the conception of literature as a visual “apparatus” in relation to cinema and screens. Recent transcriptions of Merleau-Ponty’s first two 1953 courses at the Collège de France The Sensible World and the World of Expression and Research on the Literary Usage of Language, as well as the course of 1953–54, The Problem of Speech, lend timeliness, urgency and energy to this project. Our goal is to specify more precisely the delicate nature and properly philosophical function of literary works in Merleau-Ponty’s thought as the literary writer becomes a partner of the phenomenologist. Ultimately, theoretical figures that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression.

scholarly journals Representing Bodies. Victor Brauner’s Hybrids, Fragments and Mechanisms

Nordlit ◽  
2007 ◽  
Vol 11 (1) ◽  
pp. 229
Author(s):  
Irina Cărăbaş
Keyword(s):  
Body Problem ◽  
The Body ◽  
Narrative Construction ◽  
Andre Breton ◽  
Modern Culture ◽  
Avant Garde ◽  
André Breton ◽  
French Culture ◽  
History Of ◽  
The Subject

The Romanian avant-garde looked for inspiration in two principal places where artists from all-over Europe gathered, confronted and discussed their ideas of a new art. While Berlin nourished the constructivist orientation of the Romanian avantgarde, Paris stimulated its interest in surrealism. Although Berlin was by far more significant as a stimulus for the synthesis of all arts and all modern movements toward which the Romanian avant-garde strove, Paris had the advantage of anemotional attachment. The French culture had been set long ago as a model for the entire Romanian modern culture and institutions. Consequently it is not surprising that poets and artists, including Victor Brauner, chosed to live and work in Paris in order to feel closer to what was considered to be the origin.Victor Brauner is discussed both in the context of the Romanian avant-garde and in the history of the French surrealism, but one cannot detect any tension between center and periphery. One motivation can be found in the myth he creates for himself. Meanwhile it is obvious that he wanted to identify himself with the French surrealism. Once settled in France he paid great attention to the theories and to the artists André Breton promoted.I will discuss the myth of the artist as well as the threads which connect Brauner to other artistic strategies bringing forth the body problem. Almost always his paintings and drawings display the ineluctable presence of a metamorphic body within no narrative construction. This preoccupation informed every stage of his career as he dedicated it the greatest energies of his artistic inventiveness. Before going into the subject, one needs to frame Brauner in a larger picture.

Nadja: um diálogo entre a psicanálise e o surrealismo

2020 ◽  
pp. 14-28
Author(s):  
Ramaiana Freire Cardinali ◽  
Christian Ingo Lenz Dunker
Keyword(s):  
Andre Breton ◽  
André Breton

Este artigo traz uma leitura interdisciplinar de Nadja, romance escrito por André Breton em 1928, a partir das concepções de realidade propostas pelos surrealistas e pela psicanálise. No surrealismo, através da critica ao realismo, surge o conceito de surreal, com o qual artistas passaram a se exprimir em produções artísticas e em uma conduta particular de vida no pós-guerra. Na psicanálise, Freud foi levado a superar a dicotomia entre interno/externo, assim como entre normal/patológico, implicando, com isso, uma nova concepção de realidade, que posteriormente foi reformulada por Lacan sob o conceito de real. Esta leitura traz como decorrência a denúncia ao conformismo e a superação das falsas dicotomias, ensejando, tanto com a psicanálise quanto com o surrealismo, uma transformação na práxis do sujeito.

Poems of Andre Breton, a Bilingual Anthology

1984 ◽  
Vol 1 (4) ◽  
pp. 98
Author(s):  
Eric H. Deudon ◽  
Andre Breton ◽  
Jean-Pierre Cauvin ◽  
Mary Ann Caws
Keyword(s):  
Andre Breton ◽  
André Breton

WING MOVEMENTS AND LIFT REGULATION IN THE FLIGHT OF DESERT LOCUSTS

1993 ◽  
Vol 182 (1) ◽  
pp. 57-69 ◽  
Author(s):  
M. Wortmann ◽  
W. Zarnack
Keyword(s):  
Body Weight ◽  
Unsteady Aerodynamics ◽  
Movement Patterns ◽  
The Body ◽  
Three Dimensions ◽  
Body Angle ◽  
Wing Movement ◽  
Induced Changes ◽  
Lift Body

1. We simultaneously recorded lift/body weight, flight speed, body angle and 12 variables of wing movement for locusts performing tethered long-term flight with low movement scatter. The movements of the forewings and hindwings were recorded in three dimensions by means of miniature induction coils. 2. By adjusting the body angle, we could reproducibly manipulate lift generation as a consequence of induced changes in the wings' movement patterns. We were therefore able to analyse various relationships between the movement patterns and lift. 3. The most prominent variations of kinematic variables were observed for the forewing movements. The relative lift and the steady angle of pitch were positively correlated but there was a negative correlation between relative lift and pitching amplitude. We found no correlation between relative lift and flapping amplitude. Our results seem to correspond to a new theory about unsteady aerodynamics of oscillating aerofoils. 4. We sometimes observed variations in lagging. 5. The forewing downstroke was delayed by 0–8 ms following the hindwing downstroke. Relative lift was positively correlated to this delay.

In the Blink of an Eye

2016 ◽  
pp. 166-186
Author(s):  
Alanna Thain
Keyword(s):  
The Body ◽  
Stop Motion ◽  
Definition Of ◽  
Action Cinema ◽  
Live Action ◽  
The Invisible

Canadian animator Norman McLaren claims that “animation is not the art of drawings that move but the art of movements that are drawn; what happens between each frame is much more important than what exists on each frame; animation is therefore the art of manipulating the invisible interstices that lie between the frames.” That has remained the default definition of animation since he first proposed it. Between the frames lie the alchemical transformations of animation and live-action cinema that exceed the still, photographed images. McLaren’s emphasis on the in-between may explain why his work involves stop-motion animation and was so strongly influenced by dance. Through consideration of McLaren’s collaborations with dancers in Ballet Adagio and Pas de Deux, but especially the aberrant movement and nonhuman dance of his A Chairy Tale, McLaren’s ability to animate change itself links dance’s potential for animation and animation’s ability to bring to screendance new potentials of the body.

Andre Breton: Magus of Surrealism

1974 ◽  
Vol 69 (1) ◽  
pp. 186
Author(s):  
K. R. Aspley ◽  
Anna Balakian
Keyword(s):  
Andre Breton ◽  
André Breton

scholarly journals Uma leitura comparada das artes selvagens

2018 ◽  
Vol 16 (1) ◽  
pp. 22-43
Author(s):  
Sylvie André
Keyword(s):  
Andre Breton ◽  
André Breton

Durante a segunda guerra mundial, Claude Lévi-Strauss e André Breton se encontraram no navio que os conduzia a Nova York. Viviam a mesma experiência de intelectuais expatriados. Tristes Trópicos (1955) pode ser lido como o resultado de trocas com Breton e outros escritores, em que a forma e a contribuição literárias são onipresentes afin de avaliar a originalidade e as contribuições do próprio texto antropológico. Nesta obra, Lévi-Strauss se interroga especificamente sobre todas as formas de relato do “Além” e sobre as condições do conhecimento científico das sociedades humanas. A partir de seus primeiros artigos até Antropologia estrutural (1958), Lévi-Strauss desenvolve algumas definições interessantes da atividade criadora em relação aos mitos. Especularmente, pode-se notar a importância do encontro do etnólogo com André Breton e a visão da arte que ele estava desenvolvendo: um tipo de arte cuja dimensão social estava afirmada com maior intensidade. Estando em contato com a etnologia e Claude Lévi-Strauss, André Breton concebe e desenvolve sua necessidade de criação de um mito contemporâneo que denominará ‘os grandes transparentes’. Em 1955 o etnólogo propõe um questionário para a preparação de L’Art magique. Por meio da correspondência entre o poeta e o etnólogo, podemos apreciar as discussões e o que alimentou suas concepções pessoais.

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