Robyn Creswell
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780691182186
- eISBN:
- 9780691185149
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691182186.001.0001
- Subject:
- Literature, Criticism/Theory
This book is an exploration of modernism in Arabic poetry, a movement that emerged in Beirut during the 1950s and became the most influential and controversial Arabic literary development of the ...
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This book is an exploration of modernism in Arabic poetry, a movement that emerged in Beirut during the 1950s and became the most influential and controversial Arabic literary development of the twentieth century. The book introduces English-language readers to a poetic movement that will be uncannily familiar—and unsettlingly strange. It provides an intellectual history of Lebanon during the early Cold War, when Beirut became both a battleground for rival ideologies and the most vital artistic site in the Middle East. Arabic modernism was centered on the legendary magazine Shi'r (“Poetry”), which sought to put Arabic verse on “the map of world literature.” The Beiruti poets—Adonis, Yusuf al-Khal, and Unsi al-Hajj chief among them—translated modernism into Arabic, redefining the very idea of poetry in that literary tradition. This book includes analyses of the Arab modernists' creative encounters with Ezra Pound, Saint-John Perse, and Antonin Artaud, as well as their adaptations of classical literary forms. The book also reveals how the modernists translated concepts of liberal individualism, autonomy, and political freedom into a radical poetics that has shaped Arabic literary and intellectual debate to this day.Less
This book is an exploration of modernism in Arabic poetry, a movement that emerged in Beirut during the 1950s and became the most influential and controversial Arabic literary development of the twentieth century. The book introduces English-language readers to a poetic movement that will be uncannily familiar—and unsettlingly strange. It provides an intellectual history of Lebanon during the early Cold War, when Beirut became both a battleground for rival ideologies and the most vital artistic site in the Middle East. Arabic modernism was centered on the legendary magazine Shi'r (“Poetry”), which sought to put Arabic verse on “the map of world literature.” The Beiruti poets—Adonis, Yusuf al-Khal, and Unsi al-Hajj chief among them—translated modernism into Arabic, redefining the very idea of poetry in that literary tradition. This book includes analyses of the Arab modernists' creative encounters with Ezra Pound, Saint-John Perse, and Antonin Artaud, as well as their adaptations of classical literary forms. The book also reveals how the modernists translated concepts of liberal individualism, autonomy, and political freedom into a radical poetics that has shaped Arabic literary and intellectual debate to this day.
Rodolphe Gasché
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780823234349
- eISBN:
- 9780823241279
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823234349.001.0001
- Subject:
- Literature, Criticism/Theory
This book seeks to develop a novel approach to literature beyond the conventional divide between realism/formalism and history/aestheticism. It accomplishes this not only through a radical ...
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This book seeks to develop a novel approach to literature beyond the conventional divide between realism/formalism and history/aestheticism. It accomplishes this not only through a radical reassessment of the specificity of literature in distinction from one of its others—namely, philosophy—but above all by taking critical issue with the venerable concept of the text and its association with the artisanal techniques of weaving and interlacing. This conception of the text as an artisanal fabric is, the book holds, the unreflected presupposition of both realist, or historicist, and reflective, or deconstructive, criticism. This book argues that the scenes of production within literary works, created by their authors yet independent of those authors' intentions, stage a work's own production in virtual fashion and thus accomplish for those works a certain ideal ontological status that allows for both historical endurance and creative interpretation. In the book's construction of these scenes, in which literary works render visible within their own fabric the invisible conditions of their autonomous existence, certain images prevail: the fold, the star, the veil. By showing that these literary images are not simply the opposites of concepts, the text not only puts into question the common opposition between literature and philosophy but shows that literary works perform a way of argumentation that, in spite of all its difference from philosophical conceptuality, is on a par with it. The argument progresses through close readings of literary works by Lautramont, Nerval, de l'Isle Adam, Huysman, Flaubert, Artaud, Blanchot, Defoe, and Melville.Less
This book seeks to develop a novel approach to literature beyond the conventional divide between realism/formalism and history/aestheticism. It accomplishes this not only through a radical reassessment of the specificity of literature in distinction from one of its others—namely, philosophy—but above all by taking critical issue with the venerable concept of the text and its association with the artisanal techniques of weaving and interlacing. This conception of the text as an artisanal fabric is, the book holds, the unreflected presupposition of both realist, or historicist, and reflective, or deconstructive, criticism. This book argues that the scenes of production within literary works, created by their authors yet independent of those authors' intentions, stage a work's own production in virtual fashion and thus accomplish for those works a certain ideal ontological status that allows for both historical endurance and creative interpretation. In the book's construction of these scenes, in which literary works render visible within their own fabric the invisible conditions of their autonomous existence, certain images prevail: the fold, the star, the veil. By showing that these literary images are not simply the opposites of concepts, the text not only puts into question the common opposition between literature and philosophy but shows that literary works perform a way of argumentation that, in spite of all its difference from philosophical conceptuality, is on a par with it. The argument progresses through close readings of literary works by Lautramont, Nerval, de l'Isle Adam, Huysman, Flaubert, Artaud, Blanchot, Defoe, and Melville.
Miguel de Beistegui
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748638307
- eISBN:
- 9780748671816
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748638307.003.0008
- Subject:
- Philosophy, Political Philosophy
Immanence is itself not a concept, but an image or a plane that is the condition of thought. Difference and Repetition and Logic of Sense may have marked an initial stage on the way to the conquest ...
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Immanence is itself not a concept, but an image or a plane that is the condition of thought. Difference and Repetition and Logic of Sense may have marked an initial stage on the way to the conquest of immanence, and the uncovering of the world of anonymous, pre- individual and impersonal singularities. The plane of immanence can unfold only by presupposing a plane of organisation, ruled by functions and forms, and from which transcendence may grow. The plane of transcendence, or analogy, is always shot through with processes it cannot control. Baruch Spinoza, Friedrich Nietzsche, Antonin Artaud, Marcel Proust, and Francis Bacon show the point at which their life becomes a life, and the illusion of transcendence dissolves into pure immanence. ‘Immanence: a life’ is Gilles Deleuze's last word on life, and his final celebration of it.Less
Immanence is itself not a concept, but an image or a plane that is the condition of thought. Difference and Repetition and Logic of Sense may have marked an initial stage on the way to the conquest of immanence, and the uncovering of the world of anonymous, pre- individual and impersonal singularities. The plane of immanence can unfold only by presupposing a plane of organisation, ruled by functions and forms, and from which transcendence may grow. The plane of transcendence, or analogy, is always shot through with processes it cannot control. Baruch Spinoza, Friedrich Nietzsche, Antonin Artaud, Marcel Proust, and Francis Bacon show the point at which their life becomes a life, and the illusion of transcendence dissolves into pure immanence. ‘Immanence: a life’ is Gilles Deleuze's last word on life, and his final celebration of it.
Simon Palfrey
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780226150642
- eISBN:
- 9780226150789
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226150789.003.0017
- Subject:
- Literature, 16th-century and Renaissance Literature
This section is a mock dialogue between Humanist, who speaks for human recognitions, appreciation of the art-object, sympathy, rational balance, and Post-Humanist, who speaks for exploded ...
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This section is a mock dialogue between Humanist, who speaks for human recognitions, appreciation of the art-object, sympathy, rational balance, and Post-Humanist, who speaks for exploded virtualities, a mixture of Artaud, Deleuze and Guattari, and contemporary ecological thinking. Together they offer different takes on the ontology and ethics of playworlds and playlife, and how such things can speak to our own possibilities.Less
This section is a mock dialogue between Humanist, who speaks for human recognitions, appreciation of the art-object, sympathy, rational balance, and Post-Humanist, who speaks for exploded virtualities, a mixture of Artaud, Deleuze and Guattari, and contemporary ecological thinking. Together they offer different takes on the ontology and ethics of playworlds and playlife, and how such things can speak to our own possibilities.
Neil Verma
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780226656397
- eISBN:
- 9780226656427
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226656427.003.0005
- Subject:
- Music, Performing Practice/Studies
This chapter is a study of the radiophonic scream in radio thrillers and radio art, employing this special type of limit-case performance as an entry point to a theory of radio itself. The argument ...
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This chapter is a study of the radiophonic scream in radio thrillers and radio art, employing this special type of limit-case performance as an entry point to a theory of radio itself. The argument uses four well-known scream performances as key coordinates: Gregory Whitehead’s “Pressures of the Unspeakable” (1991), Arch Oboler’s “The Dark” (circa 1940s), Antonin Artaud’s To Have Done with the Judgement of God (1947/48) and Wyllis Cooper’s “The Thing on the Fourble Board” (1948). Taking up the theme of the “anatomy” of the scream as a heuristic when it comes to performing for radio, and the theme of the “geology” of the scream when it comes to scream mediation and preservation over time, this chapter considers the scream as a meeting point between the aesthetic and material pressures through which radio is constituted, inscribed, and theorized.Less
This chapter is a study of the radiophonic scream in radio thrillers and radio art, employing this special type of limit-case performance as an entry point to a theory of radio itself. The argument uses four well-known scream performances as key coordinates: Gregory Whitehead’s “Pressures of the Unspeakable” (1991), Arch Oboler’s “The Dark” (circa 1940s), Antonin Artaud’s To Have Done with the Judgement of God (1947/48) and Wyllis Cooper’s “The Thing on the Fourble Board” (1948). Taking up the theme of the “anatomy” of the scream as a heuristic when it comes to performing for radio, and the theme of the “geology” of the scream when it comes to scream mediation and preservation over time, this chapter considers the scream as a meeting point between the aesthetic and material pressures through which radio is constituted, inscribed, and theorized.
David Roberts
- Published in print:
- 2011
- Published Online:
- August 2016
- ISBN:
- 9780801450235
- eISBN:
- 9780801460975
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801450235.003.0009
- Subject:
- Art, Art History
This chapter examines the total work as the regeneration of sacred theatre. It considers three dramatists of the 1920s: Hugo von Hofmannsthal, Paul Claudel, and Bertolt Brecht, together with Antonin ...
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This chapter examines the total work as the regeneration of sacred theatre. It considers three dramatists of the 1920s: Hugo von Hofmannsthal, Paul Claudel, and Bertolt Brecht, together with Antonin Artaud’s theatre writings and manifestos for a “theatre of cruelty.” The connections between them rest on inner and outer coincidence: the Catholics Hofmannsthal and Claudel both turned to the world theatre of the Spanish baroque. Hofmannsthal collaborated with the director Max Reinhardt in the Salzburg Festival, and a commission from Reinhardt was the occasion of Claudel’s spectacle Christopher Columbus, with music by Darius Milhaud. Brecht was greatly impressed by the premiere of Claudel’s play at the Berlin State Opera in 1930; his own treatment of the crossing of the Atlantic, the 1929 Lehrstück on the aviator Lindbergh with music by Paul Hindemith, can also be read as his version of Artaud’s theatre of cruelty. Artaud (1896–1948) and Brecht (1898–1956)—like Mallarmé and Nietzsche—were almost exact contemporaries.Less
This chapter examines the total work as the regeneration of sacred theatre. It considers three dramatists of the 1920s: Hugo von Hofmannsthal, Paul Claudel, and Bertolt Brecht, together with Antonin Artaud’s theatre writings and manifestos for a “theatre of cruelty.” The connections between them rest on inner and outer coincidence: the Catholics Hofmannsthal and Claudel both turned to the world theatre of the Spanish baroque. Hofmannsthal collaborated with the director Max Reinhardt in the Salzburg Festival, and a commission from Reinhardt was the occasion of Claudel’s spectacle Christopher Columbus, with music by Darius Milhaud. Brecht was greatly impressed by the premiere of Claudel’s play at the Berlin State Opera in 1930; his own treatment of the crossing of the Atlantic, the 1929 Lehrstück on the aviator Lindbergh with music by Paul Hindemith, can also be read as his version of Artaud’s theatre of cruelty. Artaud (1896–1948) and Brecht (1898–1956)—like Mallarmé and Nietzsche—were almost exact contemporaries.
Neil Cornwell
- Published in print:
- 2006
- Published Online:
- July 2012
- ISBN:
- 9780719074097
- eISBN:
- 9781781700969
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719074097.003.0004
- Subject:
- Literature, European Literature
This chapter discusses absurdist practice during the twentieth century, examining absurdism in the works of some writers, namely Fernando Pessoa, Antonin Artaud and Camus. It notes that these writers ...
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This chapter discusses absurdist practice during the twentieth century, examining absurdism in the works of some writers, namely Fernando Pessoa, Antonin Artaud and Camus. It notes that these writers can be regarded as absurdists, and that they sometimes embrace absurdist qualities. The chapter also clarifies that the use of the word ‘absurd’ does not guarantee that a work is to be considered – with justification – as fully or solely belonging to the ‘literature of the absurd’.Less
This chapter discusses absurdist practice during the twentieth century, examining absurdism in the works of some writers, namely Fernando Pessoa, Antonin Artaud and Camus. It notes that these writers can be regarded as absurdists, and that they sometimes embrace absurdist qualities. The chapter also clarifies that the use of the word ‘absurd’ does not guarantee that a work is to be considered – with justification – as fully or solely belonging to the ‘literature of the absurd’.
Miguel de Beistegui
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748638307
- eISBN:
- 9780748671816
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748638307.003.0005
- Subject:
- Philosophy, Political Philosophy
This chapter reports the consequences of an extension of immanence for the classical domains of logic. It specifically illustrates the extent to which Gilles Deleuze's account of sense relates to, ...
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This chapter reports the consequences of an extension of immanence for the classical domains of logic. It specifically illustrates the extent to which Gilles Deleuze's account of sense relates to, and differs from, that of logical empiricism and Edmund Husserl's transcendental logic. The ‘logic of sense’ would quite explicitly conflict the imperatives of logical positivism. Husserl's Formal and Transcendental Logic clearly show the aim and movement of Husserl's thought with respect to the question of logic. It is apparent that the Stoics depict a radical distinction between two planes of being: the real or profound being, force (dunamis); and the plane of effects, which take place on the surface of being, and constitute an endless multiplicity of incorporeal beings (attributes). The distance between Lewis Carroll and Antonin Artaud is the distance separating a language emitted at the surface and a language carved into the depth of bodies.Less
This chapter reports the consequences of an extension of immanence for the classical domains of logic. It specifically illustrates the extent to which Gilles Deleuze's account of sense relates to, and differs from, that of logical empiricism and Edmund Husserl's transcendental logic. The ‘logic of sense’ would quite explicitly conflict the imperatives of logical positivism. Husserl's Formal and Transcendental Logic clearly show the aim and movement of Husserl's thought with respect to the question of logic. It is apparent that the Stoics depict a radical distinction between two planes of being: the real or profound being, force (dunamis); and the plane of effects, which take place on the surface of being, and constitute an endless multiplicity of incorporeal beings (attributes). The distance between Lewis Carroll and Antonin Artaud is the distance separating a language emitted at the surface and a language carved into the depth of bodies.
Jason Harding and John Nash (eds)
- Published in print:
- 2019
- Published Online:
- November 2019
- ISBN:
- 9780198821441
- eISBN:
- 9780191883170
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198821441.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
Modernism and Non-Translation proposes a new way of reading key modernist texts, including the work of canonical figures such as T. S. Eliot, James Joyce, and Ezra Pound. The topic of this book is ...
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Modernism and Non-Translation proposes a new way of reading key modernist texts, including the work of canonical figures such as T. S. Eliot, James Joyce, and Ezra Pound. The topic of this book is the incorporation of untranslated fragments from various languages within modernist writing. It explores non-translation in modernist fiction, poetry, and other forms, with a principally European focus. The intention is to begin to answer a question that demands collective expertise: what are the aesthetic and cultural implications of non-translation for modernist literature? How did non-translation shape the poetics, and cultural politics, of some of the most important writers of this period? Twelve essays by leading scholars of modernism explore American, British, and Irish texts, alongside major French and German writers, and the wider modernist recovery of Classical languages. They explore non-translation from the dual perspectives of both ‘insider’ and ‘outsider’, unsettling that false opposition, and articulating in the process their individuality of expression and experience. The range explored indicates something of the reach and vitality of the matter of translation—and specifically non-translation—across a selection of poetry, fiction, and non-fictional prose, while focusing on mainly canonical voices. Offering a series of case studies, the volume aims to encourage further exploration of connections across languages and among writers. Together, the collection seeks to provoke and extend debate on the aesthetic, cultural, political, and conceptual dimensions of non-translation as an important yet hitherto neglected facet of modernism, helping to redefine our understanding of that movement. It demonstrates the rich possibilities of reading modernism through instances of non-translation.Less
Modernism and Non-Translation proposes a new way of reading key modernist texts, including the work of canonical figures such as T. S. Eliot, James Joyce, and Ezra Pound. The topic of this book is the incorporation of untranslated fragments from various languages within modernist writing. It explores non-translation in modernist fiction, poetry, and other forms, with a principally European focus. The intention is to begin to answer a question that demands collective expertise: what are the aesthetic and cultural implications of non-translation for modernist literature? How did non-translation shape the poetics, and cultural politics, of some of the most important writers of this period? Twelve essays by leading scholars of modernism explore American, British, and Irish texts, alongside major French and German writers, and the wider modernist recovery of Classical languages. They explore non-translation from the dual perspectives of both ‘insider’ and ‘outsider’, unsettling that false opposition, and articulating in the process their individuality of expression and experience. The range explored indicates something of the reach and vitality of the matter of translation—and specifically non-translation—across a selection of poetry, fiction, and non-fictional prose, while focusing on mainly canonical voices. Offering a series of case studies, the volume aims to encourage further exploration of connections across languages and among writers. Together, the collection seeks to provoke and extend debate on the aesthetic, cultural, political, and conceptual dimensions of non-translation as an important yet hitherto neglected facet of modernism, helping to redefine our understanding of that movement. It demonstrates the rich possibilities of reading modernism through instances of non-translation.
Martin Harries
- Published in print:
- 2007
- Published Online:
- September 2011
- ISBN:
- 9780823227334
- eISBN:
- 9780823241026
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823227334.003.0002
- Subject:
- Literature, Criticism/Theory
Martin Harries
- Published in print:
- 2007
- Published Online:
- September 2011
- ISBN:
- 9780823227334
- eISBN:
- 9780823241026
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823227334.003.0003
- Subject:
- Literature, Criticism/Theory
Film's challenge to familiar regimes of spectatorship and the increasing centrality of spectacular mass political forms make the 1930s a period of particular pressure in the history of spectatorship. ...
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Film's challenge to familiar regimes of spectatorship and the increasing centrality of spectacular mass political forms make the 1930s a period of particular pressure in the history of spectatorship. Antonin Artaud embodies these antimonies with force and fascination. Lot's wife disappears in “Metaphysics and the Mise en Scéne”—along with other fragments of Sodom—only to surface as the figure of a cultural crisis in the opening of The Theater and Its Double, its preface “The Theater and Culture,” which was probably written after all the other essays that make up the volume. Artaud links the antimetaphysical concerns of the everyday to the body, seen as so much rotting meat. That this charogne may also be translated as “slut” also suggests the consistency with which Artaud anathematized sexuality: the promiscuity and materiality of sex are one of Artaud's consistent targets.Less
Film's challenge to familiar regimes of spectatorship and the increasing centrality of spectacular mass political forms make the 1930s a period of particular pressure in the history of spectatorship. Antonin Artaud embodies these antimonies with force and fascination. Lot's wife disappears in “Metaphysics and the Mise en Scéne”—along with other fragments of Sodom—only to surface as the figure of a cultural crisis in the opening of The Theater and Its Double, its preface “The Theater and Culture,” which was probably written after all the other essays that make up the volume. Artaud links the antimetaphysical concerns of the everyday to the body, seen as so much rotting meat. That this charogne may also be translated as “slut” also suggests the consistency with which Artaud anathematized sexuality: the promiscuity and materiality of sex are one of Artaud's consistent targets.
Elena del Río
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780748635252
- eISBN:
- 9780748651146
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748635252.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter argues for a reconsideration of Rainer Werner Fassbinder's Brechtian aesthetics from the point of view of his engagement with the emotions. It looks at Fassbinder's The Marriage of Maria ...
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This chapter argues for a reconsideration of Rainer Werner Fassbinder's Brechtian aesthetics from the point of view of his engagement with the emotions. It looks at Fassbinder's The Marriage of Maria Braun and The Bitter Tears of Petra von Kant to supplement the formal notion of the tableau as static image with a notion of the tableau as precarious containment of affective force. The chapter uses the ideas and theories of Gilles Deleuze and Antonin Artaud to examine the way crucial aspects of performance such as framing and faciality generate significant points of convergence between theatre and film, and to trace the transformation of the sadomasochistic impulse in the films' narrative into a power of affection.Less
This chapter argues for a reconsideration of Rainer Werner Fassbinder's Brechtian aesthetics from the point of view of his engagement with the emotions. It looks at Fassbinder's The Marriage of Maria Braun and The Bitter Tears of Petra von Kant to supplement the formal notion of the tableau as static image with a notion of the tableau as precarious containment of affective force. The chapter uses the ideas and theories of Gilles Deleuze and Antonin Artaud to examine the way crucial aspects of performance such as framing and faciality generate significant points of convergence between theatre and film, and to trace the transformation of the sadomasochistic impulse in the films' narrative into a power of affection.
Edward Scheer
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780748635030
- eISBN:
- 9780748652587
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748635030.003.0002
- Subject:
- Philosophy, General
This chapter focuses on Gilles Deleuze's concept of body without organs (BWO), the Deleuzian idea which resonates most powerfully as a concept for and of performance. It provides a detailed retelling ...
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This chapter focuses on Gilles Deleuze's concept of body without organs (BWO), the Deleuzian idea which resonates most powerfully as a concept for and of performance. It provides a detailed retelling of the radio program To have done with the judgement of God, from which Deleuze borrowed the notion of BWO, and suggests that this work and Antonin Artaud's oeuvre as a whole, should not be interpreted as merely symptomatic of schizophrenic experience. It contends that Artaud actively develops a glossolalia beyond everyday language in order to destratify the bodies of his listeners.Less
This chapter focuses on Gilles Deleuze's concept of body without organs (BWO), the Deleuzian idea which resonates most powerfully as a concept for and of performance. It provides a detailed retelling of the radio program To have done with the judgement of God, from which Deleuze borrowed the notion of BWO, and suggests that this work and Antonin Artaud's oeuvre as a whole, should not be interpreted as merely symptomatic of schizophrenic experience. It contends that Artaud actively develops a glossolalia beyond everyday language in order to destratify the bodies of his listeners.
Martine Beugnet
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748620425
- eISBN:
- 9780748670840
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748620425.003.0002
- Subject:
- Film, Television and Radio, Film
Taking Artaud’s call for a ‘third path’ in cinema as a cue, chapter 1 examines cinema’s intricate history with materiality, sensationalism and transgression. It emphasizes the continuing belief in ...
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Taking Artaud’s call for a ‘third path’ in cinema as a cue, chapter 1 examines cinema’s intricate history with materiality, sensationalism and transgression. It emphasizes the continuing belief in the medium’s unique capacity for combining thought and affect to argue for alternative filmmaking and theorising practices.Less
Taking Artaud’s call for a ‘third path’ in cinema as a cue, chapter 1 examines cinema’s intricate history with materiality, sensationalism and transgression. It emphasizes the continuing belief in the medium’s unique capacity for combining thought and affect to argue for alternative filmmaking and theorising practices.
Samuel Weber
- Published in print:
- 2004
- Published Online:
- March 2011
- ISBN:
- 9780823224159
- eISBN:
- 9780823235841
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823224159.003.0012
- Subject:
- Philosophy, Philosophy of Language
In 1933, Antonin Artaud introduced his notion of a “theater of cruelty” by associating the purpose of theater with the necessary cruelty that one can inflict on others. In a ...
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In 1933, Antonin Artaud introduced his notion of a “theater of cruelty” by associating the purpose of theater with the necessary cruelty that one can inflict on others. In a way, Artaud implies that theater teaches us to be cruel. The chapter counters this notion, pointing to the political and cultural importance Artaud gives to theater and his view on war, plagues, and the like. This chapter includes a discussion of the notion of a theater of cruelty, how this notion could influence the thoughts of the audience, and the chapter's critique of this notion. Through this, the chapter introduces the concept of virtualization as the inverse movement of actualization. Also, the chapter also establishes the relevance of meaning as something unaffected by place and space and relates this to the notion of virtuality.Less
In 1933, Antonin Artaud introduced his notion of a “theater of cruelty” by associating the purpose of theater with the necessary cruelty that one can inflict on others. In a way, Artaud implies that theater teaches us to be cruel. The chapter counters this notion, pointing to the political and cultural importance Artaud gives to theater and his view on war, plagues, and the like. This chapter includes a discussion of the notion of a theater of cruelty, how this notion could influence the thoughts of the audience, and the chapter's critique of this notion. Through this, the chapter introduces the concept of virtualization as the inverse movement of actualization. Also, the chapter also establishes the relevance of meaning as something unaffected by place and space and relates this to the notion of virtuality.
Kimberly Lamm
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781526121264
- eISBN:
- 9781526136176
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526121264.003.0004
- Subject:
- Art, Art History
Chapter 3 is devoted to Nancy Spero’s Codex Artaud (1971–72), an epic artwork in which she orchestrated typewritten texts and painted images to seize the monstrosity attributed to white women if they ...
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Chapter 3 is devoted to Nancy Spero’s Codex Artaud (1971–72), an epic artwork in which she orchestrated typewritten texts and painted images to seize the monstrosity attributed to white women if they do not stay within patriarchal constraints. The chapter analyses Codex Artaud as a feminist claim to women’s aggressive capacities and all they connect to: sexuality, disorder, insanity, and protest, but also the capacity to represent oneself as other. The reading focuses on Spero’s conflicted engagement with Antonin Artaud’s writings and the fact that though he was insane, he was able to command the patriarchal orders of language to create a mobile range of self-representations. Spero’s engagement with Artaud’s texts produced a form of writing that both emulates and critiques the masculine privileges that make such self-representations of otherness possible, thereby revealing the aggression from which women in western culture have been traditionally barred. To evoke the psychic mechanisms that enforce this exclusion, the chapter turns to Sigmund Freud’s definition of sexuality in Three Essays on the Theory of Sexuality (1905) and his articulation of the expectation that women should not indulge in the pleasures of aggression, but should instead create aesthetically pleasing images devoid of shame and disgust..Less
Chapter 3 is devoted to Nancy Spero’s Codex Artaud (1971–72), an epic artwork in which she orchestrated typewritten texts and painted images to seize the monstrosity attributed to white women if they do not stay within patriarchal constraints. The chapter analyses Codex Artaud as a feminist claim to women’s aggressive capacities and all they connect to: sexuality, disorder, insanity, and protest, but also the capacity to represent oneself as other. The reading focuses on Spero’s conflicted engagement with Antonin Artaud’s writings and the fact that though he was insane, he was able to command the patriarchal orders of language to create a mobile range of self-representations. Spero’s engagement with Artaud’s texts produced a form of writing that both emulates and critiques the masculine privileges that make such self-representations of otherness possible, thereby revealing the aggression from which women in western culture have been traditionally barred. To evoke the psychic mechanisms that enforce this exclusion, the chapter turns to Sigmund Freud’s definition of sexuality in Three Essays on the Theory of Sexuality (1905) and his articulation of the expectation that women should not indulge in the pleasures of aggression, but should instead create aesthetically pleasing images devoid of shame and disgust..
Ellen Mackay
- Published in print:
- 2011
- Published Online:
- February 2013
- ISBN:
- 9780226500195
- eISBN:
- 9780226500218
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226500218.003.0004
- Subject:
- Literature, 16th-century and Renaissance Literature
This chapter aims to show two things: first, and briefly, that the plague in early modern England has a lot in common with the performative, epistemologically anarchic disease that Artaud describes, ...
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This chapter aims to show two things: first, and briefly, that the plague in early modern England has a lot in common with the performative, epistemologically anarchic disease that Artaud describes, and, second, that its close relation to Catholicism's toxic past confounds the pre- and post of post-Reformation England. The chapter begins, therefore, by culling some examples of the plague's conceptual volatility, first among them John Donne's opening Meditation on the devastation “Sicknes” inflicts upon the order of things. By mocking the clean break of modern science, Artaud draws a picture of the plague that is richly suggestive of the post-Catholic moment to which this chapter attends.Less
This chapter aims to show two things: first, and briefly, that the plague in early modern England has a lot in common with the performative, epistemologically anarchic disease that Artaud describes, and, second, that its close relation to Catholicism's toxic past confounds the pre- and post of post-Reformation England. The chapter begins, therefore, by culling some examples of the plague's conceptual volatility, first among them John Donne's opening Meditation on the devastation “Sicknes” inflicts upon the order of things. By mocking the clean break of modern science, Artaud draws a picture of the plague that is richly suggestive of the post-Catholic moment to which this chapter attends.
Laurence A. Rickels
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816675951
- eISBN:
- 9781452947167
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816675951.001.0001
- Subject:
- Psychology, Social Psychology
This book is the first volume in the “unmourning” trilogy. Here, the text studies mourning and melancholia within and around psychoanalysis, analyzing the writings of such thinkers as Freud, ...
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This book is the first volume in the “unmourning” trilogy. Here, the text studies mourning and melancholia within and around psychoanalysis, analyzing the writings of such thinkers as Freud, Nietzsche, Lessing, Heinse, Artaud, Keller, Stifter, Kafka, and Kraus. The book maintains that we must shift the way we read literature, philosophy, and psychoanalysis to go beyond traditional Oedipal structures. The book argues that the idea of the crypt has had a surprisingly potent influence on psychoanalysis, and it shows how society’s disturbed relationship with death and dying, our inability to let go of loved ones, has resulted in technology to form more and more crypts for the dead by preserving them—both physically and psychologically—in new ways.Less
This book is the first volume in the “unmourning” trilogy. Here, the text studies mourning and melancholia within and around psychoanalysis, analyzing the writings of such thinkers as Freud, Nietzsche, Lessing, Heinse, Artaud, Keller, Stifter, Kafka, and Kraus. The book maintains that we must shift the way we read literature, philosophy, and psychoanalysis to go beyond traditional Oedipal structures. The book argues that the idea of the crypt has had a surprisingly potent influence on psychoanalysis, and it shows how society’s disturbed relationship with death and dying, our inability to let go of loved ones, has resulted in technology to form more and more crypts for the dead by preserving them—both physically and psychologically—in new ways.
Sam Haddow
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781526138415
- eISBN:
- 9781526150448
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526138422.00011
- Subject:
- Literature, Drama
The Epilogue locates my research within my own experiences of being exposed to images of violence, contextualising this study and offering some thoughts on a personal experience of precarious ...
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The Epilogue locates my research within my own experiences of being exposed to images of violence, contextualising this study and offering some thoughts on a personal experience of precarious spectatorship. I also discuss the work of Antonin Artaud, one of the key critical voices in theatre to warn against the violence of representation, and conclude with an analysis of Alice Birch’s (2018) La Maladie de la Mort, a play which addresses the suicidal consequences of a world predicated on images.Less
The Epilogue locates my research within my own experiences of being exposed to images of violence, contextualising this study and offering some thoughts on a personal experience of precarious spectatorship. I also discuss the work of Antonin Artaud, one of the key critical voices in theatre to warn against the violence of representation, and conclude with an analysis of Alice Birch’s (2018) La Maladie de la Mort, a play which addresses the suicidal consequences of a world predicated on images.
Christophe Wall-Romana
- Published in print:
- 2012
- Published Online:
- May 2013
- ISBN:
- 9780823245482
- eISBN:
- 9780823252527
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823245482.003.0008
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter makes a case study of a central subgenre in cinepoetry: the poem-scenario. Beginning in 1917, with a work by Apollinaire and Billy, up to the arrival of the Talkies, a number of poets ...
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This chapter makes a case study of a central subgenre in cinepoetry: the poem-scenario. Beginning in 1917, with a work by Apollinaire and Billy, up to the arrival of the Talkies, a number of poets wrote in this hybrid genre. The poem-scenario can be defined as a short treatment in run-in lines or short verse-like paragraphs describing a film in a way that ‘enacts’ the film rather than describing more technically its actual shooting. Poem-scenarios by Cendrars, Canudo, Hillel-Erlanger, Desnos, Romains, Rolland and Artaud are closely read, together with some of the art accompanying them (by Léger, Van Dongen, and Mazereel). Among the central themes of these poem-scenarios are: war trauma, duplication, a film-within-the film, temporal prolepsis, affect and madness. In the words of Benjamin Fondane, poets were most fascinated by the poem-scenario's paradoxical imaginary as “unshootable.”Less
This chapter makes a case study of a central subgenre in cinepoetry: the poem-scenario. Beginning in 1917, with a work by Apollinaire and Billy, up to the arrival of the Talkies, a number of poets wrote in this hybrid genre. The poem-scenario can be defined as a short treatment in run-in lines or short verse-like paragraphs describing a film in a way that ‘enacts’ the film rather than describing more technically its actual shooting. Poem-scenarios by Cendrars, Canudo, Hillel-Erlanger, Desnos, Romains, Rolland and Artaud are closely read, together with some of the art accompanying them (by Léger, Van Dongen, and Mazereel). Among the central themes of these poem-scenarios are: war trauma, duplication, a film-within-the film, temporal prolepsis, affect and madness. In the words of Benjamin Fondane, poets were most fascinated by the poem-scenario's paradoxical imaginary as “unshootable.”
