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Volumn 15, Issue 3, 2004, Pages 231-257

The arc and the zip: Deleuze and Lyotard on art

Author keywords

Aesthetics; Art; Deleuze; Ethics; Figure; Judgment; Lyotard; Representation; Sublime

Indexed keywords


EID: 13844309300     PISSN: 09578536     EISSN: None     Source Type: Journal    
DOI: 10.1007/s10978-004-5434-8     Document Type: Review
Times cited : (6)

References (145)
  • 1
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    • note
    • Note: Lyotard and Deleuze try to express what exists beyond the representational content of language through their writing styles. As a result, discursive summary or paraphrase is not entirely adequate. To the extent that is possible in a translation, I let them speak in their own words. It is ultimately these that will or will not move.
  • 2
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    • Paris: Editions Klinckseick
    • J.F. Lyotard, Discours, Figure (Paris: Editions Klinckseick, 1974). Parts have been translated in M. Lydon, 'The Dream-Work Does Not Think', in A. Benjamin, ed., The Lyotard Reader (Oxford: Blackwell, 1989), 19-55 (Lyotard, ibid., 239-270); M. Lydon, 'Fiscourse Digure: The Utopia behind the Scenes of Phantasy', Theater Journal 35/3, (October 1983), 333-357 (Lyotard, ibid., 327-355); M. Lydon, 'Veduta on Discours, figure', Yale French Studies 99 (2001), 10-26; V. Constantinopoulous, 'Discourse, Figure: Digression on the Lack of Reality', Architectural Design (March 1998), 32-33 (Lyotard, ibid., 284-286); M. Smith, 'From Discours, Figure', in H. Pietersma, ed., Merleau Ponty: Critical Essays (Lanham, MD: University Press of America, 1989), 309-322 (Lyotard, ibid., 18-23; 53-59).
    • (1974) Discours, Figure
    • Lyotard, J.F.1
  • 3
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    • The Dream-Work Does Not Think
    • A. Benjamin, ed., Oxford: Blackwell
    • J.F. Lyotard, Discours, Figure (Paris: Editions Klinckseick, 1974). Parts have been translated in M. Lydon, 'The Dream-Work Does Not Think', in A. Benjamin, ed., The Lyotard Reader (Oxford: Blackwell, 1989), 19-55 (Lyotard, ibid., 239-270); M. Lydon, 'Fiscourse Digure: The Utopia behind the Scenes of Phantasy', Theater Journal 35/3, (October 1983), 333-357 (Lyotard, ibid., 327-355); M. Lydon, 'Veduta on Discours, figure', Yale French Studies 99 (2001), 10-26; V. Constantinopoulous, 'Discourse, Figure: Digression on the Lack of Reality', Architectural Design (March 1998), 32-33 (Lyotard, ibid., 284-286); M. Smith, 'From Discours, Figure', in H. Pietersma, ed., Merleau Ponty: Critical Essays (Lanham, MD: University Press of America, 1989), 309-322 (Lyotard, ibid., 18-23; 53-59).
    • (1989) The Lyotard Reader , pp. 19-55
    • Lydon, M.1
  • 4
    • 0003641313 scopus 로고    scopus 로고
    • J.F. Lyotard, Discours, Figure (Paris: Editions Klinckseick, 1974). Parts have been translated in M. Lydon, 'The Dream-Work Does Not Think', in A. Benjamin, ed., The Lyotard Reader (Oxford: Blackwell, 1989), 19-55 (Lyotard, ibid., 239-270); M. Lydon, 'Fiscourse Digure: The Utopia behind the Scenes of Phantasy', Theater Journal 35/3, (October 1983), 333-357 (Lyotard, ibid., 327-355); M. Lydon, 'Veduta on Discours, figure', Yale French Studies 99 (2001), 10-26; V. Constantinopoulous, 'Discourse, Figure: Digression on the Lack of Reality', Architectural Design (March 1998), 32-33 (Lyotard, ibid., 284-286); M. Smith, 'From Discours, Figure', in H. Pietersma, ed., Merleau Ponty: Critical Essays (Lanham, MD: University Press of America, 1989), 309-322 (Lyotard, ibid., 18-23; 53-59).
    • Discours, Figure , pp. 239-270
    • Lyotard1
  • 5
    • 13844320767 scopus 로고
    • Fiscourse Digure: The Utopia behind the Scenes of Phantasy
    • October
    • J.F. Lyotard, Discours, Figure (Paris: Editions Klinckseick, 1974). Parts have been translated in M. Lydon, 'The Dream-Work Does Not Think', in A. Benjamin, ed., The Lyotard Reader (Oxford: Blackwell, 1989), 19-55 (Lyotard, ibid., 239-270); M. Lydon, 'Fiscourse Digure: The Utopia behind the Scenes of Phantasy', Theater Journal 35/3, (October 1983), 333-357 (Lyotard, ibid., 327-355); M. Lydon, 'Veduta on Discours, figure', Yale French Studies 99 (2001), 10-26; V. Constantinopoulous, 'Discourse, Figure: Digression on the Lack of Reality', Architectural Design (March 1998), 32-33 (Lyotard, ibid., 284-286); M. Smith, 'From Discours, Figure', in H. Pietersma, ed., Merleau Ponty: Critical Essays (Lanham, MD: University Press of America, 1989), 309-322 (Lyotard, ibid., 18-23; 53-59).
    • (1983) Theater Journal , vol.35 , Issue.3 , pp. 333-357
    • Lydon, M.1
  • 6
    • 0003641313 scopus 로고    scopus 로고
    • J.F. Lyotard, Discours, Figure (Paris: Editions Klinckseick, 1974). Parts have been translated in M. Lydon, 'The Dream-Work Does Not Think', in A. Benjamin, ed., The Lyotard Reader (Oxford: Blackwell, 1989), 19-55 (Lyotard, ibid., 239-270); M. Lydon, 'Fiscourse Digure: The Utopia behind the Scenes of Phantasy', Theater Journal 35/3, (October 1983), 333-357 (Lyotard, ibid., 327-355); M. Lydon, 'Veduta on Discours, figure', Yale French Studies 99 (2001), 10-26; V. Constantinopoulous, 'Discourse, Figure: Digression on the Lack of Reality', Architectural Design (March 1998), 32-33 (Lyotard, ibid., 284-286); M. Smith, 'From Discours, Figure', in H. Pietersma, ed., Merleau Ponty: Critical Essays (Lanham, MD: University Press of America, 1989), 309-322 (Lyotard, ibid., 18-23; 53-59).
    • Discours, Figure , pp. 327-355
    • Lyotard1
  • 7
    • 13844312880 scopus 로고    scopus 로고
    • Veduta on Discours, figure
    • J.F. Lyotard, Discours, Figure (Paris: Editions Klinckseick, 1974). Parts have been translated in M. Lydon, 'The Dream-Work Does Not Think', in A. Benjamin, ed., The Lyotard Reader (Oxford: Blackwell, 1989), 19-55 (Lyotard, ibid., 239-270); M. Lydon, 'Fiscourse Digure: The Utopia behind the Scenes of Phantasy', Theater Journal 35/3, (October 1983), 333-357 (Lyotard, ibid., 327-355); M. Lydon, 'Veduta on Discours, figure', Yale French Studies 99 (2001), 10-26; V. Constantinopoulous, 'Discourse, Figure: Digression on the Lack of Reality', Architectural Design (March 1998), 32-33 (Lyotard, ibid., 284-286); M. Smith, 'From Discours, Figure', in H. Pietersma, ed., Merleau Ponty: Critical Essays (Lanham, MD: University Press of America, 1989), 309-322 (Lyotard, ibid., 18-23; 53-59).
    • (2001) Yale French Studies , vol.99 , pp. 10-26
    • Lydon, M.1
  • 8
    • 13844308151 scopus 로고    scopus 로고
    • Discourse, Figure: Digression on the Lack of Reality
    • March
    • J.F. Lyotard, Discours, Figure (Paris: Editions Klinckseick, 1974). Parts have been translated in M. Lydon, 'The Dream-Work Does Not Think', in A. Benjamin, ed., The Lyotard Reader (Oxford: Blackwell, 1989), 19-55 (Lyotard, ibid., 239-270); M. Lydon, 'Fiscourse Digure: The Utopia behind the Scenes of Phantasy', Theater Journal 35/3, (October 1983), 333-357 (Lyotard, ibid., 327-355); M. Lydon, 'Veduta on Discours, figure', Yale French Studies 99 (2001), 10-26; V. Constantinopoulous, 'Discourse, Figure: Digression on the Lack of Reality', Architectural Design (March 1998), 32-33 (Lyotard, ibid., 284-286); M. Smith, 'From Discours, Figure', in H. Pietersma, ed., Merleau Ponty: Critical Essays (Lanham, MD: University Press of America, 1989), 309-322 (Lyotard, ibid., 18-23; 53-59).
    • (1998) Architectural Design , pp. 32-33
    • Constantinopoulous, V.1
  • 9
    • 0003641313 scopus 로고    scopus 로고
    • J.F. Lyotard, Discours, Figure (Paris: Editions Klinckseick, 1974). Parts have been translated in M. Lydon, 'The Dream-Work Does Not Think', in A. Benjamin, ed., The Lyotard Reader (Oxford: Blackwell, 1989), 19-55 (Lyotard, ibid., 239-270); M. Lydon, 'Fiscourse Digure: The Utopia behind the Scenes of Phantasy', Theater Journal 35/3, (October 1983), 333-357 (Lyotard, ibid., 327-355); M. Lydon, 'Veduta on Discours, figure', Yale French Studies 99 (2001), 10-26; V. Constantinopoulous, 'Discourse, Figure: Digression on the Lack of Reality', Architectural Design (March 1998), 32-33 (Lyotard, ibid., 284-286); M. Smith, 'From Discours, Figure', in H. Pietersma, ed., Merleau Ponty: Critical Essays (Lanham, MD: University Press of America, 1989), 309-322 (Lyotard, ibid., 18-23; 53-59).
    • Discours, Figure , pp. 284-286
    • Lyotard1
  • 10
    • 13844322158 scopus 로고
    • From Discours, Figure
    • H. Pietersma, ed., Lanham, MD: University Press of America
    • J.F. Lyotard, Discours, Figure (Paris: Editions Klinckseick, 1974). Parts have been translated in M. Lydon, 'The Dream-Work Does Not Think', in A. Benjamin, ed., The Lyotard Reader (Oxford: Blackwell, 1989), 19-55 (Lyotard, ibid., 239-270); M. Lydon, 'Fiscourse Digure: The Utopia behind the Scenes of Phantasy', Theater Journal 35/3, (October 1983), 333-357 (Lyotard, ibid., 327-355); M. Lydon, 'Veduta on Discours, figure', Yale French Studies 99 (2001), 10-26; V. Constantinopoulous, 'Discourse, Figure: Digression on the Lack of Reality', Architectural Design (March 1998), 32-33 (Lyotard, ibid., 284-286); M. Smith, 'From Discours, Figure', in H. Pietersma, ed., Merleau Ponty: Critical Essays (Lanham, MD: University Press of America, 1989), 309-322 (Lyotard, ibid., 18-23; 53-59).
    • (1989) Merleau Ponty: Critical Essays , pp. 309-322
    • Smith, M.1
  • 11
    • 0003641313 scopus 로고    scopus 로고
    • J.F. Lyotard, Discours, Figure (Paris: Editions Klinckseick, 1974). Parts have been translated in M. Lydon, 'The Dream-Work Does Not Think', in A. Benjamin, ed., The Lyotard Reader (Oxford: Blackwell, 1989), 19-55 (Lyotard, ibid., 239-270); M. Lydon, 'Fiscourse Digure: The Utopia behind the Scenes of Phantasy', Theater Journal 35/3, (October 1983), 333-357 (Lyotard, ibid., 327-355); M. Lydon, 'Veduta on Discours, figure', Yale French Studies 99 (2001), 10-26; V. Constantinopoulous, 'Discourse, Figure: Digression on the Lack of Reality', Architectural Design (March 1998), 32-33 (Lyotard, ibid., 284-286); M. Smith, 'From Discours, Figure', in H. Pietersma, ed., Merleau Ponty: Critical Essays (Lanham, MD: University Press of America, 1989), 309-322 (Lyotard, ibid., 18-23; 53-59).
    • Discours, Figure , pp. 18-23
    • Lyotard1
  • 14
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    • Lyotard, supra n. 2, at 271
    • Lyotard, supra n. 2, at 271.
  • 16
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    • Lyotard, supra n. 2, 277
    • Lyotard, supra n. 2, 277.
  • 17
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    • Ibid., 271
    • Ibid., 271.
  • 18
    • 13844322157 scopus 로고    scopus 로고
    • note
    • A word of caution: terminology here is confusing. A 'figure' is a shape or form, as for example the figure of a man or umbrella. A 'Figure', on the other hand, is a theoretical construct created by Lyotard and then used by Deleuze. I have tried to maintain a clear distinction between these two by the use of small and capital letters.
  • 21
    • 13844312879 scopus 로고    scopus 로고
    • Lyotard, supra n. 2, 278
    • Lyotard, supra n. 2, 278.
  • 22
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    • Ibid., at 277
    • Ibid., at 277.
  • 23
    • 13844319961 scopus 로고    scopus 로고
    • supra n. 2
    • See also Lyotard's critique of (early) Lacan in Lydon, 'Dream-work', supra n. 2, 19-55.
    • Dream-work , pp. 19-55
    • Lydon1
  • 24
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    • London: Karnac Books
    • Freud makes a distinction between 'word presentations' and 'thing presentations' (which are visual). In conscious thought, thing-presentations are bound to word-presentations. In the unconscious, however, only thing-presentations are found. In dreams, word-presentations are treated as thing-presentations and undergo the primary processes (condensation, displacement, etc.) just as thing-presentations do. J. Laplanche and J.-B. Pontalis, The Language of Psychoanalysis (London: Karnac Books, 1973).
    • (1973) The Language of Psychoanalysis
    • Laplanche, J.1    Pontalis, J.-B.2
  • 25
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    • Lyotard, supra n. 2, 247
    • Lyotard, supra n. 2, 247.
  • 26
    • 13844319961 scopus 로고    scopus 로고
    • supra n. 2
    • Lydon, 'Dream-work', in supra n. 2, 51.
    • Dream-work , pp. 51
    • Lydon1
  • 27
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    • Cambridge, MA: MIT Press
    • R. Krauss, The Optical Unconsciousness (Cambridge, MA: MIT Press, 1993), 221. Krauss provides an excellent analysis of Lyotard's interpretation of Freud's fantasy, 'A Child is Being Beaten'.
    • (1993) The Optical Unconsciousness , pp. 221
    • Krauss, R.1
  • 28
    • 13844314304 scopus 로고    scopus 로고
    • supra n. 2, 352 ff
    • See the discussion in Lydon, 'Fiscourse Digure', supra n. 2, 352 ff.
    • Fiscourse Digure
    • Lydon1
  • 29
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    • Ibid., 343. See also the discussion in G. Bennington, Lyotard: Writing the Event, (Manchester: Manchester University Press, 1988), 98 ff.
    • Fiscourse Digure , pp. 343
  • 30
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    • Manchester: Manchester University Press, 98 ff
    • Ibid., 343. See also the discussion in G. Bennington, Lyotard: Writing the Event, (Manchester: Manchester University Press, 1988), 98 ff.
    • (1988) Lyotard: Writing the Event
    • Bennington, G.1
  • 31
    • 13844314304 scopus 로고    scopus 로고
    • Krauss, supra n. 18, 222; supra n. 2
    • Krauss, supra n. 18, 222; Lydon, 'Fiscourse Digure', supra n. 2, 355.
    • Fiscourse Digure , pp. 355
    • Lydon1
  • 32
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    • Bois, supra n. 12, 108
    • Bois, supra n. 12, 108.
  • 33
    • 13844314304 scopus 로고    scopus 로고
    • supra n. 2, Bennington, supra n. 21, 99
    • Lydon, 'Fiscourse Digure', supra n. 2, 355; Bennington, supra n. 21, 99.
    • Fiscourse Digure , pp. 355
    • Lydon1
  • 35
    • 13844314304 scopus 로고    scopus 로고
    • supra n. 2
    • This is not the spacing of opposition in a structure, the 'separating terms that belong on the same plane'. Rather it is a 'fracture', or 'chasm', with two sides 'of widely differing altitudes'. Lydon, 'Fiscourse Digure', supra n. 2, 354.
    • Fiscourse Digure , pp. 354
    • Lydon1
  • 36
    • 13844322156 scopus 로고    scopus 로고
    • Ibid., 334-335. See J. Williams, Lyotard and the Political (London: Routledge, 2000), 66-71.
    • Fiscourse Digure , pp. 334-335
  • 38
    • 13844309843 scopus 로고    scopus 로고
    • supra n. 2, Lyotard, supra n. 2, 238
    • Lydon, 'Veduta', supra n. 2, 21 (Lyotard, supra n. 2, 238).
    • Veduta , pp. 21
    • Lydon1
  • 39
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    • Cezanne's Doubt
    • Williams, supra n. 26, 70 H. Dreyfus and P. Dreyfus, trans. Evanston, IL: Northwestern University Press
    • Williams, supra n. 26, 70. Lyotard is responding to M. Merleau-Ponty, 'Cezanne's Doubt', in Sense and Non-sense, H. Dreyfus and P. Dreyfus, trans. (Evanston, IL: Northwestern University Press, 1964), 11.
    • (1964) Sense and Non-sense , pp. 11
    • Merleau-Ponty, M.1
  • 40
    • 13844315733 scopus 로고    scopus 로고
    • Williams, supra n. 70 ff
    • Williams, supra n. 70 ff. See Lyotard, 'La peinture comme dispositif libidinal' [1972] and 'Freud selon Cézanne' [1971], in Des Dispositifs Pulsionnels (Paris: Christian Bernard, 1980).
    • 'La Peinture Comme Dispositif Libidinal' [1972]
    • Lyotard1
  • 41
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    • 'Freud selon Cézanne' [1971]
    • Paris: Christian Bernard
    • Williams, supra n. 70 ff. See Lyotard, 'La peinture comme dispositif libidinal' [1972] and 'Freud selon Cézanne' [1971], in Des Dispositifs Pulsionnels (Paris: Christian Bernard, 1980).
    • (1980) Des Dispositifs Pulsionnels
  • 43
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    • Bennington, supra n. 20, 74
    • Bennington, supra n. 20, 74.
  • 45
    • 13844309843 scopus 로고    scopus 로고
    • supra n. 2
    • Lydon, 'Veduta', supra n. 2, 22.
    • Veduta , pp. 22
    • Lydon1
  • 46
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    • Readings, supra n. 32, 23
    • Readings, supra n. 32, 23.
  • 47
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    • Bennington, supra n., 75; supra n. 2
    • Bennington, supra n., 75; cf. Discours Figure, supra n. 2, 21.
    • Discours Figure , pp. 21
  • 48
    • 13844308150 scopus 로고    scopus 로고
    • Krauss, supra n., 218 supra n. 2
    • Krauss, supra n., 218; cf. Discours Figure, supra n. 2, 21.
    • Discours Figure , pp. 21
  • 49
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    • R. Hurley, et al. trans. Minneapolis: University of Minnesota Press
    • G. Deleuze and F. Guattari, Anti-Oedipus: Capitalism and Schizophrenia, R. Hurley, et al. trans. (Minneapolis: University of Minnesota Press, 1983), 243. There is, however, another half to the story of Lyotard's Freudianism (as there was for Freud). Lyotard treats not only the deformation of images in the unconscious. He also treats the way in which these are staged in scenarios that express the repressed wish and it is clear that, implicitly at least, he adopted Freud's view of the law of castration which means desire is grounded in lack. Thus the positive energy of the Figure conflicts with the negative desire of the wish. In the second part of their review of Discourse, Figure, Deleuze and Guattari criticize Lyotard precisely on this point insofar as it prevented him from 'linking desire to a fundamental yes'. Ibid. Lyotard later claimed that Discourse, Figure was too bound up with Freud and too beholden to the idea of the wish. Although he claimed that along with Levinas, Freud had been his constant companion, he did not write anything overtly psychoanalytic until his last and incomplete writings on the theme of infancy and nachtraglichkeit. He used this, however, not as a psychoanalytic concept but rather as a philosophical one to think a kind of knowledge that consciousness cannot access.
    • (1983) Anti-Oedipus: Capitalism and Schizophrenia , pp. 243
    • Deleuze, G.1    Guattari, F.2
  • 51
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    • H. Tomlinson and B. Habberjam, trans. New York: Zone Books
    • G. Deleuze, Bergsonism, H. Tomlinson and B. Habberjam, trans. (New York: Zone Books, 1988); G. Deleuze, Difference and Repetition, P. Patton, trans. (New York: Columbia University Press, 1994).
    • (1988) Bergsonism
    • Deleuze, G.1
  • 52
    • 0004117671 scopus 로고
    • P. Patton, trans. New York: Columbia University Press
    • G. Deleuze, Bergsonism, H. Tomlinson and B. Habberjam, trans. (New York: Zone Books, 1988); G. Deleuze, Difference and Repetition, P. Patton, trans. (New York: Columbia University Press, 1994).
    • (1994) Difference and Repetition
    • Deleuze, G.1
  • 54
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    • Deleuze's Theory of Sensation: Overcoming the Kantian Duality
    • P. Patton ed., Oxford: Blackwell
    • D. Smith, 'Deleuze's Theory of Sensation: Overcoming the Kantian Duality', in P. Patton ed., Deleuze: A Critical Reader (Oxford: Blackwell, 1996), 43.
    • (1996) Deleuze: A Critical Reader , pp. 43
    • Smith, D.1
  • 55
    • 13844314292 scopus 로고    scopus 로고
    • Supra n. 124
    • Supra n. 124.
  • 56
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    • Ibid., 125
    • Ibid., 125.
  • 57
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    • Ibid., 118, Lausanne: Editions l'Age d'Homme
    • Ibid., 118, citing Henri Maldiney, Regard Parole Space (Lausanne: Editions l'Age d'Homme, 1973).
    • (1973) Regard Parole Space
    • Maldiney, H.1
  • 59
  • 60
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    • Introduction to These Paintings
    • New York
    • Ibid., 57, 87. See D.H. Lawrence, 'Introduction to These Paintings', Phoenix: The Posthumous Papers (New York, 1936), 578-579.
    • (1936) Phoenix: The Posthumous Papers , pp. 578-579
    • Lawrence, D.H.1
  • 61
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    • Supra n. 45, 42
    • Supra n. 45, 42.
  • 62
    • 13844316817 scopus 로고    scopus 로고
    • Maldiney, supra n. 44
    • Maldiney, supra n. 44.
  • 63
    • 13844319944 scopus 로고
    • Bogue, supra n. 40, 119 R. Manheim, trans. New York: Wittenborn Art Books
    • Bogue, supra n. 40, 119 quoting Paul Klee, J. Spiller, ed., Notebooks, Vol. 1, R. Manheim, trans. (New York: Wittenborn Art Books 1961), 4.
    • (1961) Notebooks , vol.1 , pp. 4
    • Klee, P.1    Spiller, J.2
  • 65
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    • Gilles Deleuze: The Aesthetics of Force
    • P. Patton, ed, London: Blackwell
    • R. Bogue, 'Gilles Deleuze: The Aesthetics of Force', in P. Patton, ed, Deleuze: A Critical Reader (London: Blackwell, 1996), 264.
    • (1996) Deleuze: A Critical Reader , pp. 264
    • Bogue, R.1
  • 66
    • 13844314303 scopus 로고    scopus 로고
    • Images of Bacon's paintings, arranged by year, can readily be found at www.francis-bacon.cx
  • 67
    • 13844318300 scopus 로고    scopus 로고
    • Supra n. 45, 59
    • Supra n. 45, 59.
  • 68
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    • Deleuze on J.M.W. Turner
    • K. Ansell-Pearson, ed., London: Routledge
    • See J. Williams, 'Deleuze on J.M.W. Turner', in K. Ansell-Pearson, ed., Deleuze and Philosophy: The Difference Engineer (London: Routledge, 1997), 233-246.
    • (1997) Deleuze and Philosophy: The Difference Engineer , pp. 233-246
    • Williams, J.1
  • 70
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    • Supra n. 45, 2
    • Supra n. 45, 2.
  • 71
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    • Ibid., 19
    • Ibid., 19.
  • 72
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    • Bogue, supra n. 40, 127
    • Bogue, supra n. 40, 127.
  • 73
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    • Bacon in supra n. 45, 24. (Bacon was fascinated by meat and carcasses in butcher shops: 'Of course ... we are potential carcasses.' Supra n. 55, 46)
    • Bacon in supra n. 45, 24. (Bacon was fascinated by meat and carcasses in butcher shops: 'Of course ... we are potential carcasses.' Supra n. 55, 46). See e.g., Painting, 1946; Figure with Meat, 1954.
    • (1946) Painting
  • 74
    • 13844322137 scopus 로고
    • Bacon in supra n. 45, 24. (Bacon was fascinated by meat and carcasses in butcher shops: 'Of course ... we are potential carcasses.' Supra n. 55, 46). See e.g., Painting, 1946; Figure with Meat, 1954.
    • (1954) Figure with Meat
  • 75
    • 13844311277 scopus 로고    scopus 로고
    • Supra n. 45, 22
    • Supra n. 45, 22.
  • 76
    • 13844318301 scopus 로고
    • Ibid.
    • Ibid. See e.g., Head I, 1949; Three Figures and a Portrait, 1975. The difference between meat/flesh and bone is evidenced in Bacon's fascination with the crucifixion: 'on the one hand, the sublime religiosity of the crucifixion shows an attempt to redress the body upright toward the radiance of the heavens, but, on the other hand, all transcendent uplift is countered by the weighty pulling of the flesh downward toward its own animality.' D. Polan, 'Francis Bacon: The Logic of Sensation', in C. Boundas and D. Olkowski, eds., Deleuze and the Theater of Philosophy (London: Routledge, 1994), 238. See Three Studies for Figures at the Base of the Crucifixion, 1944; Three Studies for a Crucifixion, 1962; Triptych - Crucifixion, 1965.
    • (1949) Head I
  • 77
    • 13844312877 scopus 로고
    • Ibid. See e.g., Head I, 1949; Three Figures and a Portrait, 1975. The difference between meat/flesh and bone is evidenced in Bacon's fascination with the crucifixion: 'on the one hand, the sublime religiosity of the crucifixion shows an attempt to redress the body upright toward the radiance of the heavens, but, on the other hand, all transcendent uplift is countered by the weighty pulling of the flesh downward toward its own animality.' D. Polan, 'Francis Bacon: The Logic of Sensation', in C. Boundas and D. Olkowski, eds., Deleuze and the Theater of Philosophy (London: Routledge, 1994), 238. See Three Studies for Figures at the Base of the Crucifixion, 1944; Three Studies for a Crucifixion, 1962; Triptych - Crucifixion, 1965.
    • (1975) Three Figures and a Portrait
  • 78
    • 79952244724 scopus 로고
    • Francis Bacon: The Logic of Sensation
    • C. Boundas and D. Olkowski, eds., London: Routledge
    • Ibid. See e.g., Head I, 1949; Three Figures and a Portrait, 1975. The difference between meat/flesh and bone is evidenced in Bacon's fascination with the crucifixion: 'on the one hand, the sublime religiosity of the crucifixion shows an attempt to redress the body upright toward the radiance of the heavens, but, on the other hand, all transcendent uplift is countered by the weighty pulling of the flesh downward toward its own animality.' D. Polan, 'Francis Bacon: The Logic of Sensation', in C. Boundas and D. Olkowski, eds., Deleuze and the Theater of Philosophy (London: Routledge, 1994), 238. See Three Studies for Figures at the Base of the Crucifixion, 1944; Three Studies for a Crucifixion, 1962; Triptych - Crucifixion, 1965.
    • (1994) Deleuze and the Theater of Philosophy , pp. 238
    • Polan, D.1
  • 79
    • 13844318299 scopus 로고
    • Ibid. See e.g., Head I, 1949; Three Figures and a Portrait, 1975. The difference between meat/flesh and bone is evidenced in Bacon's fascination with the crucifixion: 'on the one hand, the sublime religiosity of the crucifixion shows an attempt to redress the body upright toward the radiance of the heavens, but, on the other hand, all transcendent uplift is countered by the weighty pulling of the flesh downward toward its own animality.' D. Polan, 'Francis Bacon: The Logic of Sensation', in C. Boundas and D. Olkowski, eds., Deleuze and the Theater of Philosophy (London: Routledge, 1994), 238. See Three Studies for Figures at the Base of the Crucifixion, 1944; Three Studies for a Crucifixion, 1962; Triptych - Crucifixion, 1965.
    • (1944) Three Studies for Figures at the Base of the Crucifixion
  • 80
    • 13844322136 scopus 로고
    • Ibid. See e.g., Head I, 1949; Three Figures and a Portrait, 1975. The difference between meat/flesh and bone is evidenced in Bacon's fascination with the crucifixion: 'on the one hand, the sublime religiosity of the crucifixion shows an attempt to redress the body upright toward the radiance of the heavens, but, on the other hand, all transcendent uplift is countered by the weighty pulling of the flesh downward toward its own animality.' D. Polan, 'Francis Bacon: The Logic of Sensation', in C. Boundas and D. Olkowski, eds., Deleuze and the Theater of Philosophy (London: Routledge, 1994), 238. See Three Studies for Figures at the Base of the Crucifixion, 1944; Three Studies for a Crucifixion, 1962; Triptych - Crucifixion, 1965.
    • (1962) Three Studies for a Crucifixion
  • 81
    • 13844309824 scopus 로고
    • Ibid. See e.g., Head I, 1949; Three Figures and a Portrait, 1975. The difference between meat/flesh and bone is evidenced in Bacon's fascination with the crucifixion: 'on the one hand, the sublime religiosity of the crucifixion shows an attempt to redress the body upright toward the radiance of the heavens, but, on the other hand, all transcendent uplift is countered by the weighty pulling of the flesh downward toward its own animality.' D. Polan, 'Francis Bacon: The Logic of Sensation', in C. Boundas and D. Olkowski, eds., Deleuze and the Theater of Philosophy (London: Routledge, 1994), 238. See Three Studies for Figures at the Base of the Crucifixion, 1944; Three Studies for a Crucifixion, 1962; Triptych - Crucifixion, 1965.
    • (1965) Triptych - Crucifixion
  • 82
    • 13844322155 scopus 로고    scopus 로고
    • Supra n. 45, 20
    • Supra n. 45, 20.
  • 83
    • 13844306727 scopus 로고    scopus 로고
    • Ibid.
    • I b i d.
  • 84
    • 13844312870 scopus 로고    scopus 로고
    • Ibid., 27
    • Ibid., 27.
  • 90
    • 13844308141 scopus 로고    scopus 로고
    • Polan, supra n. 61, 237
    • Polan, supra n. 61, 237.
  • 91
    • 13844316835 scopus 로고    scopus 로고
    • Among the many, see those painted in 1949-1951, 1953, 1960, 1961
    • Among the many, see those painted in 1949-1951, 1953, 1960, 1961.
  • 92
    • 13844318319 scopus 로고    scopus 로고
    • Ibid., 16
    • Ibid., 16.
  • 93
    • 13844316818 scopus 로고    scopus 로고
    • Ibid., 60. See supra n. 55, 48
    • Ibid., 60. See supra n. 55, 48.
  • 94
    • 13844319950 scopus 로고
    • See e.g., Three Figures in a Room, 1964; Three Studies of the Human Body I & II, 1970; Triptych - In Memory of George Dyer, 1971; Triptych - May-June, 1973.
    • (1964) Three Figures in a Room
  • 95
    • 13844308139 scopus 로고
    • See e.g., Three Figures in a Room, 1964; Three Studies of the Human Body I & II, 1970; Triptych - In Memory of George Dyer, 1971; Triptych - May-June, 1973.
    • (1970) Three Studies of the Human Body I & II
  • 96
    • 13844316816 scopus 로고
    • See e.g., Three Figures in a Room, 1964; Three Studies of the Human Body I & II, 1970; Triptych - In Memory of George Dyer, 1971; Triptych - May-June, 1973.
    • (1971) Triptych - In Memory of George Dyer
  • 97
    • 13844319948 scopus 로고
    • May-June
    • See e.g., Three Figures in a Room, 1964; Three Studies of the Human Body I & II, 1970; Triptych - In Memory of George Dyer, 1971; Triptych - May-June, 1973.
    • (1973) Triptych
  • 98
    • 13844322138 scopus 로고    scopus 로고
    • Polan, supra n. 61, 244
    • Polan, supra n. 61, 244.
  • 99
    • 13844319949 scopus 로고    scopus 로고
    • Supra n. 45, 73
    • Supra n. 45, 73.
  • 100
    • 13844322140 scopus 로고    scopus 로고
    • Ibid., 71, 73
    • Ibid., 71, 73.
  • 101
    • 13844311278 scopus 로고
    • supra n. 45
    • See, e.g., Deleuze's discussion of Painting, 1946, supra n. 45, 156.
    • (1946) Painting , pp. 156
    • Deleuze1
  • 102
    • 79954394320 scopus 로고    scopus 로고
    • Ibid., 159.
    • Painting , pp. 159
  • 103
    • 79954394320 scopus 로고    scopus 로고
    • Ibid., 111. See Conversations with Cezanne, M. Doran, ed., J. Cochran, trans. (Berkeley: University of California Press, 2001), 114-115.
    • Painting , pp. 111
  • 104
    • 79952428728 scopus 로고    scopus 로고
    • J. Cochran, trans. Berkeley: University of California Press
    • Ibid., 111. See Conversations with Cezanne, M. Doran, ed., J. Cochran, trans. (Berkeley: University of California Press, 2001), 114-115.
    • (2001) Conversations with Cezanne , pp. 114-115
    • Doran, M.1
  • 105
    • 84994293650 scopus 로고    scopus 로고
    • Ibid., 52. Deleuze liked Godard's formula, 'it's not blood, it's red.' See G. Deleuze, Cinema 1: The Movement Image, H. Tomlinson and B. Habberjam, trans. (Minneapolis: University of Minnesota Press, 1986), 118.
    • Conversations with Cezanne , pp. 52
  • 106
    • 0011566141 scopus 로고
    • H. Tomlinson and B. Habberjam, trans. Minneapolis: University of Minnesota Press
    • Ibid., 52. Deleuze liked Godard's formula, 'it's not blood, it's red.' See G. Deleuze, Cinema 1: The Movement Image, H. Tomlinson and B. Habberjam, trans. (Minneapolis: University of Minnesota Press, 1986), 118.
    • (1986) Cinema 1: The Movement Image , pp. 118
    • Deleuze, G.1
  • 107
    • 13844320768 scopus 로고    scopus 로고
    • Supra n. 45, 139
    • Supra n. 45, 139.
  • 108
    • 13844315724 scopus 로고    scopus 로고
    • Polan, supra n. 61, 251
    • Polan, supra n. 61, 251.
  • 109
    • 13844311281 scopus 로고    scopus 로고
    • Bogue, supra n. 40, 132 ff
    • See Bogue, supra n. 40, 132 ff.
  • 110
    • 13844318306 scopus 로고    scopus 로고
    • Ibid., 157
    • Ibid., 157.
  • 111
    • 13844315722 scopus 로고    scopus 로고
    • Supra n. 45, 134
    • Supra n. 45, 134.
  • 112
    • 13844308143 scopus 로고    scopus 로고
    • Bogue, supra n. 40, 157
    • Bogue, supra n. 40, 157.
  • 113
    • 13844308146 scopus 로고    scopus 로고
    • Supra n. 45, 151
    • Supra n. 45, 151.
  • 114
    • 13844318305 scopus 로고    scopus 로고
    • Ibid., 160
    • Ibid., 160.
  • 115
    • 13844319951 scopus 로고    scopus 로고
    • Ibid., 159
    • Ibid., 159.
  • 116
    • 13844309826 scopus 로고    scopus 로고
    • Ibid., 160
    • Ibid., 160.
  • 117
    • 13844308144 scopus 로고    scopus 로고
    • Ibid.
    • I b i d.
  • 119
    • 13844311280 scopus 로고    scopus 로고
    • Supra n. 45, 161
    • Supra n. 45, 161.
  • 120
    • 0004273459 scopus 로고    scopus 로고
    • D.W. Smith and M.A. Greco, trans. London: Verso
    • G. Deleuze, Essays Critical and Clinical, D.W. Smith and M.A. Greco, trans. (London: Verso, 1998).
    • (1998) Essays Critical and Clinical
    • Deleuze, G.1
  • 123
    • 13844314297 scopus 로고    scopus 로고
    • Williams, supra n. 54
    • See Williams, supra n. 54.
  • 124
    • 13844315721 scopus 로고    scopus 로고
    • Supra n. 95, 134
    • Supra n. 95, 134.
  • 125
    • 13844320770 scopus 로고    scopus 로고
    • Ibid., 127
    • Ibid., 127.
  • 126
    • 0004109534 scopus 로고
    • I.H. Grant, trans. London: Athlone Press, 1st published
    • J.-F. Lyotard, Libidinal Economy, I.H. Grant, trans. (London: Athlone Press, 1993) (1st published, 1974).
    • (1974) Libidinal Economy
    • Lyotard, J.-F.1
  • 127
    • 0004264988 scopus 로고
    • W. Godzich, trans. Manchester: Manchester University Press
    • J.-F. Lyotard, Just Gaming, W. Godzich, trans. (Manchester: Manchester University Press, 1985).
    • (1985) Just Gaming
    • Lyotard, J.-F.1
  • 128
    • 13844308145 scopus 로고    scopus 로고
    • Newman: The Instant
    • supra n. 2
    • J.-F. Lyotard, 'Newman: The Instant', in The Lyotard Reader, supra n. 2, 240-49, 245. See also 'The Sublime and the Avant Garde', in The Lyotard Reader, supra n. 2, 196-211.
    • The Lyotard Reader , pp. 240-249
    • Lyotard, J.-F.1
  • 129
    • 0001896859 scopus 로고    scopus 로고
    • The Sublime and the Avant Garde
    • supra n. 2
    • J.-F. Lyotard, 'Newman: The Instant', in The Lyotard Reader, supra n. 2, 240-49, 245. See also 'The Sublime and the Avant Garde', in The Lyotard Reader, supra n. 2, 196-211.
    • The Lyotard Reader , pp. 196-211
  • 130
    • 0004041344 scopus 로고
    • A. Michel and M. Roberts, trans. Minneapolis: University of Minnesota Press
    • See for example Heidegger and the 'jews', A. Michel and M. Roberts, trans. (Minneapolis: University of Minnesota Press, 1990) and 'Emma: Between Philosophy and Psychoanalysis', in H.J. Silverman, ed., Lyotard: Philosophy, Politics, and the Sublime (London: Routledge, 2002).
    • (1990) Heidegger and the 'Jews'
  • 131
    • 36448995721 scopus 로고    scopus 로고
    • Emma: Between Philosophy and Psychoanalysis
    • London: Routledge
    • See for example Heidegger and the 'jews', A. Michel and M. Roberts, trans. (Minneapolis: University of Minnesota Press, 1990) and 'Emma: Between Philosophy and Psychoanalysis', in H.J. Silverman, ed., Lyotard: Philosophy, Politics, and the Sublime (London: Routledge, 2002).
    • (2002) Lyotard: Philosophy, Politics, and the Sublime
    • Silverman, H.J.1
  • 132
    • 13844315723 scopus 로고    scopus 로고
    • Philadelphia: Philadelphia Museum of Art
    • Excellent reproductions of Newman's paintings can be found in A. Temkin, Barnett Newman (Philadelphia: Philadelphia Museum of Art, 2002).
    • (2002) Barnett Newman
    • Temkin, A.1
  • 133
    • 13844316820 scopus 로고    scopus 로고
    • supra n. 103
    • 'Newman', supra n. 103, 241, 244.
    • Newman , pp. 241
  • 134
    • 13844322135 scopus 로고    scopus 로고
    • Ibid., 243. See S. Malpas, 'Sublime Ascesis: Lyotard, Art and the Event', Angelaki 7 (2002) 199-211, 201 and T. Hess, Barnett Newman (New York: Museum of Modern Art, 1971).
    • Newman , pp. 243
  • 135
    • 13844322135 scopus 로고    scopus 로고
    • Sublime Ascesis: Lyotard, Art and the Event
    • Ibid., 243. See S. Malpas, 'Sublime Ascesis: Lyotard, Art and the Event', Angelaki 7 (2002) 199-211, 201 and T. Hess, Barnett Newman (New York: Museum of Modern Art, 1971).
    • (2002) Angelaki , vol.7 , pp. 199-211
    • Malpas, S.1
  • 136
    • 13844322135 scopus 로고    scopus 로고
    • New York: Museum of Modern Art
    • Ibid., 243. See S. Malpas, 'Sublime Ascesis: Lyotard, Art and the Event', Angelaki 7 (2002) 199-211, 201 and T. Hess, Barnett Newman (New York: Museum of Modern Art, 1971).
    • (1971) Barnett Newman
    • Hess, T.1
  • 137
    • 13844314299 scopus 로고    scopus 로고
    • supra n.
    • 'Newman', supra n., 243.
    • Newman , pp. 243
  • 138
    • 13844315725 scopus 로고    scopus 로고
    • Ibid., 246.
    • Newman , pp. 246
  • 139
    • 13844308147 scopus 로고    scopus 로고
    • Ibid., 243.
    • Newman , pp. 243
  • 140
    • 13844318303 scopus 로고    scopus 로고
    • Ibid., 248.
    • Newman , pp. 248
  • 141
    • 13844318302 scopus 로고    scopus 로고
    • Malpas, supra n. 107, 208
    • Ibid.; Malpas, supra n. 107, 208.
    • Newman
  • 142
    • 13844308138 scopus 로고    scopus 로고
    • I b i d.
    • Newman , pp. 243
  • 143
    • 13844309827 scopus 로고    scopus 로고
    • Ibid., 242.
    • Newman , pp. 242
  • 144
    • 13844314296 scopus 로고    scopus 로고
    • Ibid., 248.
    • Newman , pp. 248
  • 145
    • 13844314294 scopus 로고
    • General Cipriano as the god of war, Huitzilopochtli
    • London: Martin Secker
    • His examples do not always inspire confidence, cf. General Cipriano as the god of war, Huitzilopochtli, in D.H. Lawrence's ed., The Plumed Serpent: Quetzalcoatl (London: Martin Secker, 1926).
    • (1926) The Plumed Serpent: Quetzalcoatl
    • Lawrence, D.H.1


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