-
1
-
-
13844315735
-
-
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
-
-
0003641313
-
-
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
-
-
63849226476
-
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
-
-
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
-
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
-
-
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
-
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
-
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
-
-
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
-
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
-
-
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
-
-
13844315734
-
-
Lyotard, supra n. 2, at 271
-
Lyotard, supra n. 2, at 271.
-
-
-
-
16
-
-
13844316836
-
-
Lyotard, supra n. 2, 277
-
Lyotard, supra n. 2, 277.
-
-
-
-
17
-
-
13844311289
-
-
Ibid., 271
-
Ibid., 271.
-
-
-
-
18
-
-
13844322157
-
-
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
-
-
Lyotard, supra n. 2, 278
-
Lyotard, supra n. 2, 278.
-
-
-
-
22
-
-
13844308152
-
-
Ibid., at 277
-
Ibid., at 277.
-
-
-
-
23
-
-
13844319961
-
-
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
-
-
0004059870
-
-
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
-
-
13844314306
-
-
Lyotard, supra n. 2, 247
-
Lyotard, supra n. 2, 247.
-
-
-
-
26
-
-
13844319961
-
-
supra n. 2
-
Lydon, 'Dream-work', in supra n. 2, 51.
-
Dream-work
, pp. 51
-
-
Lydon1
-
27
-
-
0004198528
-
-
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
-
-
supra n. 2, 352 ff
-
See the discussion in Lydon, 'Fiscourse Digure', supra n. 2, 352 ff.
-
Fiscourse Digure
-
-
Lydon1
-
29
-
-
13844322156
-
-
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
-
-
0039794412
-
-
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
-
-
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
-
-
13844318320
-
-
Bois, supra n. 12, 108
-
Bois, supra n. 12, 108.
-
-
-
-
33
-
-
13844314304
-
-
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
-
-
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
-
-
Ibid., 334-335. See J. Williams, Lyotard and the Political (London: Routledge, 2000), 66-71.
-
Fiscourse Digure
, pp. 334-335
-
-
-
38
-
-
13844309843
-
-
supra n. 2, Lyotard, supra n. 2, 238
-
Lydon, 'Veduta', supra n. 2, 21 (Lyotard, supra n. 2, 238).
-
Veduta
, pp. 21
-
-
Lydon1
-
39
-
-
13844316821
-
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
-
-
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
-
-
13844314305
-
'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
-
-
13844319960
-
-
Bennington, supra n. 20, 74
-
Bennington, supra n. 20, 74.
-
-
-
-
45
-
-
13844309843
-
-
supra n. 2
-
Lydon, 'Veduta', supra n. 2, 22.
-
Veduta
, pp. 22
-
-
Lydon1
-
46
-
-
13844312878
-
-
Readings, supra n. 32, 23
-
Readings, supra n. 32, 23.
-
-
-
-
47
-
-
13844308150
-
-
Bennington, supra n., 75; supra n. 2
-
Bennington, supra n., 75; cf. Discours Figure, supra n. 2, 21.
-
Discours Figure
, pp. 21
-
-
-
48
-
-
13844308150
-
-
Krauss, supra n., 218 supra n. 2
-
Krauss, supra n., 218; cf. Discours Figure, supra n. 2, 21.
-
Discours Figure
, pp. 21
-
-
-
49
-
-
0003881428
-
-
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
-
-
0004207187
-
-
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
-
-
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
-
-
0039794408
-
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
-
-
Supra n. 124
-
Supra n. 124.
-
-
-
-
56
-
-
13844318318
-
-
Ibid., 125
-
Ibid., 125.
-
-
-
-
57
-
-
13844319943
-
-
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
-
-
13844316814
-
-
Ibid., 57, 87. See D.H. Lawrence, 'Introduction to These Paintings', Phoenix: The Posthumous Papers (New York, 1936), 578-579.
-
Francis Bacon: The Logic of Sensation
, pp. 57
-
-
-
60
-
-
84905536845
-
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
-
-
13844312868
-
-
Supra n. 45, 42
-
Supra n. 45, 42.
-
-
-
-
62
-
-
13844316817
-
-
Maldiney, supra n. 44
-
Maldiney, supra n. 44.
-
-
-
-
63
-
-
13844319944
-
-
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
-
-
0242535871
-
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
-
-
Images of Bacon's paintings, arranged by year, can readily be found at www.francis-bacon.cx
-
-
-
-
67
-
-
13844318300
-
-
Supra n. 45, 59
-
Supra n. 45, 59.
-
-
-
-
68
-
-
13844322134
-
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
-
69
-
-
52849096807
-
-
D. Sylvester, ed., 3rd edn. London: Thames & Hudson
-
The Brutality of Fact: Interviews with Francis Bacon, 1962-1979, D. Sylvester, ed., 3rd edn. (London: Thames & Hudson, 1987), 48.
-
(1987)
The Brutality of Fact: Interviews with Francis Bacon, 1962-1979
, pp. 48
-
-
-
70
-
-
13844316815
-
-
Supra n. 45, 2
-
Supra n. 45, 2.
-
-
-
-
71
-
-
13844319946
-
-
Ibid., 19
-
Ibid., 19.
-
-
-
-
72
-
-
13844319945
-
-
Bogue, supra n. 40, 127
-
Bogue, supra n. 40, 127.
-
-
-
-
73
-
-
13844314293
-
-
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
-
-
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
-
-
Supra n. 45, 22
-
Supra n. 45, 22.
-
-
-
-
76
-
-
13844318301
-
-
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
-
-
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
-
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
-
-
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
-
-
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
-
-
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
-
-
Supra n. 45, 20
-
Supra n. 45, 20.
-
-
-
-
83
-
-
13844306727
-
-
Ibid.
-
I b i d.
-
-
-
-
84
-
-
13844312870
-
-
Ibid., 27
-
Ibid., 27.
-
-
-
-
90
-
-
13844308141
-
-
Polan, supra n. 61, 237
-
Polan, supra n. 61, 237.
-
-
-
-
91
-
-
13844316835
-
-
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
-
-
Ibid., 16
-
Ibid., 16.
-
-
-
-
93
-
-
13844316818
-
-
Ibid., 60. See supra n. 55, 48
-
Ibid., 60. See supra n. 55, 48.
-
-
-
-
94
-
-
13844319950
-
-
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
-
-
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
-
-
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
-
-
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
-
-
Polan, supra n. 61, 244
-
Polan, supra n. 61, 244.
-
-
-
-
99
-
-
13844319949
-
-
Supra n. 45, 73
-
Supra n. 45, 73.
-
-
-
-
100
-
-
13844322140
-
-
Ibid., 71, 73
-
Ibid., 71, 73.
-
-
-
-
101
-
-
13844311278
-
-
supra n. 45
-
See, e.g., Deleuze's discussion of Painting, 1946, supra n. 45, 156.
-
(1946)
Painting
, pp. 156
-
-
Deleuze1
-
102
-
-
79954394320
-
-
Ibid., 159.
-
Painting
, pp. 159
-
-
-
103
-
-
79954394320
-
-
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
-
-
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
-
-
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
-
-
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
-
-
Supra n. 45, 139
-
Supra n. 45, 139.
-
-
-
-
108
-
-
13844315724
-
-
Polan, supra n. 61, 251
-
Polan, supra n. 61, 251.
-
-
-
-
109
-
-
13844311281
-
-
Bogue, supra n. 40, 132 ff
-
See Bogue, supra n. 40, 132 ff.
-
-
-
-
110
-
-
13844318306
-
-
Ibid., 157
-
Ibid., 157.
-
-
-
-
111
-
-
13844315722
-
-
Supra n. 45, 134
-
Supra n. 45, 134.
-
-
-
-
112
-
-
13844308143
-
-
Bogue, supra n. 40, 157
-
Bogue, supra n. 40, 157.
-
-
-
-
113
-
-
13844308146
-
-
Supra n. 45, 151
-
Supra n. 45, 151.
-
-
-
-
114
-
-
13844318305
-
-
Ibid., 160
-
Ibid., 160.
-
-
-
-
115
-
-
13844319951
-
-
Ibid., 159
-
Ibid., 159.
-
-
-
-
116
-
-
13844309826
-
-
Ibid., 160
-
Ibid., 160.
-
-
-
-
117
-
-
13844308144
-
-
Ibid.
-
I b i d.
-
-
-
-
119
-
-
13844311280
-
-
Supra n. 45, 161
-
Supra n. 45, 161.
-
-
-
-
120
-
-
0004273459
-
-
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
-
-
Williams, supra n. 54
-
See Williams, supra n. 54.
-
-
-
-
124
-
-
13844315721
-
-
Supra n. 95, 134
-
Supra n. 95, 134.
-
-
-
-
125
-
-
13844320770
-
-
Ibid., 127
-
Ibid., 127.
-
-
-
-
126
-
-
0004109534
-
-
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
-
-
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
-
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
-
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
-
-
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
-
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
-
-
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
-
-
supra n. 103
-
'Newman', supra n. 103, 241, 244.
-
Newman
, pp. 241
-
-
-
134
-
-
13844322135
-
-
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
-
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
-
-
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
-
-
supra n.
-
'Newman', supra n., 243.
-
Newman
, pp. 243
-
-
-
138
-
-
13844315725
-
-
Ibid., 246.
-
Newman
, pp. 246
-
-
-
139
-
-
13844308147
-
-
Ibid., 243.
-
Newman
, pp. 243
-
-
-
140
-
-
13844318303
-
-
Ibid., 248.
-
Newman
, pp. 248
-
-
-
141
-
-
13844318302
-
-
Malpas, supra n. 107, 208
-
Ibid.; Malpas, supra n. 107, 208.
-
Newman
-
-
-
142
-
-
13844308138
-
-
I b i d.
-
Newman
, pp. 243
-
-
-
143
-
-
13844309827
-
-
Ibid., 242.
-
Newman
, pp. 242
-
-
-
144
-
-
13844314296
-
-
Ibid., 248.
-
Newman
, pp. 248
-
-
-
145
-
-
13844314294
-
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
|