Traces: Writing the visual in Daewoo by François Bon

Yale French Studies

Volumn 114, Issue , 2008, Pages 80-94

  Altes, Liesbeth Korthals ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61949174654     PISSN: 00440078     EISSN: None     Source Type: Book Series    
DOI: None     Document Type: Article

References (5)

1. Daewoo (Paris: Fayard, 2004)
2. Interestingly, Bon combines the two modes that André Rouillé, with respect to photography, constructs as poles: the "photo-document" claiming an objective "indexical" relation to the real, and the "photo-expression," which instead takes into account the "codes" and the "already seen" that intervene in perception. See Rouillé, La photographie. Entre document et art contemporain (Paris: Gallimard, 2005), 29-300
3. See www.tierslivre.net/livres/DW/index.html (last accessed 07/29/2007)
4. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill and Wang, 1981], 78-79
5. Emmanuel Levinas, Totality and Infinity: An Essay on Exteriority, trans. Alphonso Lingis (Pittsburgh: Duquesne University Press, 1969), 208 and 198. It would be interesting to discuss more thoroughly Bon's work in light of Levinas' complex reflection on the relation between (visual and tactile) sensation, immediacy and language, and on the ethical "primordial face to face" relation between I and Other, which grounds language as communication (see most of Section III, "Exteriority and the Face," 187-219 especially)