Please use this identifier to cite or link to this item: http://hdl.handle.net/1942/27845
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dc.contributor.authorIONESCU, Vlad-
dc.date.accessioned2019-03-06T11:17:52Z-
dc.date.available2019-03-06T11:17:52Z-
dc.date.issued2019-
dc.identifier.citationMarin, Laura; Diaconu, Anca (Ed.). Working through the Figure: Theory, Practice, Method, Editura Universitatii din Bucuresti, p. 11-62-
dc.identifier.isbn9786061609383-
dc.identifier.urihttp://hdl.handle.net/1942/27845-
dc.description.abstractComparing to figura and the figurative, the figural has a shorter history. In Discourse, Figure (1971), Jean-François Lyotard thoroughly elaborated on this notion. A decade later, Gilles Deleuze further developed it in The Logic of Sensation (1981), where the productive Diagram and the intensive Sensation are both related to the Figure. Building upon those previous works, the goal of the present essay is twofold: first, to advance the figural as a concept that allows for the understanding of representation as a disproportion between qualitatively different realms (text vs. image, conscious vs. unconscious, visible vs. invisible) – a synchronic approach dealing with the general principles of representation. Secondly, the study investigates whether a diachronic function of the figural can be traced in art history. The hypothesis here is that there is a transgressive intensity of images that unfolds throughout art history. In order to test this hypothesis, the essay addresses the temporality of the figura in Erich Auerbach’s interpretation, as well as the idea of an afterlife of Antiquity in Aby Warburg’s and Horst Bredekamp’s image-act theory. The conclusion is that representation includes and depends on an ontological difference between that which conditions its own structure (what is allowed to be represented) and a surplus of sense coming from the object of representation and its perception (as object of desire). The figural (and its conceptual siblings) shows how images determine our understanding of the world while relating it to a productive potential emerging from desire, the unconscious, sensation or God.-
dc.description.sponsorshipThis work was supported by a grant from the Romanian National Authority for Scientific Research and Innovation, CNCS Ŕ UEFISCDI, project number PN-II- RU-TE-2014-4-0787.-
dc.language.isoen-
dc.publisherEditura Universitatii din Bucuresti-
dc.relation.ispartofseriesText & Image-
dc.subject.otherfigure; figural; figurative; aesthetics; image analysis; Jean-François Lyotard; Gilles Deleuze; Sigmund Freud; temporality; Aby Warburg; Horst Bredekamp; Georges-Didi Huberman; Erich Auerbach-
dc.titleThe Figure in Time. On the Temporality of the Figural-
dc.typeBook Section-
local.bibliographicCitation.authorsMarin, Laura-
local.bibliographicCitation.authorsDiaconu, Anca-
dc.identifier.epage62-
dc.identifier.spage11-
local.bibliographicCitation.jcatB2-
local.publisher.placeBucharest-
dc.relation.referencesAuerbach, Erich, ŖFiguraŗ, trans. by Ralph Manheim, in Scenes from the Drama of European Literature, with a Foreword by Paolo Valesio, Minneapolis, University of Minnesota Press, 1984, pp. 9-76. Baudelaire, Charles, The Painter of Modern Life and Other Essays, trans. and ed. by Jonathan Mayne, London, Phaidon, 1964. Bogue, Roland, Deleuze on Music, Painting and the Arts, New York, Routledge, 2003. Bredekamp, Horst, Theorie des Bildakts. Frankfurter Adorno-Vorlesungen, Frankfurt am Main, Suhrkamp, 2010. Buydens, Mireille, Sahara. L’esthétique de Gilles Deleuze, Paris, Vrin, 2005. Deleuze, Gilles, Différence et répétition, Paris, PUF, 1968; trans. into English by Paul Patton as Difference and Repetition, London, Continuum, 2004. ŕ, L’île déserte et autres textes, Paris, Minuit, 2002. ŕ, L’île déserte. Textes et entretiens 1953-1974, ed. by David Lapoujade, Paris, Minuit, 2002. ŕ, Francis Bacon. The Logic of Sensation, trans. by Daniel W. Smith, London/New York, Continuum, 2003. Deleuze, Gilles, Félix Guattari, Capitalisme et Schizophrénie. L’Anti-Œdipe, Paris, Minuit, 1972; trans. into English by Robert Hurley, Mark Seem, and Helen R. Lane, as Anti-Oedipus. Capitalism and Schizophrenia, translated with a Foreword by Michel Foucault, London, Continuum, 2004. ŕ, Qu’est-ce que le philosophie?, Paris, Minuit, 1991. Didi-Huberman, Georges, Fra Angelico. Dissemblance and Figuration, trans. by Jane Marie Todd, Chicago, The University of Chicago Press, 1995. Freud, Sigmund, ŖA Child Is Being Beaten: A Contribution to the Study of the Origin of Sexual Perversionsŗ, in The Penguin Freud Library, vol. 10: On Psychopathology, trans. James Strachey, ed. by Angela Richards, London, Penguin Books, 1979, pp. 161-193. ŕ, Beyond the Pleasure Principle [1920], in The Penguin Freud Library, vol. 11: On Metapsychology, trans. James Strachey, ed. by Angela Richards, London, Penguin Books, 1991, pp. 271-349. ŕ, Negation [1925], in The Penguin Freud Library, vol. 11: On Metapsychology, trans. James Strachey, ed. by Angela Richards, London, Penguin Books, 1991, pp. 436-442. Greimas, Algirdas-Julien, De l’imperfection, Périgueux, Pierre Fanlac, 1987. Husserl, Edmund, Analyses Concerning Passive and Active Synthesis. Lectures on Transcendental Logic, trans. Anthony J. Steinbock, Dordrecht, Kluwer, 2001. ŕ, Phantasy, Image-Consciousness and Memory (1898-1925), trans. John B. Brough, Dordrecht, Springer, 2005. Ionescu, Vlad, ŖřIt is as if ... a catastrophe overcame the canvassř. Deleuze and the Pictorial Set-upŗ, in Frederik Le Roy, Nele Wynants, Dominiek Hoens, Robrecht Vanderbeeken (eds.), Tickle your Catastrophe! Imagining Catastrophe in Art, Architecture and Philosophy, Gent, Academia Press, 2011, pp. 111-129. ŕ, ŖDeleuzeřs Tensive Notion of Painting in the Light of Riegl, Wölfflin and Worringerŗ, Deleuze Studies, vol. 5, no. 1, 2011, pp. 52-62. ŕ, ŖThe Spectrum of the Figural. Aesthetics in the Eyes of Jean-François Lyotardŗ, Art History Supplement, vol. 4, no. 1, 2014, pp. 46-74. Laplanche, Jean, Pontalis, J. B., Vocabulaire de la psychanalyse, Paris, PUF, 2002. Lyotard, Jean-François, Discours, figure, Paris, Klincksieck, 1971; trans. into English by Anthony Hudek and Mary Lyton as Discourse, Figure, with an Introduction by John Mowitt, Minneapolis, University of Minnesota Press, 2011. ŕ, Dérive à partir de Marx et Freud, Paris, Union Générale dřÉditions, 1973. ŕ, Le différend, Paris, Minuit, 1983. ŕ, ŖDésordre”, in Lectures d’enfance, Paris, Galilée, 1991, pp. 109-125. ŕ, Leçons sur l'Analytique du sublime, Paris, Galilée, 1991. ŕ, Karel Appel. Un geste de couleur/A Gesture of Colour, trans. Vlad Ionescu and Peter W. Milne, ed. by Herman Parret, Leuven, Leuven University Press, 2009. Marin, Louis, Des pouvoirs de l’image, Paris, Seuil, 1993. Merleau-Ponty, Maurice, The Visible and the Invisible. Followed by Working Notes, trans. Alphonso Lingis, ed. by Claude Lefort, Evanston, Northwestern University Press, 1968. Preimesberger, Rudolf, ŖThe face that is known draws the eyes of all spectators...ŗ, in Keith Christiansen, Stefan Weppelmann, Patricia Rubin et al. (eds.), The Renaissance Portrait: From Donatello to Bellini, New York, Metropolitan Museum of Art, 2011, pp. 77-84. Rancière, Jacques, ŖExiste-t-il une esthétique deleuzienne?ŗ, in Eric Alliez (ed.), Gilles Deleuze. Une vie philosophique. Rencontres Internationales, Rio de Janeiro-São Paulo, 10-14 Juin 1996, Le Plessis-Robinson, Institut Synthélabo pour le progrès de la connaissance, 1998, pp. 525-536. ŕ, Le partage du sensible: esthétique et politique, Paris, La Fabrique, 2000. Riegl, Aloïs, Historische Grammatik der bildenden Künste, Vorlesungen von 1897-1899, Herausgegeben von Karl M. Swoboda und Otto Pächt, Hermann Böhlau, Köln, 1966. ŕ, The Origins of Baroque Art in Rome, ed. and trans. by Andrew Hopkins and Arnold Witte, Los Angeles, The Getty Research Institute, 2010. Saussure, Ferdinand de, Course in General Linguistics, ed. and trans. by Roy Harris, London, Bloomsbury, 2013. Valéry, Paul, ŖPhilosophie de la danseŗ, in Œuvres I, Paris, Gallimard, Bibliothèque de la Pléiade, 1957, pp. 1390-1404. van Gerrewey, Christophe, ŖIets anders dan de mens. Gilles Deleuze over kunst en literatuurŗ, De Witte Raaf, no. 176, July-August 2015, pp. 6-7. van Tuinen, Sjoerd, ŖMatter, Manner, Idea in Michelangelo and Deleuzeŗ, Inflexions, no. 4, December 2010, pp. 311-336. Warburg, Aby, ŖDürer und die italianische Antiekeŗ [1905], in Dieter Wuttke (ed.), Ausgewählte Schriften und Würdigungen, Baden-Baden, Verlag Valentin Koerner, 1979, pp. 125-130; trans. into English by David Britt as ŖDürer and Italian Antiquityŗ, in Aby Warburg: The Renewal of Pagan Antiquity. Contribution to the Cultural History of the European Renaissance, Introduction by Kurt W. Foster, Los Angeles, Getty Research Institute, 1999, pp. 553-573. ŕ, Italienische Kunst und Internationale Astrologie im Palazzo Schifanoia zu Ferrara [1912/1922], in Ausgewählte Schriften und Würdigungen, Herausgegeben von Dieter Wuttke in Verbindung mit Carl Georg Heise, Baden-Baden, Valentin Koerner, 1979. Zepke, Stephen, Art as Abstract Machine: Ontology and Aesthetics in Deleuze and Guattari, New York, Routledge, 2005.-
local.type.refereedRefereed-
local.type.specifiedBook Section-
local.bibliographicCitation.btitleWorking through the Figure: Theory, Practice, Method-
item.fulltextWith Fulltext-
item.fullcitationIONESCU, Vlad (2019) The Figure in Time. On the Temporality of the Figural. In: Marin, Laura; Diaconu, Anca (Ed.). Working through the Figure: Theory, Practice, Method, Editura Universitatii din Bucuresti, p. 11-62.-
item.contributorIONESCU, Vlad-
item.validationvabb 2022-
item.accessRightsRestricted Access-
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