tag:blogger.com,1999:blog-69654364845113550772024-02-19T22:11:39.381-08:00tics, tics & ticsAndrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.comBlogger23125tag:blogger.com,1999:blog-6965436484511355077.post-4013766668625265472020-06-15T14:44:00.004-07:002020-06-15T14:44:26.283-07:00<div class="separator" style="clear: both; text-align: center;">
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<br />Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-46191752103536714172020-06-13T20:56:00.003-07:002020-06-13T21:09:44.354-07:00I took the dog out for his evening walk around 9:40. We went around the house and down the hill toward the storm runoff that leads to the creek and our neighborhood park. The sky wasn't yet fully dark: more of a lavender grey against which the tops of the old, tall trees were silhouetted in black. The slope behind our next door neighbor's house, with its carefully trimmed lawn, glittered with fireflies, which would shine on for a second here and there, left, right, low to the ground or six feet above it, then shine off, unpredictably. There, between the trees, it was almost totally dark, but I could vaguely see a stain down the slope, which resolved (though without losing any of its vagueness) into a stag. I was startled by it for a second, the time to make out what that black void was among the glittering fireflies, before I more intuited than saw it turn and run away.<br />
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Such brief moments of beauty can appear in our lives unprepared, unexpected, with no connection to any other moments before or after; this can make them heartbreakingly perfect but also useless, unprocessable.<br />
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(It is impossible to convey in words the precise quality of that scene: a verbal description at best relates to the thing described as a transcription of a jazz solo might relate to having heard it in person. But ideally it can become the score based on which the readers play their own music. Is it relevant to add that I was listening, on headphones, to L.T.J. Bukem's "Coolin' Out" -- not the most poetically resonant track, granted; "Devil's Theme," which kicked in a few minutes later, would have been more aesthetically right -- or that we are during COVID?)<br />
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Here are two photos I took minutes later, as we walked, on the street now, back from the park:<br />
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<br />Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-23252986345669290272020-05-21T03:30:00.002-07:002020-05-21T03:37:15.067-07:00<div class="separator" style="clear: both; text-align: center;">
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<br />Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-66934407583817826682017-08-27T22:10:00.001-07:002017-08-27T23:45:23.807-07:00Kirby's Wilderness of Building<span style="font-size: small;">[Note: this article was written for the catalog of the 2015 exhibition, </span><span style="font-size: small;"><span style="font-weight: normal;"><a href="http://www.csun.edu/mike-curb-arts-media-communication/events/comic-book-apocalypse-graphic-world-jack-kirby"><i>Comic Book Apocalypse: The Graphic World of Jack Kirby</i></a>, curated by Charles Hatfield and Ben Saunders at the art gallery of California State University, Northridge. That catalog is now out of print. I am reposting the article here to celebrate the 100th anniversary of Jack Kirby's birth.] </span></span><br />
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<![endif]--><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Outer
space is much too close.<span style="mso-spacerun: yes;"> </span>Or rather
(since space extends everywhere), its furniture, its stage props are.<span style="mso-spacerun: yes;"> </span>Past a great spinning wheel, the
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</span>They are so near that the imagination boggles at why gravity doesn’t
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building designed in retro style (it rather recalls Earth visions of modernist
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inhabitants of the city stroll about unconcerned.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"></span></span></div>
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</xml><![endif]--><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Off the wheel a conduit emerges,
shaped like the graph of a square-waved function, here ending in a hexagon
reminiscent of a child’s wire bubble-blower, there curving out then swooping
back down, four discs attached to it looking rather like traffic signs for
flying cars.<span style="mso-spacerun: yes;"> </span>Behind it, a great tower,
the form of a decanter neck, reaches out of our field of vision.<span style="mso-spacerun: yes;"> </span>The wheel may be attached to it—perhaps by
means of the tilted beam that crosses it not quite diametrically, its surface
inflected with panes or perhaps cables trailing an intricate design of shadows—or
may not be.<span style="mso-spacerun: yes;"> </span>Oddly, the shadow the wheel projects
onto the tower doesn’t correspond in the least to the wheel’s shape.<span style="mso-spacerun: yes;"> </span>Behind the tower, a glass cupola; above the
cupola but below the swarm of asteroids, an explosion.<span style="mso-spacerun: yes;"> </span>Or so it seems.<span style="mso-spacerun: yes;"> </span>Bright light emanating, beams spreading
out:<span style="mso-spacerun: yes;"> </span>again, why is no one taking heed?<span style="mso-spacerun: yes;"> </span>Is this a daily, an hourly occurrence?<span style="mso-spacerun: yes;"> </span>Is that explosion, perhaps, permanent, frozen
in time?</span><br />
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Straight before us, overlapping the
cupola, stands the strangest structure of all.<span style="mso-spacerun: yes;">
</span>It rises into space in a zig-zag of sharp-edged, reflective facets, some
jutting out as ledges (though, again, the shadows beneath them, if that is what
the dark areas are, have no connection to the shapes that cast them), some
forming ramps; convexities abut concavities to fashion a three-dimensional
labyrinth that seems to have no inside, or rather that is inside <i style="mso-bidi-font-style: normal;">and</i> outside at once.<span style="mso-spacerun: yes;"> </span>To the right of it, past a cat’s cradle of
conduits, concatenated pods, and a vertical tube that conducts some sort of
energy, lies again open space.<span style="mso-spacerun: yes;"> </span>Yet this
portion of the cosmos bears little relation to its counterpart on the left.<span style="mso-spacerun: yes;"> </span>No asteroids here (so maybe they are not
moving sideways, despite their apparent trails, but toward us?<span style="mso-spacerun: yes;"> </span>Or perhaps they themselves are frozen in
space?).<span style="mso-spacerun: yes;"> </span>Space here seems to be made of
shimmering plasma, before which float entire planetary systems, their orbs
grotesquely impinging on one another.<span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">From behind the zig-zag structure rises
what may be a shuttle, or is that the spire of an astronautical church?<span style="mso-spacerun: yes;"> </span>In front of it, on the right, squats an oval armadillo’s
shell of a building, covered in plates or scales.<span style="mso-spacerun: yes;"> </span>Is it an auditorium?<span style="mso-spacerun: yes;"> </span>A sports arena?<span style="mso-spacerun: yes;"> </span>The lower parts of the view seem more
inviting to human habitation.<span style="mso-spacerun: yes;"> </span>Another
domed structure in the foreground could almost be a private penthouse:<span style="mso-spacerun: yes;"> </span>we see its atrium leading, like a funnel, to
an inviting inner door.<span style="mso-spacerun: yes;"> </span>It stands atop
an assemblage of volumes, each of which individually makes geometrical sense;
the whole, however, tends toward irrationality, futuristic urbanism apparently
having taken its cues from modern sculpture at its most chaotic.</span><br />
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">We can see into the depths of the
city, many gleaming glass, steel, and polymer levels down.<span style="mso-spacerun: yes;"> </span>The city is composed of masses, supports, and
open spaces articulated together, of shadows and reflections, of conduits and
gaps.<span style="mso-spacerun: yes;"> </span>On the glistening terrace, people
are strolling, or perhaps standing.<span style="mso-spacerun: yes;"> </span>It’s
hard to tell.<span style="mso-spacerun: yes;"> </span>They look so tiny, so far
away.<span style="mso-spacerun: yes;"> </span>The question remains:<span style="mso-spacerun: yes;"> </span>why are they not worried about, or even
notice, the looming asteroids, the infestation of planets and moons, the frozen
explosion and the space plasma?<span style="mso-spacerun: yes;"> </span>How are
they protected from these celestial threats?<span style="mso-spacerun: yes;">
</span>Does the entire city itself lie under a transparent dome?<span style="mso-spacerun: yes;"> </span>Or, given the disjunction of the two cosmic windows,
on the right and the left, are those views only projections, gigantesque video
monitors, hallucinations, ghostly apparitions?</span><br />
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">One human is closer to us than the
rest.<span style="mso-spacerun: yes;"> </span>He (if it’s a he) has wings.<span style="mso-spacerun: yes;"> </span>He’s soaring from the terrace toward us.<span style="mso-spacerun: yes;"> </span>To warn us or greet us?<span style="mso-spacerun: yes;"> </span>Maybe, if he ever got here, we could ask him
how this all makes sense.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">2.</span><br />
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Of
course it doesn’t make sense; it doesn’t need to.<span style="mso-spacerun: yes;"> </span>This is a drawing.<span style="mso-spacerun: yes;"> </span>It’s a science-fictional cityscape rendered
in graphite on paper, coal on the pressed pulp of trees, barely processed
products of nature giving birth to futuristic dreams.<span style="mso-spacerun: yes;"> </span>The drawing is constructed of rhythms of
black and white, or rather of graphite gray and the cream-yellow of the
acidified Bristol board.<span style="mso-spacerun: yes;"> </span>The graphite is
applied with no blending at all, so there are no areas of graduated
shades:<span style="mso-spacerun: yes;"> </span>a mark is either present or
absent.<span style="mso-spacerun: yes;"> </span>“Greys,” intermediaries between
black and white (between presence and absence) are obtained through closer or
more spread-out hatching.<span style="mso-spacerun: yes;"> </span>There are
differences in mark-making between simple lines that stand for edges or
grooves, hatching lines, the concentric feathering of the explosion, areas
fully filled in (though, even there, we can see the directions of the pencil
strokes), and the twirled motions used to render the ovals in the plasma-like
portion of the sky.<span style="mso-spacerun: yes;"> </span></span><br />
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">On the left side of the drawing,
below the halfway point, where the wheel crosses in front of the decanter-neck
tower, its curved-edged “shadow,” when considered closely, recalls the markings
on a Holstein cow.<span style="mso-spacerun: yes;"> </span>The first two
compartments on the lower part of the wheel, coming in from the edge, most
resemble window blinds complete with the string used to open and close them, the
ones in the left-most compartment part-way open (we can tell by the triangles
that mark the end of each division), the ones in the next one over fully closed.<span style="mso-spacerun: yes;"> </span>Not only is this vision of the future born of
paper and graphite; it is also concocted of humbler, everyday visual
impressions:<span style="mso-spacerun: yes;"> </span>household objects, the
hides of farm animals.<span style="mso-spacerun: yes;"> </span></span><br />
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">The drawing, made by Jack Kirby in
1966,<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: normal;">[1]</span></span></span></span> invites comparison on this
account to others of his works—namely, the collages he started producing at the
time, where space machinery was aggregated from the pasted-together fragments
of consumer objects in magazine ads:<span style="mso-spacerun: yes;"> </span>air
conditioners, family station wagons, television sets.<span style="mso-spacerun: yes;"> </span>If one extends this reading to the entire
image, one can find other components of Kirby’s visual imagination.<span style="mso-spacerun: yes;"> </span>Some of them we have named already:<span style="mso-spacerun: yes;"> </span>armadillo shell, decanter, bubble-blower, boulders,
traffic signs.<span style="mso-spacerun: yes;"> </span>The piston-like
architectural element in the low foreground could be a car-engine fuse.<span style="mso-spacerun: yes;"> </span>Some of the abstract designs of mysterious
“Kirbytech” come from pre-printed circuit boards.<span style="mso-spacerun: yes;"> </span>We tend to think of drawing and collage as
two different aspects of Kirby’s practice during the ‘sixties, but on closer
inspection, they follow the same logic.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">3.</span><br />
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Rhythms
of black and white (let’s stick with these two terms as convenient, ideal
designations):<span style="mso-spacerun: yes;"> </span>the image is constructed
as much out of rhythms as out of illusionistic three-dimensional shapes.<span style="mso-spacerun: yes;"> </span>Indeed, the very essence of the represented
objects seems to grow out of the graphic staccato.<span style="mso-spacerun: yes;"> </span>The wheel and the armadillo-shaped arena are
obvious cases in point.<span style="mso-spacerun: yes;"> </span>This also seems
to be the very <i style="mso-bidi-font-style: normal;">raison d’être</i> of the
“Kirby krackle” that makes up the largest part of the sky on the right.<span style="mso-spacerun: yes;"> </span>Space never really looked like this:<span style="mso-spacerun: yes;"> </span>Kirby krackle is at once a symbol for a
sublime vision of space that is never perceived as such in reality, and a
regularized mark to fill out blank paper surface, to leave no square inch of
the Bristol board un-energized.<span style="mso-spacerun: yes;"> </span>It is
the counterpart of the “allover” gesture that Clement Greenberg praised in the
Abstract Expressionists:<span style="mso-spacerun: yes;"> </span>Jackson Pollock
had his paint splashes, Kirby has his little ovals and curlicues of
graphite.<span style="mso-spacerun: yes;"> </span>(Too often, I should add,
Kirby’s more raggedy marks were regularized into disks of black ink by his
inkers, and later by his imitators—hence the notion of “Kirby dots”;<span style="mso-spacerun: yes;"> </span>in his surviving pencil drawings, as well as
in the photocopies of his pencils before inking, we can see the krackle in a
rawer, more animated state.)</span><!--[if gte mso 9]><xml>
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<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: normal;">Rhythms of black and white:<span style="mso-spacerun: yes;"> </span>the most
complex product of this graphic impulse, whereby abstraction brings
illusionistic objects into being, is the zigzag shape in the top center.<span style="mso-spacerun: yes;"> </span>I doubt that we could resolve into Euclidian
three-dimensional geometry its upper end, what we might call its “head” and its
“beak.”<span style="mso-spacerun: yes;"> </span>Leaving aside the vertical marks
that connect it to the top edge of the drawing, the structure begins with a
polygonal surface that appears reflective (as suggested, at least, by several
fascia of hatching lines).<span style="mso-spacerun: yes;"> </span>Is the
loosely trapezoidal black area beneath it a shadow cast onto the next-lower
white surface?<span style="mso-spacerun: yes;"> </span>This seems unlikely,
given the geometry at the structure’s left corner, which suggests the simple
ending face of a block.<span style="mso-spacerun: yes;"> </span>Is the object
constructed by the top surface and the one (or two) right underneath it convex
or concave?<span style="mso-spacerun: yes;"> </span>The answer is undecidable at
best.<span style="mso-spacerun: yes;"> </span>The same questions can be raised
about the two or three planes right underneath the “beak,” which feature what
might again be called “Holstein” shadows.<span style="mso-spacerun: yes;">
</span>Indeed, such issues arise at every corner, every junction of the building;
there is something of M.C. Escher about it, though it’s doubtful that Kirby
constructed it intentionally as a visual puzzle:<span style="mso-spacerun: yes;"> </span>even its paradoxes are not clear-cut enough
for that.<span style="mso-spacerun: yes;"> </span>A closer comparandum is
offered by the construction in facets of Analytic Cubism, for example in Pablo
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
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</xml><![endif]--><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">There,
localized visual signs (shading, edges) point toward three-dimensionality, yet
the facets are never allowed to cohere into a unified, rational
three-dimensional shape.<span style="mso-spacerun: yes;"> </span>Kirby’s
procedure is parallel to that of Cubism but runs in the opposite
direction:<span style="mso-spacerun: yes;"> </span>upon a first impression, the
three-dimensional object seems to make sense, yet, upon closer inspection, it
breaks down into its own incoherent facets.<span style="mso-spacerun: yes;"> </span></span><br />
<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">The
central, “beaked” structure also constitutes the area of the painting for which
the notion of “rhythm” is least metaphorical:<span style="mso-spacerun: yes;">
</span>rising up in zigzag, its ramps and parapets overlapping and
interpenetrating each other, it forms something akin to a musical score along
which the areas of black and white are arrayed, always two or more rows of them
moving alongside each other in counterpoint, while the structure’s individual
segments, like musical phrases, turn right then left then right again:<span style="mso-spacerun: yes;"> </span>the entire building is a graphic fugue.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">4.<span style="mso-spacerun: yes;"> </span></span><br />
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">The <i style="mso-bidi-font-style: normal;">Futuristic Cityscape</i>, like many others
of Kirby’s visions, is also a collage, that is to say an accumulation of
motifs, on a more macro scale.<span style="mso-spacerun: yes;"> </span>Many of its
constitutive elements echo those in earlier depictions of science-fictional
metropolises in comics and, especially, on the covers of pulp magazines—none so
much as Frank R. Paul’s multiple depictions of similar subjects.<span style="mso-spacerun: yes;"> </span>Yet, while Paul’s spaces are still
rational—they can be plotted, mapped; there is plenty of breathing room between
his edifices—Kirby’s is not.<span style="mso-spacerun: yes;"> </span>This is not
to say that it could not be constructed, but that there is an excess of volume
and matter there, that no sane architect would construct buildings like this; that,
in terms of engineering, of city planning, the individual edifices and their
interrelationships make no sense.<span style="mso-spacerun: yes;"> </span></span><br />
<br /></div>
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: normal;">The drawing reminds
me most, from this point of view, neither of Paul nor of other pulp covers or
comic-book splashes, but rather of the work of visionary architects (and
especially visionary architects on paper, imagining edifices unbuildable in
real life) of the eighteenth century.<span style="mso-spacerun: yes;"> </span>At
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architectural capriccio by Giovanni Paolo Panini—an artist who would, often for
the benefit of English nobility heading back home from their Grand Tour,
juxtapose in a single painting the principal monuments of Rome, in spatial
relationships unrelated to their respective placements in real life, and so
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGzqsK9mVQ_4Hlpk25-nmIQMIvqqNthXOLHgau11h9mN0wVm5dNxeiDePmEKL8KTuSjZtXvvsVtHlZqepDL1GO8rNHvMx0pcGIgHM_OWj2V444p4p2WbLQgbwjJQgmGA7HIxIW9TrtNxM/s1600/Giovanni_Paolo_Panini_Ruines_avec_pr%25C3%25A9dicateur+adj.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1060" data-original-width="1600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGzqsK9mVQ_4Hlpk25-nmIQMIvqqNthXOLHgau11h9mN0wVm5dNxeiDePmEKL8KTuSjZtXvvsVtHlZqepDL1GO8rNHvMx0pcGIgHM_OWj2V444p4p2WbLQgbwjJQgmGA7HIxIW9TrtNxM/s320/Giovanni_Paolo_Panini_Ruines_avec_pr%25C3%25A9dicateur+adj.jpg" width="320" /></a></div>
<br />
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</xml><![endif]--><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">All
such capriccios were organized according to a common theme:<span style="mso-spacerun: yes;"> </span>if Pannini’s was ancient Rome, we can easily
see Kirby’s being science fiction, and we can conceive of Kirby himself as the
foremost of the capriccio<i style="mso-bidi-font-style: normal;"> vedutisti</i>
of the space age.<span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span><br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: normal;">While the logic of
aggregation in Kirby is close to Pannini’s, the sublime vision in his work is
closer to that of Giovanni Battista Piranesi.<span style="mso-spacerun: yes;">
</span>I’m thinking particularly of Piranesi’s imaginary <i style="mso-bidi-font-style: normal;">Prisons</i> etchings, and, within those, of plate VII, in the darker,
more detailed second state of 1760.<span style="mso-spacerun: yes;"> </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSLo7L1dD59zNRRAzgzKgVy10zi7OQOKxOPH4f_pxDbem81NHE9KeOsk-dyE-91w50kpKDLTbhf-6bAFlX4s6LQmBWXVNQhm_0rFghfaEoqMZorctr9BTorXxB3W4he2cjTpIKc-ro8fA/s1600/Giovanni_Battista_Piranesi_-_The_Drawbridge%252C_plate_VII_from_the_series_Carceri_d%2527Invenzione+adj.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1195" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSLo7L1dD59zNRRAzgzKgVy10zi7OQOKxOPH4f_pxDbem81NHE9KeOsk-dyE-91w50kpKDLTbhf-6bAFlX4s6LQmBWXVNQhm_0rFghfaEoqMZorctr9BTorXxB3W4he2cjTpIKc-ro8fA/s320/Giovanni_Battista_Piranesi_-_The_Drawbridge%252C_plate_VII_from_the_series_Carceri_d%2527Invenzione+adj.jpg" width="239" /></a></div>
<br />
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</xml><![endif]--><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Piranesi’s
vast interior spaces, constructed of bridges, arches, columns, staircases, and
instruments of torture, seem to arise as much from a graphic impulse, from the
rhythms of black and white, as does Kirby’s drawing.<span style="mso-spacerun: yes;"> </span>Plate VII, furthermore, has much the same arrangement
of vertical towers and diagonal counter-rhythms as the <i>Futuristic
Landscape</i>.<span style="mso-spacerun: yes;"> </span>As for the Piranesi print’s
overall aesthetic effect, one can do no better than listen to S.T. Coleridge’s
description of it, as reported by Thomas de Quincey in <i style="mso-bidi-font-style: normal;">Confessions on an English Opium Eater</i> (1821): </span><br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Many years ago,
when I was looking over Piranesi's <i style="mso-bidi-font-style: normal;">Antiquities
of Rome</i>, Mr. Coleridge, who was standing by, described to me a set of
plates by that artist, called his <i style="mso-bidi-font-style: normal;">Dreams</i>,
and which record the scenery of his own visions during the delirium of a fever.
Some of them (I describe only from memory of Mr. Coleridge's account)
represented vast Gothic halls: on the floor of which stood all sorts of engines
and machinery, wheels, cables, pulleys, levers, catapults, </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><!--[if gte mso 9]><xml>
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</xml><![endif]--></span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: normal;">&c.&c. </span>expressive of enormous power put forth and resistance overcome. Creeping his
way upwards, was Piranesi himself: follow the stairs a little further, and you
perceive it come to a sudden abrupt termination, without any balustrade, and
allowing no step onwards to him who had reached the extremity, except into the
depths below. Whatever is to become of poor Piranesi, you suppose, at least,
that his labours must in some way terminate here. But raise your eyes, and
behold a second flight of stairs still higher: on which again Piranesi is
perceived, by this time standing on the very brink of the abyss. Again elevate
your eye, and a still more aerial flight of stairs is beheld: and again is poor
Piranesi busy on his aspiring labours: and so on, until the unfinished stairs and
Piranesi both are lost in the upper gloom of the hall.<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: normal;">[1] </span></span></span></span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Coleridge’s
memory of <i style="mso-bidi-font-style: normal;">Prisons</i> VII, as further
filtered through de Quincey’s hearsay, is as inaccurate in detail (there is no
Piranesi self-portrait in the print, just as there is no Kirby self-portrait in
our drawing) as it is faithful to its aesthetic effect:<span style="mso-spacerun: yes;"> </span>the unending labors of “poor Piranesi,” lost
in gloom, suggest the infinite dimension that underlies any conception of the
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“enormous power put forth and resistance overcome.”</span></span><br />
<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Yet
couldn’t these very words describe the <i style="mso-bidi-font-style: normal;">Futuristic
Cityscape</i> as well as any plate of the <i style="mso-bidi-font-style: normal;">Prisons</i>?<span style="mso-spacerun: yes;"> </span>The comparison is further reinforced by the
fact that de Quincey uses the Piranesi prints to describe his own opium-intoxicated
imaginings not of underground spaces like the <i style="mso-bidi-font-style: normal;">Prisons</i>, but of celestial urbs.<span style="mso-spacerun: yes;">
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">A
sublime city, an architectural capriccio in the sky:<span style="mso-spacerun: yes;"> </span>again, isn’t this the same as Kirby’s
vision?<span style="mso-spacerun: yes;"> </span>One more quote.<span style="mso-spacerun: yes;"> </span>To further describe his opium dreams, de
Quincey moves on from Coleridge and Piranesi to William Wordsworth’s momentary
hallucination, in <i style="mso-bidi-font-style: normal;">The Excursion</i>, of a
“mighty city” in the clouds and rocks:<span style="mso-spacerun: yes;"> </span></span></span><br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">A wilderness of building, sinking far</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">And self-withdrawn into a boundless depth</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Far sinking into splendour—without end!</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Fabric it seemed of diamond and of gold,</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">With alabaster domes, and silver spires,</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Uplifted; here, serene pavilions bright,</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">In avenues disposed; there, towers begirt</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Bore stars—illumination of all gems!</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">The <i style="mso-bidi-font-style: normal;">Futuristic Cityscape</i> is Kirby’s vision of the same “wilderness of
building,” projected at a cosmic scale.<span style="mso-spacerun: yes;">
</span>It is constructed of “blazing” (what better way to describe the
stationary explosion?) “terrace upon terrace,” of “alabaster domes” or rather
glass cupolas, and of “silver spires” that rise into the “splendour” and
“boundless depth” of outer space.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">5.</span><br />
<br /></div>
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: normal;">The <i style="mso-bidi-font-style: normal;">Futuristic Cityscape</i> is Romantic and
modern at once; it bears comparison, on one hand, to Pollock and Picasso, and to
collage work such as that of Hannah Höch or John Heartfield, not to mention
Robert Rauschenberg; on the other to Panini, Piranesi, and the sublime conceptions
of Coleridge and Wordsworth.<span style="mso-spacerun: yes;"> </span>One might
take this double allegiance as an emblem for superhero, or more generally for
science-fiction comics as a whole:<span style="mso-spacerun: yes;"> </span>created
in the middle years of the twentieth century, in America, with its booming technology
and abstract painting, yet continuing, dressing them up in space-age
accoutrements, the epic fantasies of the Romantic period.<span style="mso-spacerun: yes;"> </span>Never were both strands—the Romantic and the
modern—so emphasized and crisply delineated, so brought into conflict but also
so skillfully intertwined, as in Kirby’s work, particularly after 1965 or
so.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>From this perspective, the <i style="mso-bidi-font-style: normal;">Futuristic Cityscape </i>can be read as a
synecdoche for Kirby’s late period as a whole, and as an ideal stepping stone
for deciphering the cosmic vision inherent in his comics. </span>
<br />
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<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: normal;">[1]</span></span></span></span> <span style="font-size: x-small;"><span style="font-family: "times new roman" , serif; line-height: normal;">The
drawing, one of two made by Kirby for Don Heck, has come to us under the <i>faute de mieux</i> title of <i>Futuristic Cityscape</i>. Heck acquired the two drawings as payment
from Kirby for inking some drawings for him:
“I talked him into doing me a couple of pages, which I still have. I told him, ‘The money, I’ll go through.’ [<i>laughs</i>]
But I have these two original pages that Jack did just for me that were
never printed. One was a big city, and
the other was like a big robot-type character.
It turned out pretty good. Like I
say, it was done in 1966.” John Coates, <i>Don Heck:
A Work of Art</i> (Raleigh, NC: TwoMorrows, 2014), 30-31.</span></span></div>
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<span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: normal;">[2]</span></span></span></span> <span style="font-size: x-small;"><span style="font-family: "times new roman" , serif;">De Quincey, <i>Confessions of an English Opium Eater and Other Writings</i>
(Harmondsworth: Penguin, 2003), 78.</span></span></div>
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Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-21588250358763811602017-08-21T15:44:00.000-07:002019-09-20T12:07:24.438-07:00An exchange with Brian Aldiss<span style="font-size: small;"><span style="font-family: inherit;">I have just learned that Brian Aldiss passed away two days ago, at the age of 92. I will not recap here his achievements, or wax enthusiastically about his books, though I could, at length. As a brief memorial, I will post excerpts from an email correspondence I had with him between April and June 2015. His generosity in answering questions from a reader was exemplary. Since these were answers to a scholarly inquiry, I feel that their publication here, as an interview of sorts, is appropriate. </span></span><br />
<br />
<a name='more'></a><span style="font-size: small;"><span style="font-family: inherit;">I contacted him through his website. I was at the time teaching a class on the capriccio, centered on Giovanni Battista Tiepolo's series of prints, the <i>Capricci </i>and the <i>Scherzi</i>. These prints served as inspiration for Brian in writing his 1976 fantasy novel, <i>The Malacia Tapestry</i>. One of his sons, who ran his website, found my query interesting enough to pass it on to his father. I got this message from Brian on April 7:</span></span><br />
<blockquote class="tr_bq">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
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<span style="font-size: small;"><span style="font-family: inherit;">Dear Andrei Molotiu</span></span></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<span style="font-size: small;"><span style="font-family: inherit;">I was very happy to see your communication forwarded on
by my son Tim, with slight delay for the sunny festival of Easter.</span></span></div>
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<br /></div>
<div class="MsoPlainText">
<span style="font-size: small;"><span style="font-family: inherit;">I will be happy to respond to any questions you care to
ask about 'Malacia'. It's a long while since I wrote 'Malacia Tapestry'. I had
a feeling at the time that England was vegetating and there was an intention
that 'Malacia' should echo that aspect of our lives. Tiepelo is another matter,
at that time I was just crazy about the final workings of Tiepelo's
imagination, when he had retired lavishly decorating grand ceilings of ceremonial
buildings all over Europe, to sit quietly in his home town of Venice and create
those little cameos which it seems even Italian critics cannot really fathom.</span></span></div>
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<br /></div>
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<span style="font-size: small;"><span style="font-family: inherit;">Of course I could say more, and would be happy to hear
from you again.</span></span></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
<span style="font-size: small;"><span style="font-family: inherit;">Sincerely</span></span></div>
<div class="MsoPlainText">
<span style="font-size: small;"><span style="font-family: inherit;">Brian Aldiss</span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: inherit;"> I will not post here the long, gushing letter I wrote to him next. Most of my questions can be inferred from his answers. The only reference that needs some explanation is the one to Hoffmann. I had noticed some similarities between <i>The Malacia Tapestry </i>and E.T.A. Hoffmann's <i>Princess Brambilla </i>(and specifically in their relation to capriccio prints -- Hoffmann's novella is based on the prints of Callot), and asked him whether this was intentional. Here is the next email I received from him, on April 13:</span></span><br />
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<![endif]--><span style="font-size: small;"><span style="font-family: inherit;">Dear Andrei - if I may -<br />
Thank you for your email, and also for your continued interest in the later
works of the great Tiepolo.<br />
It is difficult to say more than the little I have said in the past. For
one item, old age has me by the jugular;<br />
I shall reach ninety this August, while next week I go into one of
Oxford's splendid hospitals for a heart-battery operation.<br />
<br />
Firstly you ask what I make of these capriccii. Tiepolo was old and
retired after great work on noble ceilings all round EUROPE.<br />
I fancy I have seen his work from Stockholm in the north to Wurtzberg in the
south. Could it be that, retiring to Venice, he said<br />
to himself over a glass of wine, "Damn the lot of them, now I'll please
myself..." And pleasing himself was what he did, creating those<br />
masterly works. Just out of his head. enjoying himself. Even artists can
enjoy themselves; and that may be the meaning of this beautiful late work.<br />
<br />
(I AM JUST GUESSING, but I am officially labelled - if for tax purposes - as
ARTIST as well as WRITER. I am ancient. I please myself by writing<br />
(aided by the shade of Tolstoi) a long novel, set in the 18th Century, about a
fellow walking from Moscow to the Lena River, which is Russia's western
frontier.<br />
I'm hoping there's meaning here, as well as enjpyment.}<br />
<br />
Well, so much for boasting. Now to your second question.DID i WRITE A
CAPRICCIO? During that period, I was reading Kafka and Zola and almost
anyone<br />
whose name ended with A, I had been in the East, and the confines of the
UK wearied me. Echoes of that feeling show up in my Malacian city, I believe.
So what am I trying to say?<br />
I don;t know about HOFFMAN. Do you happen to have come across the
amazing 18th century artist, Thomas Rolandson? ROLANDSON painted numerous rude
and randy<br />
- cartoons - often very funny - and also wonderfully delicate and live
landscapes. I'm looking at some now. I had connections with VENICE
through my grandfather's second wife (!),<br />
who was brought up in Venice, and spoke of it always with reverence.<br />
<br />
I must finish here. A dear lady has arrived and will make me tea.
Apologies.... rudeness comes with old age; it was always lying in
wait.<br />
<br />
REGARDS AND APOLOGIES -<br />
from
Brian Aldiss</span></span></blockquote>
<span style="font-size: small;"><span style="font-family: inherit;">On April 17 he wrote the following, after I had sent him a link to a poem I had written (EDIT: I had previously linked to the poem as published at Exquisite Corpse, but that link, and the entire journal, now seems to be dead, *sigh*) also based on the prints of Tiepolo: </span></span><br />
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<br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;">Dear Andrei</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: inherit;">Well,
Andrei, I much admire <span class="apple-style-span">TIEPOLO IN ONEONTA - and indeed basely wish I
had written it myself.</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: inherit;"><span class="apple-style-span">A
hundred obligations press upon me. </span><span class="apple-tab-span"> </span><span class="apple-style-span">Here's one - the Folio Society
invites me to compile a new anthology of science fiction for them, and I cannot
resist. It does mean that I might tempt them later to create a big tubby
volume of all three books of my <b>Helliconia</b> together with beautiful Helliconian
musi on disc, which a musician has newly composed.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: inherit;"><span class="apple-tab-span"> </span><span class="apple-style-span">Before signing off, I will offer you
a few lines from HELLICONIA SUMMER which I believe show I had not escaped
Tiepolo's influence even by 1983, when it seems this novel was written.</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: inherit;"><span class="apple-style-span"><b>+</b></span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: inherit;"><span class="apple-style-span">Queen
MyrdemInggala lives in a ricketty palace by the sea.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: inherit;"><span class="apple-style-span">Close
at hand, the white and gold building revealed its shabbiness. Gaps showed
where slates on its roofs, planks from its verandahs, uprights on its railings,
had fallen away and not been replaced. Nothing moved except a herd of
deer cropping grass on a distant hillside. The sea boomed endlessly
against the shore...............</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="apple-style-span">A
light showed at the top of the stairs, where all was otherwise dark. They
looked up to see a woman carrying a taper. She bore it above her head, so
that her features were in shadow.... As she neared those waiting below, the
light from outside began to illumine her features. Even before that,
something in her carriage revealed who she was. The glow strengthened, the face
of Queen Myrdem-</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="apple-style-span">Inggala
was revealed.....</span></span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: inherit;"><span class="apple-tab-span"> </span><span class="apple-style-span">Her beauty was ashen, her lips
almost colourless, her eyes dark in her pallid face,.. She wore a pale grey
gown to the floor which buttoned at her throat to conceal her breasts. ....</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: inherit;"><span class="apple-tab-span"> </span><span class="apple-style-span">That dark revealed itself as seamed
with threads of light. The palace was flimsily built of plank -ing. When the
sun shone on it, a skeletal aspect was revealed. As the queen led
the men to a side room, slivers of light revealed her presence. She stood
awaiting them in the middle of a room defined by the geometries of
illumination.</span></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: inherit;"><span class="apple-style-span">Well,
that;s enough of that. Forgive me, but I must close. All best
wishes, Brian</span></span></span><span style="font-size: small;"><span style="font-family: inherit;">
</span></span><span style="font-size: small;"><span style="font-family: inherit;"></span></span><span style="font-size: small;"><span style="font-family: inherit;"></span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: inherit;"> We exchanged a couple more emails after that, of a more personal nature (for example, I wrote in May to inquire how his surgery had gone, and he wrote back praising "the wonderful quiet and gracious Manor Hotel, here in Oxford" where he had stayed during his recovery) but after a while I felt I should no longer bother him. However, just a few weeks ago I was discussing with two friends, Ian Balfour and Graham Sanders, a similarity I had found between a passage in <i>The Malacia Tapestry</i> and some lines from Walter Pater. This prompted me to write him again, which I didn't do until eleven days ago, not knowing the state of his health. Naturally, I didn't receive an answer, and today I learned why. For what it's worth, here is what I wrote him:</span></span><br />
<blockquote class="tr_bq">
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<![endif]--><span style="font-size: small;"><span style="font-family: inherit;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;">Dear Brian--</span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;">I hope this finds
you well. I was recently in a used bookstore in London, Ontario -- for
some reason, London, Ont. bookstores have some of the best science fiction
sections I have ever seen -- and picked up a copy of your book, "The Shape
of Further Things," which I am reading currently and enjoying
tremendously. Reading your day to day thoughts in it reminded me of our
conversation of a couple of years ago, and it prompted me to ask you, if I may,
another question about "The Malacia Tapestry" that I've been meaning
to ask for a while. </span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;">I was rereading
it recently, and was struck by this sentence, and indeed the entire
paragraph that follows, from the "Woman with Mandoline in Sunlight"
chapter: "We were never far from the music of water. The old duke's
father had employed Malacia's great engineer, Argenteuil, to design fountains,
sluices and waterfalls to punctuate the streams within the grounds. To
these light noises was added the sound of strings as we reached the marble
stairs leading to an art pavilion." etc. </span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;">I realized the
first sentence, especially, reminded me of this line of Walter Pater's from
"The School of Giorgione": "But when people are happy in this
thirsty land water will not be far off," and your entire paragraph of
Pater's, which continues: "and in the school of Giorgione, the
presence of water — the well, or marble-rimmed pool, the drawing or pouring of
water, as the woman pours it from a pitcher with her jewelled hand in the FÍte
ChampÍtre, listening, perhaps, to the cool sound as it falls, blent with the
music of the pipes — is as characteristic, and almost as suggestive, as that of
music itself. And the landscape feels, and is glad of it also — a landscape
full of clearness, of the effects of water, of fresh rain newly passed through
the air, and collected into the grassy channels. The air, moreover, in the
school of Giorgione, seems as vivid as the people who breathe it, and literally
empyrean, all impurities being burnt out of it, and no taint, no floating
particle of anything but its own proper elements allowed to subsist within
it." </span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;">Indeed, the
entire garden described in the chapter strikes me almost as an artificial
environment intended to replicate the effects Pater describes -- and, if I may
say so, the formal perfection of the book itself is reminiscent to me of
Pater's description of Giorgione's formal qualities. <br />
<br />
May I ask you, then, if this echo was intentional, or, if it wasn't, whether
there may have been some subconscious reminiscence of Pater in your text?
I also ask because "The Malacia Tapestry" (which, as I have
told you before, I adore) is so full of other art-historical references,
well beyond Tiepolo -- the names, for example, of Argenteuil, Gersaint,
Caylus, etc. </span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;">By the way, how
is the anthology on which you were working when last we talked going?</span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;">Best wishes,</span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span><span style="font-size: small;"><span style="font-family: inherit;"><span style="color: black;">Andrei </span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;">
</span></span></blockquote>
<br />
<br />
<br />
<br />Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-89618827824193558132016-04-14T12:39:00.001-07:002016-04-14T12:51:08.374-07:00An Apocryphal Canto<!--[if gte mso 9]><xml>
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<span style="font-family: "calibri"; mso-ascii-theme-font: major-latin; mso-bidi-font-family: Times; mso-hansi-theme-font: major-latin;">Teaching Dante in Core this semester, I decided we'd all had enough with expository papers, so I'm
having my students add their own extra circles to Hell. Once they're written, I
plan to collect them under the title <i>Hell's Hidden Rooms: The Apocryphal
Cantos</i> (though my students prefer <i>Schwartz's Inferno</i>). Here's one I
composed as a pilot.</span></div>
<br />
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The Eighth Circle, Twelfth Pouch. The
Pedants, who cannot keep from spitting into their cups.<o:p></o:p></span></i></b></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> <span style="font-size: large;"> </span></span><span style="font-size: large;">Pushing
open the gate that led from the room<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">where unhappy souls had been kept awake<span style="mso-tab-count: 2;"> </span><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">by endless paperwork, pointless tasks, gloom,<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>(having
asked for bread, we were given cake<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">made from cornstarch and ketchup; wanting
sun,<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">we were told to sit still and consume more
cake),<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>my
vision opened out to a coffered hall, not outdone<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">by the one by the man of Urbino. Sitting,
standing,<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">conversing, witty, women and men, every one<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;">
</span>making noises – their discourse – resounding<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">from some kind of horn: oboes, trumpet,<span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">a shawm, clarinets, bassoons, french horns
rounding,<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>trombones,
a tuba (sometimes they’d thump it),<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">recorders and piccoli and a great flute, <span style="mso-tab-count: 2;"> </span><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">every one poking from – where? Not the rump,
it<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;">
</span>wasn’t like Barbariccia! Alas, if by their fruits<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">ye shall know them, then know that it was – the
navel.<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">From what seemed a Babel of indiscriminate
toots<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>with
time there emerged a symphonic fable<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">of pride injured, pain at imagined slights<span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">decisions made round wooden tables<span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>people’s
blindness to extraspeluncular lights.<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Such sweetness emerged from the conduits
umbilical<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">and such grace I perceived in their execution
of rites<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>that
I did not notice, at first, their odd habits prandial.<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">They seemed to be drinking moonlight, some
spirit<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">of truth, of wisdom mythico-mystical; <span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>yet
each time they quaffed, with slyness implicit<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">their mouths left behind a slight drop, a
thin trail,<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">a small mucous swirl in the cup, or they’d
lick it.<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>Then,
taking a mighty pull, they’d offer the ale <span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">to their partner in tippling and tooting, who<span style="mso-tab-count: 2;"> </span><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">did the same. In the end – so I thought, and I
paled –<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>it
must all be one swill; yes, the whole happy crew<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">was supping from one keg of beer, not having
realized<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">its leaven was human. So tasty the brew<span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>seemed
to them that they fed it to smaller-sized <span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">tooters, with less fulsome navels from which <span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">tiny woodwinds and brass had only begun to
arise;<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>trying
the mug on for size, these soon felt the itch<span style="mso-tab-count: 2;"> </span>
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">to dribble along with the rest. Whereupon,<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 2;"> </span>
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">from his flute, one found his pitch<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 3;"> </span>
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>and
declared in doggerel, getting his rhyme on:<span style="mso-tab-count: 2;"> </span>
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">“To the minnows, I shine like the <i style="mso-bidi-font-style: normal;">Ichthus</i><span style="mso-tab-count: 3;"> </span>
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: large;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "calibri"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Heliodiplodokus</span></i><span style="font-family: "calibri"; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> – Pound’s
very paragon<span style="mso-tab-count: 2;"> </span><span style="mso-tab-count: 1;"> </span> <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>of a
poem, by which Louis Agassiz hoped to focus<span style="mso-tab-count: 2;"> </span>
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">the finishing graduate. ‘Here’s a sunfish –
look! <span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Please, no more hocus-pocus! <span style="mso-tab-count: 4;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>You
cannot possibly make a book<span style="mso-tab-count: 4;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">from five book reviews and two<span style="mso-tab-count: 4;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">articles. Even allowing you cook<span style="mso-tab-count: 4;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>your
data, and stew<span style="mso-tab-count: 6;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">with a jigger of new theoretical wine,<span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">you will still smell vinegar in the brew – <span style="mso-tab-count: 2;"> </span><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>even
packaged by Princeton, it’s brine.’”<span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Next another strode up with an instrument<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">stuck out from her belly that shimmered in
kind; <span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>I
could not tell from its strange integument <span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">was it an oboe, euphonium, drum, an aeolian
chime?<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Every moment, it altered its temperament,<span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>not to
mention its key and its rhyme. <span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The cup she offered looked sweet, but the
backwash<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">was bitter. “I can take you to Cocytus for a
good time – <span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>I got
friends there – we can picnic, pack a brioche – “<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">But my Master said: “Bite that brioche, and
Proserpina<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">will pity you. Find something better to
nosh.”<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>The
last soul I saw wore a concertina<span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">that pushed and was pulled without help from
the hands;<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">his chin in the air, he spat not just <i style="mso-bidi-font-style: normal;">in vina</i>,<span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span>but
everywhere, really – quite into the stands.<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">O wonder! The arcs his drool made formed a
mass<span style="mso-tab-count: 2;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "calibri"; font-size: large; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">In the air; the product, a castle of strands<span style="mso-tab-count: 3;"> </span><o:p></o:p></span></div>
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<!--StartFragment-->
<span style="font-size: large;"><span style="font-family: "calibri"; font-size: 12.0pt;"> </span><span style="font-family: "calibri"; font-size: 12.0pt;"> that
hovered an instant, then slid back into his glass.</span><!--EndFragment-->
</span><br />
<span style="font-family: "calibri"; font-size: large;"><br /></span>
<span style="font-family: "calibri"; font-size: 12.0pt;"><br /></span>Peter J. Schwartzhttp://www.blogger.com/profile/11822599925761846894noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-67095840344014171032015-09-03T21:33:00.002-07:002015-09-03T21:33:40.225-07:00Tinsel and the Torture-Net Artifice<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">I</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">The photographs that
follow are patently not “authentic,” nor indeed are they photographs.<span style="mso-spacerun: yes;"> </span>Both are fictional devices set in place to
give the fiction itself the veneer of authenticity.<span style="mso-spacerun: yes;"> </span>As far as characterization is concerned, the
villains are pantomime cut-outs, and the hero’s only attributes are strength,
good looks, compassion, and moral principles that prompt him to take a stand
against injustice.<span style="mso-spacerun: yes;"> </span>That is as
complicated as it gets.<span style="mso-spacerun: yes;"> </span>The hero, pitted
against ever more morally corrupt antagonists and placed in ever more tangled
and ambiguous situations, remains impossibly strong.<span style="mso-spacerun: yes;"> </span>You know the type:<span style="mso-spacerun: yes;"> </span>you might even, in your more honest moments,
detect a strain of it in yourself.<span style="mso-spacerun: yes;"> </span>He
delights in “doubling.”<span style="mso-spacerun: yes;"> </span>The medium can
turn things into language and language into a thing.<span style="mso-spacerun: yes;"> </span>Mirages, hollow signs of the heat-glow, are
taken for objects and people; objects and people are taken for mirages.<span style="mso-spacerun: yes;"> </span>The casting and consuming of voices are
sometimes done by mouths and ears alone, but mostly they are done through
technology.<span style="mso-spacerun: yes;"> </span>He has no past, no sexual
identity, no complexities.<span style="mso-spacerun: yes;"> </span>Their real
content may still remain invisible, hiding in the light.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">II</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">The argument may seem
stunningly naïve.<span style="mso-spacerun: yes;"> </span>Things are never that
neat and tidy.<span style="mso-spacerun: yes;"> </span>Politics is present, but
it is treated with disdain.<span style="mso-spacerun: yes;"> </span>What could
they have to tell him about the revolution anyway?<span style="mso-spacerun: yes;"> </span>All it has meant for them is a change of name
on the placard beside their hovels and of the uniform worn by the police who
swing their truncheon at them.<span style="mso-spacerun: yes;">
</span>Friendship may bring about emotional awakening and cultural
enlightenment, but politically it brings cynicism.<span style="mso-spacerun: yes;"> </span>The authority may be grounded in the divine,
but it is established and consolidated through technology.<span style="mso-spacerun: yes;"> </span>Terrified at first, he eventually digs up the
floorboards and finds a record player.<span style="mso-spacerun: yes;"> </span>The
holy world of spirits collapses once we see the mechanisms at work behind
it.<span style="mso-spacerun: yes;"> </span>But overall these are rearguard
actions in a larger losing battle.<span style="mso-spacerun: yes;"> </span>The
enforcers of the prohibition law get drunk.<span style="mso-spacerun: yes;">
</span>Blood falls from the animals not as a libation, but rather “to be made
into I don’t know what—food, drugs, jewels, explosives.”<span style="mso-spacerun: yes;"> </span>Sometimes the interruptions are innocuous;
sometimes they are not.<span style="mso-spacerun: yes;"> </span>Full and empty
spectacle make move and counter-move against one another, but the empty wins
out in the long run.<span style="mso-spacerun: yes;"> </span>Too right.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">III</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">He seems drawn to these
places like a dowser’s stick to subterranean water.<span style="mso-spacerun: yes;"> </span>Even spaces not designed for burial turn into
tombs when he steps into them.<span style="mso-spacerun: yes;"> </span>At best
this relationship is fraught; at worst it goes disastrously wrong.<span style="mso-spacerun: yes;"> </span>In whose name?<span style="mso-spacerun: yes;"> </span>Whose legacy demands this?<span style="mso-spacerun: yes;"> </span>The secret, once more, has been disguised in
a name and transplanted across the world to throw its pursuers off the fact
that it was right at home the whole time.<span style="mso-spacerun: yes;">
</span>This is the pattern set by the crypt, pulsed out in its coded
broadcasts.<span style="mso-spacerun: yes;"> </span>To keep it safe he buries it
inside his crypt and carries it around for all his life, showing and hiding it,
saying it without saying it.<span style="mso-spacerun: yes;"> </span>Radio
messages shuttle back and forth:<span style="mso-spacerun: yes;"> </span>from
rocket to moon-surface to ground control and back again.<span style="mso-spacerun: yes;"> </span>Here, too, time zones are overlaid.<span style="mso-spacerun: yes;"> </span>Here, too, the sun is intensely
scrutinized.<span style="mso-spacerun: yes;"> </span>Here, too, is
abandonment.<span style="mso-spacerun: yes;"> </span>We should learn something
from this.<span style="mso-spacerun: yes;"> </span>What?<span style="mso-spacerun: yes;"> </span>Who knows where the signals will end up, or
what they will end up meaning?</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">IV</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Let’s believe this for
now. <span style="mso-spacerun: yes;"> </span>It is as though language, like the
microphone, were shying away from the message it is carrying.<span style="mso-spacerun: yes;"> </span>The relations here are complex, to say the
least.<span style="mso-spacerun: yes;"> </span>Those who can discern the rhythms
can step into them and operate in their blind spots.<span style="mso-spacerun: yes;"> </span>In his zone of near-silence, he injects
language into a flower.<span style="mso-spacerun: yes;"> </span>It is
constructed with a rocket scientist’s skill for routing, plotting elliptical
paths of departure and return.<span style="mso-spacerun: yes;"> </span>It stacks
up layers of meaning like so many pancakes, toy bricks, sheets of acetate.<span style="mso-spacerun: yes;"> </span>And yet, as they were last time, they will be
disappointed.<span style="mso-spacerun: yes;"> </span>The event field is
unconsummated; and language fails to deliver.<span style="mso-spacerun: yes;">
</span>The voice that carries the secret remains inaudible even as it is
amplified.<span style="mso-spacerun: yes;"> </span>It may terrorize the heroes,
burn their ears, but it stops short of destroying their world by naming the
event <i style="mso-bidi-font-style: normal;">as </i>event.<span style="mso-spacerun: yes;"> </span>The scene is ridiculous and totally
implausible.<span style="mso-spacerun: yes;"> </span>This stage set sacrifices
him on its hollow altar, leaving him trapped inside an empty, perforated
drum.<span style="mso-spacerun: yes;"> </span>Naming him, her voice removes his
name.<span style="mso-spacerun: yes;"> </span>Perhaps she is not wrong.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">V</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Let’s start where we
left off:<span style="mso-spacerun: yes;"> </span>he is killed.<span style="mso-spacerun: yes;"> </span>What happens next?<span style="mso-spacerun: yes;"> </span>What became of the original we do not find
out.<span style="mso-spacerun: yes;"> </span>The home he returns to was not the
home he<i style="mso-bidi-font-style: normal;"> </i>left.<span style="mso-spacerun: yes;"> </span>These gifts are all poisoned,
booby-trapped.<span style="mso-spacerun: yes;"> </span>He may get away with it,
but its specter will haunt his line for generations.<span style="mso-spacerun: yes;"> </span>Their departures and returns follow the path
of time.<span style="mso-spacerun: yes;"> </span>It is in his blood.<span style="mso-spacerun: yes;"> </span>He must sweat it, because even animals pick
it up.<span style="mso-spacerun: yes;"> </span>While doing this, he is hit by a
car.<span style="mso-spacerun: yes;"> </span>“My good deed for the day,” he
tells himself.<span style="mso-spacerun: yes;"> </span>They decline, but he
insists.<span style="mso-spacerun: yes;"> </span>The volcano eventually erupts,
blowing into the sky a column of smoke more than thirty thousand feet
high.<span style="mso-spacerun: yes;"> </span>Their memories of it have been
absolutely wiped, erased.<span style="mso-spacerun: yes;"> </span>Where is this
new detour through secrets and sunflowers leading us?<span style="mso-spacerun: yes;"> </span>My artifice is as good as nature.<span style="mso-spacerun: yes;"> </span>My artifice is <i style="mso-bidi-font-style: normal;">better than nature</i>, he is saying now.<span style="mso-spacerun: yes;"> </span>For him, everything is a copy.<span style="mso-spacerun: yes;"> </span>What lies at its core?<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">VI</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">This process is dark,
sometimes shocking, in many respects catastrophic.<span style="mso-spacerun: yes;"> </span>It is certainly sad.<span style="mso-spacerun: yes;"> </span>When there is duplication, comedy
results.<span style="mso-spacerun: yes;"> </span>A person being manipulated like
an automaton by another person is funny.<span style="mso-spacerun: yes;">
</span>Repetition takes place in the field of time.<span style="mso-spacerun: yes;"> </span>Here, though, the fall has become more than
simply a pratfall.<span style="mso-spacerun: yes;"> </span>Time and again he
turns his head to tell people to look where they are going and then crashes
into whatever is in his path.<span style="mso-spacerun: yes;"> </span>That he is
always falling, relapsing, messing up, is a sign of his awkward relationship
not only with the material world but also with the divine one.<span style="mso-spacerun: yes;"> </span>Gravity, like repetition, opens up the
dimension of time.<span style="mso-spacerun: yes;"> </span>In comedy this option
is removed.<span style="mso-spacerun: yes;"> </span>An awareness of one’s own
fakeness can have disastrous consequences.<span style="mso-spacerun: yes;">
</span>The meeting was never going to happen.<span style="mso-spacerun: yes;">
</span>Eventually, it gets played out in the field of art, the most
self-conscious of all environments.<span style="mso-spacerun: yes;"> </span>To
turn water into wine would be a miracle.<span style="mso-spacerun: yes;">
</span>Some peace and quiet to smoke his pipe would be nice.</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">VII</span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">Even when parchments
have been overlaid and treasure unearthed, significant portions of it remain
uncovered.<span style="mso-spacerun: yes;"> </span>It divides into three parts
which circulate through time and space.<span style="mso-spacerun: yes;">
</span>This is more than simply an extended plot device, of course.<span style="mso-spacerun: yes;"> </span>“Tomorrow I shall be famous!” he cries.<span style="mso-spacerun: yes;"> </span>What about his other descendants?<span style="mso-spacerun: yes;"> </span>He had three sons.<span style="mso-spacerun: yes;"> </span>This is extremely dubious practice, to say
the least.<span style="mso-spacerun: yes;"> </span>All literature is
pirated.<span style="mso-spacerun: yes;"> </span>Every act of reading is its own
kind of remaking of a work.<span style="mso-spacerun: yes;"> </span>The second
scene moves at a quicker pace.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div align="right" class="MsoNormal" style="line-height: 150%; text-align: right;">
<br /></div>
<div align="right" class="MsoNormal" style="line-height: 150%; text-align: right;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 150%;">(after
Tom McCarthy)</span></div>
Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-62459263370441303942014-01-15T13:20:00.002-08:002014-01-15T15:23:07.267-08:00The origins of the term "graphic novel"--a thread rescued from the old Comics Journal Message Board<!--[if !mso]>
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<![endif]-->I just found this among my files. It dates from November, 2003. I don't think I saved the entire thread, but there's quite a lot here, and it's probably still the best source of information for the origins of the term. I'm posting it because I think it's an important part of the history of comics scholarship, and the old TCJ Message Board no longer exist. If any participant, however, prefers not to have their comments re-posted here, please contact me and I will delete them.<br />
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<b></b><br />
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 20, 2003
12:02 PM </span></span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Does anyone here know what work, if any, has been done to
trace the history of the term "graphic novel"? The earliest
appearance of the term "graphic novel" <i>in print</i> that I've seen
is on the inside front dustcover of <i>Bloodstar</i> (1976) by Richard Corben
and Robert E. Howard:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">BLOODSTAR</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">A SCIENCE FICTION/FANTASY ADVENTURE IN WORDS AND PICTURES</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">ILLUSTRATED AND ADAPTED BY RICHARD CORBEN<br />
ORIGINAL STORY BY ROBERT E. HOWARD</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">BLOODSTAR is a new, revolutionary concept--a graphic novel,
which combines all the imagination and visual power of comic strip art with the
richness of the traditional novel. Master of fantasy literature, Robert E.
Howard, creates a mythic land of fantastic thrills and high adventure which
comes to life through the dazzling illustrations of world renoun [sic] comic
strip artist, Richard Corben. Together they bring you one of the greatest
science fiction-fantasies of all times. [....]</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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Although I seriously doubt the people at Morningstar Press (the original
publishers of BLOODSTAR) coined the term "graphic novel," I'm
interested to know who did. But let me be clear: what I'm looking for here is
not oral history but nominations for the earliest <i>printed</i> reference to
"graphic novels."</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000000&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Andrei Molotiu</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 20, 2003 01:36 PM </span></span><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Martin Vaughn-James' "The Cage" (1975) is
subtitled "a visual novel." Not quite the same thing, but close. </span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000001&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">[…]</span><span style="mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 20, 2003
02:07 PM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Yes, "visual novel" is close, but I say, no cigar.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Here's
the main reason why I'm curious. In a recent article entitled "</span><a href="http://www.time.com/time/columnist/arnold/article/0,9565,542579,00.html" target="_blank"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">The Graphic Novel Diamond Jubilee</span></a><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">"
(Friday, Nov. 14, 2003),
columnist Andrew D. Arnold tells the following story:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Will Eisner's "A Contract with God,"
published in 1978, gets the credit for being the first graphic novel. "It
was intended as a departure from the standard, what we call 'comic book
format,'" Will Eisner recently told TIME.comix. "I sat down and tried
to do a book that would physically look like a 'legitimate' book and at the
same time write about a subject matter that would never have been addressed in
comic form, which is man's relationship with God." There wasn't even a
name for such a thing at the time so Eisner had to come up with his own,
spontaneous sleight-of-hand marketing. "[The phrase] 'graphic novel' was
kind of accidental," Eisner said. While pitching the book to an important
trade-book editor in New York,
says Eisner, "a little voice inside me said, 'Hey stupid, don't tell him
it’s a comic or he'll hang up on you.' So I said, 'It's a graphic novel.'"
Though that particular editor wasn't swayed by the semantics, dismissing the
book as "comics," a small publisher eventually took the project and
put the phrase "A Graphic Novel" prominently on the jacket, thereby
cementing the term permanently into the lexicon.</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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Now, if Eisner really coined the term "graphic novel" in reference to
a book that was published in 1978, what was the term doing on the dust jacket
of <i>Bloodstar</i>, published two years earlier, in 1976. And anyway, Arnold's claim is that <i>A
Contract with God</i> gets the nod as the first graphic novel, so labelled,
which is clearly not the case.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">It
interesting to note that Eisner was, at the time, actually a self-professed fan
and follower of Corben's work,* which means it is not out of the realm of
possibility that he picked up the term from reading the Morningstar <i>Bloodstar</i>
hardcover! Given the actual publication history, this makes more sense to me
than Eisner's story, but maybe there's an explanation of how the term jumped
from Eisner's meeting with a trade-book editor in New York to the cover of <i>Bloodstar.</i>
Anyone?</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">*
See the introduction to <i>The Odd Comic World of Richard Corben</i> (Warren,
1977), wherein the author, Will Eisner, states: <span style="color: #333399;">"I
have watched Corben's work for some time now, awed by his enormous imagination,
composition, capacity for story telling, draftsmanship and technical
virtuosity."</span></span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000003&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 21, 2003
12:05 PM </span></span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">According to the Web Page </span><a href="http://www.tpl.toronto.on.ca/merril/grafik.htm" target="_blank"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Graphic
novels in the Merril Collection</span></a><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">, <span style="color: #333399;">"[t]he
term 'graphic novel' was probably invented by Milt Gross (1895-1953)."</span>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">"Probably"?
Why "probably"? More anecdotal oral history, I guess. No evidence
required.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">In
"The Publication and Formats of Comics, Graphic Novels, and
Tankobon," an article published in <i>Image [&] Narrative,</i> Chris
Couch repeats the same old story: <span style="color: #333399;">"The term
'graphic novel' was coined by Will Eisner with the publication of <i>A Contract
with God</i> in 1978." </span></span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">And
Neil Adams "</span><a href="http://www.villagevoice.com/issues/0347/baker.php" target="_blank"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">is,
simply put, one of the greatest draftsmen this country has ever produced</span></a><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">."
</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">And
NBM was "</span><a href="http://www.nbmpub.com/history/about2.html" target="_blank"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">First to publish fully painted graphic novels with the
sell-out launch of 'The Mercenary' by Spaniard Vicente Segrelles (1985)</span></a><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">."
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">And
so on. </span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000005&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">R. Fiore</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 21, 2003
01:58 PM
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Originally posted by Benjamin D. Brucke:<br />
<b>"Probably"? Why "probably"? More anecdotal oral history,
I guess. No evidence required.</b></span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Probably
because it was the earliest citation they could find, but this didn't rule out the
possibility that there might be an earlier one they didn't find. The citation
and its date are the evidence.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000006&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 21, 2003
02:11 PM
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<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">The citation and its date are the evidence.</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
Exactly so. Now all we need is the Milt Gross citation and its date, and Milt
Gross will get the tentative nod as the originator of the term "graphic
novel." But until then . . .</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000007&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 22, 2003
10:28 AM </span></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Here's </span><a href="http://www.time.com/time/columnist/arnold/article/0,9565,547796,00.html" target="_blank"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Andrew Arnold's latest</span></a><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"> (scroll down to
the "Readers Respond" section):<br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">The First What?</span></b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
A few readers, none of whom wished to be identified, sought issue with the 25th
anniversary concept of the article, pegged to the use of the term "A
Graphic Novel" on the cover of Will Eisner's "A Contract with
God." Some dissenters pointed out that long-form graphic books such as
Osamu Tezuka's "Metropolis" pre-date Eisner's work. Another reader
took issue with the term's first appearance, citing a Richard Corben book
published two years before Eisner's that uses the phrase "graphic
novel" on the inside dust jacket. Without doubt both the etymology of the
term "graphic novel" and the origins of the form are debatable. Art Spiegelman
spoke of first seeing the term in the early 1960s among fanzines. "There
was a man named Bill Spicer who did a thing called 'Graphic Story
Magazine'," Spiegelman says, "And one of the things being discussed
in those books was the possibility of a comic book story that could partake of
the qualities of a novel. So the phrase sort of was kicking around." For
the record, Eisner admits, "graphic novel" had been coined prior to
his book but that, "I had not known at the time that someone had used that
term before." Nor does he take credit for creating the first graphic book.
Citing the silent picture stories of Lynd Ward, Eisner admits that, "I
can't claim to have invented the wheel, but I felt I was in a position to
change the direction of comics." My argument is that Eisner's book,
published outside the comic book system and pretty clearly the first comix work
deliberately aspiring to literary status, by having the term on the front
cover, crystallized the concept of a "graphic novel."</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
So I guess we're all gonna stop repeating the story that Eisner coined the term
"graphic novel" now, right? </span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">(See,
for instance, the article I cited earlier by Chris Couch, as well as the
following glossary entry in <i>The Comic Book</i> by Paul Sassienie:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">graphic novel</span></b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"> Coined by Will Eisner in the late 1970s, it describes a hard-
or soft-back comic book of high quality reproduction. It has come to mean new
work rather than reprints. See 'trade paperback'.</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
)</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">ANYway,
what about Arnold's
argument that <i>A Contract with God</i> "crystallized" or
"defined" the term "graphic novel"? Before I'm
misinterpreted, let me say right now that, yes, <i>A Contract with God</i> was
an important and influential book, and did in fact do a great deal to
"crystallize" or "define" the term "graphic novel."
It's interesting to note, however, that like <i>A Contract with God</i>, <i>Bloodstar</i>
was published outside the comic book system (by a company based in Kansas
City), it was explictly promoted on the dustjacket as a "graphic
novel," and it "deliberately" aspired to "literary
status" ("BLOODSTAR is a new, revolutionary concept--a graphic novel,
which combines all the imagination and visual power of comic strip art with the
richness of the traditional novel."). Furthermore, <i>Bloodstar</i> was
one long story (not a series of short stories), it was originally published in
hardcover (in an edition of 5000 copies), and it was successful enough to be
printed in softcover in 1979 by a mainstream publisher, Arial Books. </span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">"Crystallized"
. . . "defined the term" . . . okay, maybe . . . but notice how <i>Bloodstar</i>
--despite its ambition, clear labelling as a "graphic novel," and
success in the marketplace--doesn't rate even a mention in the official history
of "graphic novels." Why? If I had to venture a guess, I'd say
because Corben's book doesn't quite fit the story these people--Arnold, Couch,
and others--want to tell about how "graphic novels" were and are
serious stories for serious people. The first graphic-novel-to-be identified-as-a-graphic-novel
a <i>fantasy</i> by Richard Corben and Robert E. Howard? Well, dammit all
anyway, that's just embarassing . . . </span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Regarding
the coinage question, Spiegelman's point about Bill Spicer's <i>Graphic Story
Magazine</i> is a good one. Maybe Bill Spicer's the man! "Graphic
Story" is pretty damn close . . .</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000008&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 22, 2003
10:30 AM
</span></span><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Before someone else has a chance to point it out, here's the
corrected quotation:</span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">graphic novel</span></b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"> Coined by Will Eisner in the late 1970s, it describes a hard-
or soft-back comic book of high quality reproduction. It has come to mean new
work rather than reprints. See 'trade paperback'.</span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000009&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 22, 2003
12:19 PM
</span></span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Another (possible) link in the chain of usage: according to </span><a href="http://www.muuta.net/Books/GBooks.html" target="_blank"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">this
page</span></a><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">, something or other (probably an illustration*) by Richard
Corben appeared in issue #15 of Spicer's <i>Graphic Story Magazine</i> (Summer
1973)--which (if it's true) would mean that Corben definitely was familiar with
the term "graphic story" before the term "graphic novel"
was used (for the first time ever in print? for the first time ever on/in a
comics album?) on the cover of <i>Bloodstar</i> (1976).</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">-----<br />
* </span><a href="http://www.fatcatbooks.net/misc.html" target="_blank"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Fat
Cat Books - What's New</span></a><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Graphic Story Magazine #15 Summer 1973 - Gahan
Wilson feature and Harry Harrison interview. Slick, lots of illustrations.
$6.00</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">-----</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">I
didn't realize this, but the term "graphic story" seems to have been
pretty popular in the late '60s and early '70s. For instance, in addition to a
partial run of Bill Spicer's <i>Graphic Story Magazine</i>, the </span><a href="http://www.library.vcu.edu/jbc/speccoll/comicbk4.html" target="_blank"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Inge
Collection of Comic Art reference Journals</span></a><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"> has the
following:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Graphic Story World</span></b><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Newsletter published quarterly covering comics books, comix,
animated film, and international interests. Features editors from France, Australia,
Finland, Italy, Japan,
Spain, and Sweden in mostly column format.
Expands into a magazine format by issue #5.</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Issues: Vol. 1 #1, 2, 4 Vol. 2 #1 - 4</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Dates: May 1971 - December 1972 </span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">[and]</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Wonder World: The World of the Graphic Story</span></b><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Magazine dedicated to publishing graphic stories focused at
adults. It features comics, articles, commentary, news and advertisements.</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Issue: Vol. 3 #2 (November 1973)</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
So, the term "graphic novel" was derived from "graphic
story," which in turn was derived from "graphic art"?</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000010&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Domingos</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 23, 2003
01:32 AM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">What can I add, but say: thanks for a fascinating thread. No
one seems to know shit about this subject though. I'm going to quote you from
now on.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000011&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Domingos</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 23, 2003
01:35 AM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">The next question is: who coined "graphic story".
He he, it never ends... </span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000012&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Andrei Molotiu</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 23, 2003
02:16 AM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">According to Jones & Jacobs, "The Comic Book
Heroes," p. 116, "Richard Kyle... invented the terms 'graphic story'
and 'graphic novel' for works that deserved better than 'comics'." The
time is unspecified, but clearly before 1967, as the next sentence refers to
"Bill Spicer, whose subsequent <i>Graphic Story Magazine</i>
(1967)..."</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Then
there's Steranko's take:<br />
</span><a href="http://newsarama.com/forums/showthread.php?s=&threadid=4576" target="_blank"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">http://newsarama.com/forums/showthread.php?s=&threadid=4576</span></a><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Discussing
his "Red Tide" (1976), he says:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">"The words "Visual Novel" appear on Red Tide's
cover; the term "Graphic Novel" appears inside the book. I'm not even
suggesting I created it, but it was used in the book and in promotional
material before publication."</span></b><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000013&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Andrei Molotiu</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 23, 2003
02:32 AM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">And remember that Rodolphe Topffer (add an umlaut there)
called his comics "<i>litterature en estampes</i>" or "<i>histoires
en estampes</i>," which basically means "graphic stories," and
this back in the 1830's.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000014&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Jaz Williams</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 23, 2003
10:22 AM
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<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Originally posted by Andrei Molotiu:<br />
<b>According to Jones & Jacobs, "The Comic Book Heroes," p. 116,
"Richard Kyle... invented the terms 'graphic story' and 'graphic novel'
for works that deserved better than 'comics'." </b></span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">I
was wondering who to blame for the self-conscious attitude toward the term
"comic book"... I HATE the phrase "graphic novel"!</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Having
spent years working in a large bookstore that gets plenty of comics-buying
activity, I've learned how much even the non-comics-enthusiast public has
latched onto the term... Some parent will ask on behalf of their five-year-old
for any YU GI OH or DRAGON BALL Z books, and I tell them there's plenty of
"comic book" versions of such, take them to the section, and the
reply is, "Oh, these aren't comic books, they're graphic novels! I've
heard these aren't appropriate for younger readers--is that true?" Yow! </span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000015&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">PatrickRosenkranz</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 23, 2003
12:08 PM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Don't forget Beyond Time and Again by George Metzger (1976)
and Comanche Moon by Jaxon, which was begun in comic book form in 1977 and
collected in a paperback edition in in 1979. Only Jaxon says, it's not a novel,
it's non fiction.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000016&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Domingos</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 23, 2003
12:28 PM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">This thread is about the history of the term "graphic
novel", not about what's the first graphic novel.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000017&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">JackieEstrada</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 23, 2003
06:36 PM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Metzger's "Beyond Time and Again" is subtitled
"A Graphic Novel" and was published by Richard Kyle, who has often
claimed to have coined the term.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Jackie
Estrada</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000018&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 23, 2003
07:26 PM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Thanks, Domingos, for the positive comments, and thanks,
Andrei, Patrick, and Jackie for the additional information. Might be a good
idea at this point to provide a quick summary of where we're at:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">First
Graphic Novel (so labelled):</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<ul type="disc">
<li class="MsoNormal" style="mso-list: l2 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><b><i><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Bloodstar</span></i></b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">
(1976) by Richard Corben and Robert E. Howard (see inside front dust-cover
of book) <b>and/or</b></span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></li>
<li class="MsoNormal" style="mso-list: l2 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><b><i><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Red Tide</span></i></b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">
(1976) by James Steranko (see "inside the book"; see also
"promotional material" for the book)</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></li>
<li class="MsoNormal" style="mso-list: l2 level1 lfo1; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><b><i><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Beyond Time
and Again</span></i></b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"> (1976) by George Metzger (see
cover [the book is subtitled "a graphic novel"]; published by
Richard Kyle, "who has often claimed to have coined the term")</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></li>
</ul>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">(Turns out 1976 was some kinda big year for "graphic
novels"! It's a wonder nobody has noticed before now. Or maybe somebody
has . . . )</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Originator
of the term "graphic novel":</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<ul type="disc">
<li class="MsoNormal" style="mso-list: l3 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Richard
Kyle</span></b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"> (nominated by Jones & Jacobs, "The Comic Book
Heroes"; also nominated by Kyle himself, who published George
Metzger's <i>Beyond Time and Again</i>, which is subtitled "a graphic
novel")</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Someone
involved in the production and promotion of <i>Bloodstar</i> and/or <i>Red
Tide</i> (this doesn't seem likely; or is it? LOL!)</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Bill Spicer</span></b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">
(nominated by Art Spiegelman; no citation available)</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></li>
<li class="MsoNormal" style="mso-list: l3 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Milt Gross</span></b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">
(nominated by whoever wrote </span><a href="http://www.tpl.toronto.on.ca/merril/grafik.htm" target="_blank"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">this
page</span></a><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"> ; no citation available, but I have written to the
owners of the site to request the citation, so watch this topic for
breaking news! LOL!)</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></li>
</ul>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
<b>Originator of the term "graphic story":</b></span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<ul type="disc">
<li class="MsoNormal" style="mso-list: l0 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Bill Spicer</span></b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">
(nominated by Art Spiegelman (?); see any issue of "Graphic Story
Magazine"; doesn't seem likely)</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Rodolphe
Topffer</span></b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"> ("graphic story" was a
translation of "litterature en estampes" or "histoires en
estampes"; see next category)</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></li>
</ul>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
<b>Originator of the term "litterature en estampes" or
"histoires en estampes"</b></span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<ul type="disc">
<li class="MsoNormal" style="mso-list: l1 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list .5in;"><b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Rodolphe
Topffer</span></b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"> (add an umlaut there; nominated
by Andrei Molotiu; no specific citation available, but Molotiu claims
Topffer's usage of the term dates back to the 1830s)</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></li>
</ul>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
Hope I haven't forgotten anything. I'll probably see the mistakes right after I
post the message. Don't it always seem to go . . .</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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</span><br />
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Posted November 23, 2003
10:22 AM by Jaz Williams</span></b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"> <br />
I was wondering who to blame for the self-conscious attitude toward the term
"comic book"... I HATE the phrase "graphic novel"!</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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</span><br />
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
Yeah, lots of people feel your pain. Alan Moore has argued that "graphic
novel" is nothing more than a marketing term, and it's difficult to
disagree. (If I remember correctly, Moore
prefers "graphic story.") Trouble is, as you say, lots of people are
using "graphic novel," and making claims about who coined the term
"graphic novel," and who published the first book labelled "a
graphic novel," etc., etc.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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</span><br />
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Posted November 23, 2003
12:28 PM by Domingos:</span></b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
This thread is about the history of the term "graphic novel", not
about what's the first graphic novel.</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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</span><br />
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<span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
I certainly don't want to discourage people from participating in this little
hunt--in fact, the more people who participate, the better chance we have of
pinning a few of these things down--but Domingos is right, this thread is not
about the definition of "graphic novel" or about what might be the
"first" graphic novel. It's about tracing the career of the <i>term</i>
"graphic novel."</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">More
later.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<div align="right" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: right;">
<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000019&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Andrei Molotiu</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 23, 2003
08:29 PM
</span></span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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</span><br />
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">To be more specific: Topffer wrote in his "Essai de
physiognomonie [sic]" of 1845 (my translation):</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">"One can write stories with chapters, lines, and words:
that is literature, proper. One can write stories with successions of scenes
represented graphically (<i>successions de scenes representees graphiquement</i>):
that is literature in prints (<i>litterature en estampes</i>). One can also do
neither one nor the other, which is sometimes the best thing."</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Writing
in 1837 about his book "M. Jabot," Topffer discusses how it is a
mixture of words and images working together, then says: <span style="color: #333399;">"The whole ensemble forms a kind of novel (<i>roman</i>),
that much more original since it doesn't anymore resemble a novel than anything
else."</span> (Both citations from 1996 Slatkine edition of Topffer's
complete graphic works, first page of introduction, which is otherwise
unpaginated). In the intro, Francois Caradec also claims that Topffer called
them "histoires en estampes," but does not give a specific quote.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">BTW,
I should point out that it was David Kunzle who, at the 2003 ICAF, claimed that
"histoire en estampes" can basically be translated as "graphic
novel." That's what I was thinking of in my previous post, but I just
remembered the Kunzle reference today. </span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">In
any case, already in the 1830's, Topffer was calling his works
"novels," said they were "represented graphically," and
called them "stories in prints."</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<div align="right" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: right;">
<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000020&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Andrei Molotiu</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 23, 2003
08:35 PM
</span></span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Oh, also, I found an 1867 biography of Topffer which calls
his graphic works "<i>albums</i>" (in French), maybe the first use of
<i>that</i> term as applied to comics...</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<div align="right" class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: right;">
<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000021&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 24, 2003
07:51 AM
</span></span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">More good info, Andrei! But one bit you posted raises a
couple of questions for me. You wrote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal">
<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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</span><br />
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<span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";">
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">BTW, I should point out that it was David
Kunzle who, at the 2003 ICAF, claimed that "histoire en estampes" can
basically be translated as "graphic novel."</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
Now, if the translation of "histoire en estampes" (Google
translation: "history in prints" <span style="mso-no-proof: yes;"><img alt="smile" border="0" height="15" src="file:///C:\Users\amolotiu\AppData\Local\Temp\msohtmlclip1\01\clip_image001.gif" width="15" /></span>) as "graphic
novel" has only recently been suggested (in 2003!), then the English term
couldn't have derived from the French term, could it? To begin to make the
case, wouldn't one have to find at least one example of an English translation
of "histoire en estampes" as "graphic novel" that predates
the appearance of "graphic novel" as an independent term in English?
(So far as I can tell, the earliest verified citations we have for
"graphic novel" are from 1976.) </span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Just
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000022&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">JackieEstrada</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 24, 2003
09:36 AM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">If I recall correctly, it was in Bill Spicer's "Graphic
Story Magazine" that Richard Kyle wrote about graphic novels. So that
reference to Bill Spicer is actually to Kyle.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Jackie
Estrada</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000023&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 24, 2003
10:48 AM
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">If I recall correctly, it was in Bill Spicer's
"Graphic Story Magazine" that Richard Kyle wrote about graphic
novels. So that reference to Bill Spicer is actually to Kyle.</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
That's a great lead, Jackie. Now it's Google to the rescue. In his column
"Master of the Obvious" (</span><a href="http://www.comicbookresources.com/columns/index.cgi?column=pd&article=1708" target="_blank"><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Wednesday August 13, 2003, Issue #100</span></a><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">),
Steven Grant writes:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Whether or not you accept or dismiss the idea
that Will [Eisner] created the first "graphic novel," REINVENTING
COMICS clearly suggests Will coined the term, which, as far as I know, was
coined in the late '60s by one of Bill Spicer's FANTASY ILLUSTRATED crew
(Richard Kyle, I think) as demonstrated in an interview with Alex Toth from the
Spring 1969 issue of GRAPHIC STORY MAGAZINE:</span></div>
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<b><span style="color: blue;">INTERVIEWER:</span></b><span style="color: blue;">
Someday graphic novels will take up where comic books are leaving off, but what
about the artist who has to sit down and drawn them? If someone came to you
with a 200 page pictorial novel to illustrate, and if the money was okay, do
you think you'd be interested?</span></span><span style="color: blue; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: blue; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">TOTH:</span></b><span style="color: blue; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"> I'd probably blow my brains out. It could be done, and there are
plenty of guys around who could and would do it. But I'd rather have twenty 10
page stories than one 200 page story... this graphic novel concept frightens
me... If they would reach into new subject areas, maybe graphic novels will
happen as dollar or two dollar softcovers in black & white or color. The
medium deserves a better shake than it's gotten from its practitioners who're
making it go on the way it's been going down...</span><span style="color: blue; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">If Richard Kyle is indeed the "INTERVIEWER," then
he's clearly got the best claim yet to the "Who coined the term 'graphic
novel'?" no-prize.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">And
good on ya, Steven "I do my homework" Grant! Maybe we'll all have to
quote you from now on!</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000024&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 24, 2003
11:26 AM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">And it looks like Milt Gross is out of the running.
According to a Reference Librarian with the Merril Collection of SF, the Web
page on which the claim that Milt Gross probably coined the term "graphic
novel" appeared was written by a former staff member and seems to have
been misquoted from the source material. The reference to Milt Gross came from <i>The
Encyclopedia of Science Fiction,</i> edited by John Clute and Peter Nicholls
(New York : St. Martin's Press, 1995, c1993), in the article on GRAPHIC NOVELS,
pp. 515-516. Here's the relevant paragraph:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Though comic-derived tales - like He Done Her
Wrong: The Great American Novel: And Not a Word in it - No Music, Too (1930) by
Milt Gross (1895-1953) - were not uncommon from an early date, the term
"graphic novel" was coined, possibly by the author himself, to
describe what was itself in fact a collection of linked stories, A Contract with
God (graph. 1978) by Will Eisner (1917- ), but it did not become a widely used
label until the release of a strangely ill matched trio -- Maus (1980-1985 RAW,
graph. 1987) by Art Spiegelman (1948- ), WATCHMEN (1986-7; graph. 1987) by Alan
Moore and Dave Gibbons, and Batman: The Dark Knight Returns (1986; graph. 1986)
by Frank Miller - raised the profile of the serious narrative comic book and,
in large part because of the low prestige of the comic-book medium, instigated
a commercial need for a distinguishing term ("Adult Comic" had
already been taken by comics with explicit sexual content).</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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Of course, we now know that even if the person who wrote the Web page on the
Merril Collection site had been faithful to this source material and credited
Will Eisner, he or she would have been wrong.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000025&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Andrei Molotiu</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 24, 2003
11:38 AM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Originally posted by Benjamin D. Brucke:<br />
<b><br />
<span style="color: #333399;">Now, if the translation of "histoire en
estampes" (Google translation: "history in prints" </span></b><b style="mso-bidi-font-weight: normal;"><span style="color: #333399; mso-no-proof: yes;"><img alt="smile" border="0" height="15" src="file:///C:\Users\amolotiu\AppData\Local\Temp\msohtmlclip1\01\clip_image001.gif" width="15" /></span><span style="color: #333399; mso-bidi-font-weight: bold;">) as "graphic novel" has only recently
been suggested (in 2003!), then the English term couldn't have derived from the
French term, could it? To begin to make the case, wouldn't one have to find at
least one example of an English translation of "histoire en estampes"
as "graphic novel" that predates the appearance of "graphic
novel" as an independent term in English? (So far as I can tell, the
earliest verified citations we have for "graphic novel" are from
1976.) </span></b></span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Just wondering . . .</span></b><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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I didn't say Kunzle in 2003 was the first to make that connection, just that
that was the instance I personally remembered. Since some of Topffer's pieces
were translated into English in the 19th c., it would be interesting to see
what those were referred to as. Nevertheless, there probably isn't any
continuity from Topffer to Richard Kyle and 1976. I guess there's a difference
between "first instance," period (not that Topffer is that, but he
does approach it), "first instance in English," and "first
instance in English as part of a continuing tradition that leads in a straight
line to the present-day usage of the term."</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000026&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Andrei Molotiu</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 24, 2003
11:55 PM
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">from Andrew Arnold's current column at Time.com--a letter
from R.C. Harvey responding to Arnold's
previous column, on the supposed "25th anniversary of the graphic
novel":</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">I have no. 909 of the
1,500 copies of the first edition of Eisner's "A Contract with God."
It is a handsome hardback book. No dust jacket. And nowhere on the cover or
title page or, even, in Will's introductory remarks does the term "graphic
novel" appear. Since the publication of this seminal work, the term
"graphic novel" has come into more widespread use than it enjoyed
then in 1978, and in subsequent editions of the book, apparently insinuated
itself onto the cover. But it wasn't there on the first edition; so the first
appearance of "A Contract with God" did not, ipso facto, inaugurate
the use of the term "graphic novel." The term "graphic
novel," as it applies to the "long form comic book," was
originally coined in November 1964 by Richard Kyle in a newsletter circulated
to all members of the Amateur Press Association. The term was subsequently
modified and used by Bill Spicer in his "Graphic Story Magazine" (a
usage Spicer gained Kyle's approval for in advance). The first time a
"long form comic book" was identified as a "graphic novel"
was the 1976 publication of "Beyond Time and Again," by George
Metzger, where the term "graphic novel" appears on the title page and
on the dust jacket flaps. There had been other efforts at "graphic
storytelling" before. Eisner mentions the work of Lynd Ward [creator of
the wordless novel "Gods' Man" in 1929] in his introduction, for
instance. Milt Gross did an entire narrative in pictures with no words:
"He Done Her Wrong" in 1930. Gil Kane and Archie Goodwin produced
"His Name Is? Savage," [a book-length comic,] in 1968. "A
Contract with God" gathered all of these narrative strategies together
between the covers of a single publication ? and set the pace for those who
would follow. Will Eisner has, without question, done more to advance the
medium of comics than just about anyone. But he didn't invent the graphic novel
form; nor did he coin the term (as he would be among the first to acknowledge).<br />
R.C. Harvey<br />
Champaign, IL</span></b><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">TIME.comix responds: For the record, Will Eisner confirmed with
TIME.comix that the words "A Graphic Novel" appeared on the cover of
the paperback edition of "A Contract with God," but not the
hardcover, which had no dust jacket. The paperback was published in 1978
simultaneously with the hardcover, says Eisner, with a larger print run. In
fact Eisner acknowledges that the term "graphic novel" had been
coined prior to his book. But, he says, "I had not known at the time that
someone had used that term before." Nor does he take credit for creating
the first graphic book. Eisner admits that, "I can't claim to have
invented the wheel, but I felt I was in a position to change the direction of
comics." TIME.comix' argument is that Eisner's book, published outside the
comic book system and pretty clearly the first comix work deliberately aspiring
to literary status, by having the term on the front cover, crystallized the
concept of a "graphic novel." But the matter is clearly open to
debate.</span></b><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000027&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Andrei Molotiu</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 25, 2003
12:00 AM
</span></span><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Oh, I see that Benjamin had already linked to this column,
but for some reason missed R.C.'s mention that the term "was originally
coined in November 1964 by Richard Kyle in a newsletter circulated to all
members of the Amateur Press Association." </span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: purple; font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">IP: </span><a href="http://www.tcj.com/messboard/ubbcgi/ubbmisc.cgi?action=getip&number=2&topic=002261.cgi&ReplyNum=000028&forum=Comics+Medium&TopicSubject=The+history+of+the+term+%7CQUT%7Cgraphic+novel%7CQUT%7C+.+.+."><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">Logged</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">Benjamin D. Brucke</span></b><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">Member <span style="color: purple;">posted
November 25, 2003 05:42 AM </span></span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">No, I didn't miss it. I quoted exactly what was there. Arnold obviously received
RC's letter and edited that section of the page. Here's the original post:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">The First What?</span></b><span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";"><br />
A few readers, none of whom wished to be identified, sought issue with the 25th
anniversary concept of the article, pegged to the use of the term "A
Graphic Novel" on the cover of Will Eisner's "A Contract with
God." Some dissenters pointed out that long-form graphic books such as
Osamu Tezuka's "Metropolis" pre-date Eisner's work. Another reader
took issue with the term's first appearance, citing a Richard Corben book
published two years before Eisner's that uses the phrase "graphic novel"
on the inside dust jacket. Without doubt both the etymology of the term
"graphic novel" and the origins of the form are debatable. Art
Spiegelman spoke of first seeing the term in the early 1960s among fanzines.
"There was a man named Bill Spicer who did a thing called 'Graphic Story
Magazine'," Spiegelman says, "And one of the things being discussed
in those books was the possibility of a comic book story that could partake of
the qualities of a novel. So the phrase sort of was kicking around." For
the record, Eisner admits, "graphic novel" had been coined prior to
his book but that, "I had not known at the time that someone had used that
term before." Nor does he take credit for creating the first graphic book.
Citing the silent picture stories of Lynd Ward, Eisner admits that, "I
can't claim to have invented the wheel, but I felt I was in a position to
change the direction of comics." My argument is that Eisner's book,
published outside the comic book system and pretty clearly the first comix work
deliberately aspiring to literary status, by having the term on the front
cover, crystallized the concept of a "graphic novel."</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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And here's the new version, with RC replacing the "few readers, none of
whom wished to be identified":</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; font-size: 7.5pt; mso-bidi-font-family: "Times New Roman";">quote:</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">The First What?<br />
There were, predictably, some objections to the anniversary concept of the
article, pegged to the use of the term "A Graphic Novel" on the cover
of Will Eisner's "A Contract with God." Here is one such example: I
have no. 909 of the 1,500 copies of the first edition of Eisner's "A
Contract with God." It is a handsome hardback book. No dust jacket. And
nowhere on the cover or title page or, even, in Will's introductory remarks
does the term "graphic novel" appear. Since the publication of this
seminal work, the term "graphic novel" has come into more widespread
use than it enjoyed then in 1978, and in subsequent editions of the book,
apparently insinuated itself onto the cover. But it wasn't there on the first
edition; so the first appearance of "A Contract with God" did not,
ipso facto, inaugurate the use of the term "graphic novel." The term
"graphic novel," as it applies to the "long form comic
book," was originally coined in November 1964 by Richard Kyle in a
newsletter circulated to all members of the Amateur Press Association. The term
was subsequently modified and used by Bill Spicer in his "Graphic Story
Magazine" (a usage Spicer gained Kyle's approval for in advance). The
first time a "long form comic book" was identified as a "graphic
novel" was the 1976 publication of "Beyond Time and Again," by
George Metzger, where the term "graphic novel" appears on the title
page and on the dust jacket flaps. There had been other efforts at
"graphic storytelling" before. Eisner mentions the work of Lynd Ward
[creator of the wordless novel "Gods' Man" in 1929] in his
introduction, for instance. Milt Gross did an entire narrative in pictures with
no words: "He Done Her Wrong" in 1930. Gil Kane and Archie Goodwin
produced "His Name Is… Savage," [a book-length comic,] in 1968.
"A Contract with God" gathered all of these narrative strategies
together between the covers of a single publication — and set the pace for
those who would follow. Will Eisner has, without question, done more to advance
the medium of comics than just about anyone. But he didn't invent the graphic
novel form; nor did he coin the term (as he would be among the first to
acknowledge).<br />
R.C. Harvey<br />
Champaign, IL</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="color: #333399; font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">TIME.comix responds: For the record, Will Eisner confirmed with
TIME.comix that the words "A Graphic Novel" appeared on the cover of
the paperback edition of "A Contract with God," but not the
hardcover, which had no dust jacket. The paperback was published in 1978
simultaneously with the hardcover, says Eisner, with a larger print run. In
fact Eisner acknowledges that the term "graphic novel" had been
coined prior to his book. But, he says, "I had not known at the time that
someone had used that term before." Nor does he take credit for creating
the first graphic book. Eisner admits that, "I can't claim to have invented
the wheel, but I felt I was in a position to change the direction of
comics." TIME.comix' argument is that Eisner's book, published outside the
comic book system and pretty clearly the first comix work deliberately aspiring
to literary status, by having the term on the front cover, crystallized the
concept of a "graphic novel." But the matter is clearly open to
debate.</span><span style="color: #333399; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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I'm delighted to have a person of RC's stature weigh in on the issue of who
coined the term "graphic novel." Richard Kyle, November 1964, Amateur
Press Association newsletter.</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
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<span style="font-family: "Verdana","sans-serif"; mso-bidi-font-family: "Times New Roman";">I
see that RC also mentions "The first time a 'long form comic book' was
identified as a 'graphic novel' was the 1976 publication of 'Beyond Time and
Again,' by George Metzger, where the term 'graphic novel' appears on the title
page and on the dust jacket flaps." I assume good ol' RC knows about the
other two contenders for that title . . . yeah, I'm sure he does . . .</span><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman";"></span></div>
Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-61248961772561122022013-07-23T16:30:00.003-07:002013-07-24T22:42:45.250-07:00Terms for comics studies--some illustrations <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyfqGTYOmRRunI38wFtkKtSuw9QNNNwq_6B9Ec_cn3QH-n3SBGRymwrFNQ5HqKW8rK2CAGWi8qifbfZZPnLDZqInD5wuWgj1XlDl0qW4kauU0LbHYdU4Gl8bfrbPB-IE7kus_RmTB40RQ/s1600/variation+in+levels+of+cartooning+sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyfqGTYOmRRunI38wFtkKtSuw9QNNNwq_6B9Ec_cn3QH-n3SBGRymwrFNQ5HqKW8rK2CAGWi8qifbfZZPnLDZqInD5wuWgj1XlDl0qW4kauU0LbHYdU4Gl8bfrbPB-IE7kus_RmTB40RQ/s320/variation+in+levels+of+cartooning+sm.jpg" width="320" /></a></div>
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Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-25894059518780665662013-05-07T17:06:00.001-07:002013-05-07T17:15:47.381-07:00Viewer in the Painting, lecture 1, part 1, raw (more or less) transcript. Mainly about four minutes in "Mary Poppins"<!--[if gte mso 9]><xml>
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<span style="font-family: inherit;"><span style="font-size: small;">[Note: what follows is a pretty raw transcript of my first lecture for my class, "The Viewer in the Painting." I edited it occasionally as I was transcribing it, skipping mutterings about malfunctioning equipment, occasionally finding a more felicitous term than the one I had used in class, or fixing my syntax. But I did all this just as I was typing, and I have not gone back over the text to revise it.] </span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><a href="http://en.wikipedia.org/wiki/Pygmalion_and_the_Image_series">Here </a>are four images, by Edward Burne-Jones, telling the
story of Pygmalion.<span style="mso-spacerun: yes;"> </span>As you know,
Pygmalion is a classical story best known from the Latin poet Ovid’s <i style="mso-bidi-font-style: normal;">Metamorphoses</i>—a long poem about, well,
things turning into other things.<span style="mso-spacerun: yes;"> </span>In
this case, a statue turns into a real woman, it comes to life.<span style="mso-spacerun: yes;"> </span>Pygmalion, the sculptor who makes beautiful
statues but is otherwise unhappy with the women in his city, is enthralled by
his own statue and invokes Venus, the goddess of love, to bring his own statue
to life. <span style="mso-spacerun: yes;"> </span>Venus shows up, brings the
statue to life, he falls in love with the woman she now is, and so on.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">What is interesting is that the story of the statue coming
to life is pervasive through popular culture, in fantastic stories, myths,
films, <span style="mso-spacerun: yes;"> </span>opera.<span style="mso-spacerun: yes;"> </span>It has become one of the ways in which not
only our culture, but cultures for millennia have encoded our relationship to a
kind of work of art, sculptures, and specifically statues of people.<span style="mso-spacerun: yes;"> </span>We can all think of other examples:<span style="mso-spacerun: yes;"> </span>if you have ever seen a stage performance of
Don Juan, or a staging of Don Giovanni, the opera by Mozart, you have seen
another statue coming to life.<span style="mso-spacerun: yes;"> </span>Don
Giovanni, the infamous seducer, is punished for his evil deeds by<span style="mso-spacerun: yes;"> </span>a statue—a statue come to life-- of the
father of one of the women he has seduced.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Other examples can be found in the pages of fantasy books,
episodes of the Twilight Zone, and so on.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">This fantasy seems to have a connection to the atavistic
notion of art as being something beyond, or before, the aesthetic—where the
aesthetic sees art as just something to be appreciated formally, or
intellectually, etc.<span style="mso-spacerun: yes;"> </span>It has something to
do more with cult statues, inhabited by gods, or with the icon in Greek
Orthodox or Catholic worship, which is prayed to—and even when short of
idolatry, seems to have a kind of power, it looks back at you, it’s more than a
simple representation of a saint or a divinity.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">This is one of the myths that encodes one kind of
relationship we have with statues, with works of art.<span style="mso-spacerun: yes;"> </span>Another such myth is the notion of the
portrait whose eyes follow you around the room.<span style="mso-spacerun: yes;">
</span>You may all have heard that.<span style="mso-spacerun: yes;"> </span>If
you go for example to a house museum, the tour guide or the docent may point
you to a painting of an ancestor and direct you to walk around the room, to
notice how, wherever you are, the figure in the painting is looking at
you.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Thinking of this myth, I wondered what, according to the
wisdom of the internet, are the paintings that most do that, so I googled
it.<span style="mso-spacerun: yes;"> </span>The most popular example seems to be
the Mona Lisa.<span style="mso-spacerun: yes;"> </span>If we imagine her looking
around the room, at us, we begin treating her as a person, we are somehow
endowing her with subjectivity, yet at the same time we know it’s just a plain
old painting, though perhaps the most famous and most expensive painting in the
world.<span style="mso-spacerun: yes;"> </span>But it’s not a real person.<span style="mso-spacerun: yes;"> </span>Nevertheless.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Looking at these myths, the statue coming to life, the
figure in the portrait whose eyes follow you around the room, you realize we
begin to develop a different kind of relationship with the work than simply
that of viewing subject versus viewed object.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">I looked further in the google results—and I want to
emphasize, that these relationships in no way need apply only to elite or
famous works of high art, or even things we might objectively think of as good—and
here was the next popular result.<span style="mso-spacerun: yes;"> </span>On
deviant art, art, a digital painting by May Fang Robinson, who seems to do
digital paintings of very traditional Chinese women, rendered in a kind of
academic/pin-up aesthetic.<span style="mso-spacerun: yes;"> </span>And their
eyes, supposedly, follow you around the room.<span style="mso-spacerun: yes;">
</span>Now, believe it or not, this is not just a myth—there is a specific
scientific reason as to why that might seem to be the case, and we’ll discuss
it when we get to geometric perspective—but because of that, we begin granting
the painting something much more than simple objectness.<span style="mso-spacerun: yes;"> </span>And the fact of it being a human face, one to
which we can relate, which brings to mind eye-to-eye encounters with real human
beings, helps too.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Having said that, I wanted to say that this class is modeled
after two models.<span style="mso-spacerun: yes;"> </span>On one hand, a professor
of English at the University of Rochester, Kenneth Gross, wrote a book in the
1990’s called “The Dream of the Moving Statue.”<span style="mso-spacerun: yes;">
</span>It is specifically about this notion of statues coming to life, studied
from many varied angles, and gives many more examples than I can give
here.<span style="mso-spacerun: yes;"> </span>It’s a beautiful, very poetic
book, and I found it inspiring me to take a similar look at other myths about
the reception of art, specifically those centered around the fantasy of the
viewer in the painting.</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Secondly, when I was in college, I took a class, primarily
to satisfy a requirement, the distribution of which was called “Moral Reasoning”
and included philosophy, ethics, and so on.<span style="mso-spacerun: yes;">
</span>Taught by a philosophy professor named Stanley Cavell.<span style="mso-spacerun: yes;"> </span>Now, I was a film major at the time—film and
studio—and this class promised to have a lot of film showings, which is why I
took it.<span style="mso-spacerun: yes;"> </span>Turned out to be an
extraordinary class (which Cavell later turned into a book, called “City of
Words”), primarily because it attempted to teach philosophy through popular
culture.<span style="mso-spacerun: yes;"> </span>For example, Cavell claimed
that some of the philosophical ethics of Kant or Emerson could be found in
Hollywood comedies or melodramas of the 1930s or 1940s.<span style="mso-spacerun: yes;"> </span>He made quite a powerful argument that this
was the case and that, indeed, the viewers of those movies somehow absorbed,
along with their entertainment, such moral lessons.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">I realized that even in a class on philosophy or theory, the
texts studied did not necessarily have to be philosophical expository text, but
could be works of fiction, of popular culture within which such philosophy
inheres, and from which it could be derived and re-applied.<span style="mso-spacerun: yes;"> </span>Those works would not necessarily be studied
as aesthetic work in themselves, but as repositories of philosophical
thought.<span style="mso-spacerun: yes;"> </span>In our case, there is a
philosophical component—a <span style="mso-spacerun: yes;"> </span>theory of
criticism, of viewer reception,<span style="mso-spacerun: yes;"> </span>of how
we interact with works of art—in the various seemingly fantastic scenarios I
have described.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">The other myth, and the main myth that this class is about,
is that of being able to enter a painting.<span style="mso-spacerun: yes;">
</span>Again, many examples can be found in fiction, in popular culture, some
that I will show you today in class, others in Twilight Zone episodes, again,
or even more clearly in episodes of Rod Serling’s next show, “The Night
Gallery.”<span style="mso-spacerun: yes;"> </span>This scenario again encodes,
becomes an allegory for a profound relationship we have to the works of art
themselves.<span style="mso-spacerun: yes;"> </span>I was just looking online
last night for a book by a professor of art history, currently at Berkeley,
named T.J. Clark; I was looking for something else entirely, when I found this
line by him:<span style="mso-spacerun: yes;"> </span>“When I am in front of a
picture the thing I most want is to enter the <i>picture's</i> world: it is the
possibility of doing so that makes pictures worth looking at for me. (p.222)”<span style="mso-spacerun: yes;"> </span>So I thought, oh, there is another person who
has this dream of entering a painting.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">What we will do in this class is take this notion—begin from
popular culture, from these myths—and from there build up a more complex theory
of how we respond to images; but it will still remain what we might call a “vernacular”
theory of viewer response:<span style="mso-spacerun: yes;"> </span>how do we
respond to works of art?<span style="mso-spacerun: yes;"> </span>How do they
affect us emotionally?<span style="mso-spacerun: yes;"> </span>And so on.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">And I thought I would begin with a very simple example, that
all of you have seen previously.<span style="mso-spacerun: yes;"> </span>“Mary
Poppins.”<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<br />
<span style="font-family: inherit;"><span style="font-size: small;">Here is the question.<span style="mso-spacerun: yes;">
</span>How do you enter a painting?<span style="mso-spacerun: yes;"> </span>What
does Mary Poppins say?<span style="mso-spacerun: yes;"> </span>“Bert, why do you
always have to complicate things that are really quite simple?”<span style="mso-spacerun: yes;"> </span>And, even without Bert’s spell (or, rather,
because she didn’t use it) she managed to get them all inside the
painting.<span style="mso-spacerun: yes;"> </span>Because, you know, she’s
magic, a witch or a fairy.<span style="mso-spacerun: yes;"> </span>(What is Mary
Poppins anyway?)</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">If we study the entire sequence again, though, we can derive
a few provisional notions of HOW to enter a painting—or, if you think of that
as an allegory, how to relate to it, to respond to it powerfully.<span style="mso-spacerun: yes;"> </span>Provisional notions which of course we will
rephrase in more scholarly terms, and revise and transform, during the course
of this class.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Notice that, to begin with, the children are going to go
with Mary Poppins for a walk in the park.<span style="mso-spacerun: yes;">
</span>But of course, Mary being magic, a walk in the park with her cannot be
just a walk in the park, as Bert points out.<span style="mso-spacerun: yes;">
</span>They will still end up in a park, though, just one that is much, much
better.<span style="mso-spacerun: yes;"> </span>And notice—this is very obvious,
but still needs to be noted—that the painting they will enter is a
landscape.<span style="mso-spacerun: yes;"> </span>Landscapes are the genre that
has most provoked this “viewer in the painting” fantasy.<span style="mso-spacerun: yes;"> </span>Why is that?<span style="mso-spacerun: yes;">
</span>You could also imagine it happening with other genres—for example, genre
paintings, paintings of everyday life, you can imagine a scene of people in a
room and you entering, past the frame, to be in their company—but this almost
never happens.<span style="mso-spacerun: yes;"> </span>It’s always
landscapes.<span style="mso-spacerun: yes;"> </span>That may be because an
important function of landscapes, from the beginning, was to take you somewhere
<i style="mso-bidi-font-style: normal;">else</i>.<span style="mso-spacerun: yes;">
</span>Diderot, an eighteenth-century writer whom we’ll discuss again later on,
wrote specifically about how we collect landscape because, caught in the dreary
city, we want to be transported to somewhere else, a more beautiful
countryside.<span style="mso-spacerun: yes;"> </span>The fact that he himself
had moved from the country to the city, and still felt nostalgia for the place
of his birth, probably had something to do with his view too.<span style="mso-spacerun: yes;"> </span>But nostalgia plays an important role here,
as we shall see.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Now, one more thing.<span style="mso-spacerun: yes;">
</span>Our very notion of parks, as open to the public—in America it’s a much
more modern notion, primarily nineteenth century, but even in England, Hyde
Park, which opened in the seventeenth century being one of the earliest there—was
a matter of bringing something of the countryside into the city itself.<span style="mso-spacerun: yes;"> </span>Artificial countryside, it functioned like
landscapes, the way Diderot saw them.<span style="mso-spacerun: yes;"> </span>It
helped people escaped to a more natural, more beautiful green world than their
depressing urban surroundings.<span style="mso-spacerun: yes;"> </span>And
public parks were based on private parks, in the countryside, around mansions—and
the landscaping for that kind of park was based, more often than not, on
landscape paintings, especially like those of—and I will now introduce for the
first time a name that you will be hearing a lot during this entire course—Claude
Lorrain.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Claude is very important for this class because it is in the
commentaries to his work—commentaries that span the period from the seventeenth
century to the twentieth, and beyond—that perhaps this desire, this dream to
enter the painting is most often articulated.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Claude’s work is most often associated with the genre of
pastoral painting—the depiction of a countryside world imbued with the
pleasures of shepherds and shepherdesses who have no worries, no anxieties
(gods too may come to visit), they can spend their time singing, playing music,
or in amorous dalliance.<span style="mso-spacerun: yes;"> </span>This becomes a
dream of a more perfect world for much of Western culture. Again, we’ll discuss
it at much more length, but keep in mind that it’s the dream behind the
creation of parks—and also, even, of the American suburbs.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">OK.<span style="mso-spacerun: yes;"> </span>Back to Mary
Poppins.<span style="mso-spacerun: yes;"> </span>So they’re going into the
park.<span style="mso-spacerun: yes;"> </span>But it has to be a special
park.<span style="mso-spacerun: yes;"> </span>They’re going on a “Jolly Holiday,”
as Bert sings.<span style="mso-spacerun: yes;"> </span>An easier life.<span style="mso-spacerun: yes;"> </span>The life of the pastoral—where they, too, can
sing.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;">Bert begins by making-believe.<span style="mso-spacerun: yes;"> </span>The magical entering into the painting begins
by enacting the poses of the characters in the paintings.<span style="mso-spacerun: yes;"> </span>You make believe, even if you don’t really
believe, until the magic actually happens.<span style="mso-spacerun: yes;">
</span>But, by playing the tightrope walker, the boatsman, in a way he already <i style="mso-bidi-font-style: normal;">is</i> in the painting. </span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Then the girl, Jane, wants to enter the painting, and Bert draws,
with chalk, a way for her into the painting.<span style="mso-spacerun: yes;">
</span>Literally, a road, a bridge.<span style="mso-spacerun: yes;"> </span>Two
things here:<span style="mso-spacerun: yes;"> </span>notice that the thing you
need, to enter a painting, is imagination.<span style="mso-spacerun: yes;">
</span>You have to see in your mind’s eye the fair that you can’t actually see
in the painting itself, that is before your eyes.<span style="mso-spacerun: yes;"> </span>That is how you build up that world, and give
it life.<span style="mso-spacerun: yes;"> </span>Then you have to have the road:<span style="mso-spacerun: yes;"> </span>the painting has, so to speak, to give you an
inroad into itself.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">As I said, this course is about viewer-response theories,
and we already see here two kinds.<span style="mso-spacerun: yes;"> </span>There
are three kinds, really, and perhaps some further subdivisions, but I will only
mention two here today.<span style="mso-spacerun: yes;"> </span>We’ll build on
this schema later.<span style="mso-spacerun: yes;"> </span>When you have viewer
response, what do you need?<span style="mso-spacerun: yes;"> </span>A viewer and
a work of art.<span style="mso-spacerun: yes;"> </span>Viewer response theories
can address each one of these poles.<span style="mso-spacerun: yes;">
</span>Focusing on the viewer, you can see what he or she brings to the
encounter, to make the image come alive:<span style="mso-spacerun: yes;">
</span>what has been called “the beholder’s share.”<span style="mso-spacerun: yes;"> </span>The imagination, in this case.<span style="mso-spacerun: yes;"> </span>Now you can study this psychologically
(though that shades into the third category, that I don’t want to discuss yet),
or you can study it empirically, sociologically.<span style="mso-spacerun: yes;"> </span>For example, if you want to know how people respond
to images, you can do a survey of museum patrons, and see what their
backgrounds are, economic, educational, and compare that to which works of art
they prefer.<span style="mso-spacerun: yes;"> </span>This kind of sociological
study has been done by a number of German response theorists (perhaps more when
studying literature than art), and by a French sociologist named Pierre
Bourdieu.<span style="mso-spacerun: yes;"> </span>I will mention this here,
because we won’t be doing much of this kind of analysis in this class.</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">But, anyway, you have the pole of the viewer, and on the
other side of the axis of vision, you have the pole of the artwork itself.<span style="mso-spacerun: yes;"> </span>And here we talk about <i style="mso-bidi-font-style: normal;">formal</i> theories of response; instead of looking at the viewer, we
look at how the painting addresses the viewer.<span style="mso-spacerun: yes;">
</span>How does it invite his or her participation?<span style="mso-spacerun: yes;"> </span>The painting needs to make itself inviting:<span style="mso-spacerun: yes;"> </span>to have that road, that meets the bottom side
of the frame and therefore seems to continue into the space of the viewer; to
have that bridge that crosses the river.<span style="mso-spacerun: yes;">
</span>(And, notice, that once they magically enter the painting, the kids will
go into the depths of the painting across that very bridge, along that road.<span style="mso-spacerun: yes;"> </span>The drawn bridge becomes an actual bridge in
the world of the image.<span style="mso-spacerun: yes;"> </span>Imagination has
to do something with this, too.)<span style="mso-spacerun: yes;"> </span>So you
look at what in the picture itself—in its form, but also in the content—accounts
for that address, that invitation.<span style="mso-spacerun: yes;"> </span>A
good example is one-point perspective, through which the painting opens itself
up, in depth, and continues the space of the viewer, and also by clearly
establishing the axis from the viewer’s eye to the vanishing point, draws him
or her into the image, to its very depths—since the vanishing point is at infinity,
after all.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">So there are formal structures, in the painting, that
address the viewer.<span style="mso-spacerun: yes;"> </span>But also, there are
structures of content (though, in most cases here, content and form are not so
easy to separate), for example the construction of a pastoral paradise—of a
more perfect world—that does the inviting.<span style="mso-spacerun: yes;">
</span>Because life seems easier there, because everything looks more beautiful
there.</span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Back to the movie.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Bert:<span style="mso-spacerun: yes;"> </span>“All right, I’ll
do it myself.”</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Mary:<span style="mso-spacerun: yes;"> </span>“Do what?”</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Bert: <span style="mso-spacerun: yes;"> </span>“A bit of magic.”</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Michael:<span style="mso-spacerun: yes;"> </span>“A bit of
magic?”</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Bert:<span style="mso-spacerun: yes;"> </span>“It’s
easy.<span style="mso-spacerun: yes;"> </span>Let’s see.<span style="mso-spacerun: yes;"> </span>You think; you wink; you do a double blink;
you close your eyes, and jump.”</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">[They jump onto the painting drawn on the sidewalk.]</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Jane:<span style="mso-spacerun: yes;"> </span>“Is something
supposed to happen?”</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Mary:<span style="mso-spacerun: yes;"> </span>“Bert, what
utter nonsense.<span style="mso-spacerun: yes;"> </span>[sighs] Why did you always
complicate things that are really quite simple?<span style="mso-spacerun: yes;">
</span>Give me your hand, please, Michael.<span style="mso-spacerun: yes;">
</span>Don’t slouch. One, two…”</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">They fly up in the air, and get smaller at the same time, to
be absorbed into the painting.</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Maybe this is stretching it.<span style="mso-spacerun: yes;">
</span>But is the exchange between Mary and Bert, when she says “Why did you always
complicate things that are really quite simple?” (and notice that it’s “did,”
not “do.”<span style="mso-spacerun: yes;"> </span>Mary and Bert clearly have
more of a history than the movie tells us)—is this exchange about not overthinking,
not over-intellectualizing one’s response to the image, so as to be able to be
open emotionally to it (which is quite simple, if you don’t think about it too
much), to be able to respond to it, make it come to life?<span style="mso-spacerun: yes;"> </span>Is it an allegory of those times when—because
of a depression, bad mood, etc.—we cannot relate to artworks that, in other,
less involved mental states, we respond quite readily?</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">OK, maybe that’s reading too much.<span style="mso-spacerun: yes;"> </span>We’ll see.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">Now they’re in the world of the painting.<span style="mso-spacerun: yes;"> </span>Notice that, in the painting itself, the
colors are brighter, everything is more beautiful, and even they themselves
have changed:<span style="mso-spacerun: yes;"> </span>they are more beautifully
dressed, in their Sunday best—they’re more ideal versions of themselves, the
best versions of the people they can be. When they’re inside the image.</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></div>
<span style="font-family: inherit;"><span style="font-size: small;">
</span></span><br />
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="font-size: small;">So, we can build a whole theory out of this. Out of this four-minute scene, on the
sidewalk, from a Disney musical. </span></span></div>
<br />
<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-weight: normal;">You have all seen “Mary Poppins,” right? You know what happens next—or, not
immediately next, but in the world of the painting, what famous song they
sing? “</span><span lang="EN" style="font-weight: normal;">Supercalifragilisticexpialidocious,” of
course. It’s part of the magic of that
world.</span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span lang="EN" style="font-weight: normal;"> </span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span lang="EN" style="font-weight: normal;"> </span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;"><span lang="EN" style="font-weight: normal;">Let’s move on.</span></span></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;"></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span lang="EN" style="font-weight: normal;">What’s interesting is that, if
Claude is the painter who most invited these fantasies, of entering his world,
from the seventeenth through the ninetenth century, the one who seems to have
most done so since the twentieth century has been Van Gogh.</span></span></span><span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span lang="EN" style="font-weight: normal;"><span style="font-family: inherit;"><span style="font-size: small;"> </span></span></span></span></span><br /><br />
<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><span lang="EN" style="font-weight: normal;"><span style="font-family: inherit;"><span style="font-size: small;">[to be continued...]</span></span> </span></span></span>Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-22702528774693598772012-01-22T00:09:00.000-08:002012-01-22T00:21:54.353-08:00Marivaux on Beauty and the Je Ne Sais QuoiPierre Carlet de Marivaux, "The Abodes of Beauty and of the <span style="font-style: italic;">Je Ne Sais Quo</span>i," from <span style="font-style: italic;">Le Cabinet du philosoph</span>e, IIe feuille, 1734. Translated by yours truly.<br /><br /><span style="font-style: italic;">Only rarely can beauty and the </span><span><span>je ne sais quoi</span></span><span style="font-style: italic;"> be found together.<br /><br />By the </span><span>Je ne sais quoi</span><span style="font-style: italic;"> I mean: that charm spread across someone’s face and figure, and which makes a person lovable, without our being able to tell what it owes its effects to</span><span> [á quoi il tient]</span><span style="font-style: italic;">.<br /><br />I have read somewhere on this subject a quite interesting tale; it was written by a man who pretended to have found the abodes of Beauty and of the</span><span> Je ne sais quoi</span><span style="font-style: italic;">.<br /><br />Here is more or less what he said. It’s short, as I will only offer a summary of his tale.<br /><br />One day—he said—as I was walking in the country, I was lost in thoughts about one of the most beautiful women in the world, whom I had visited for each of the last eight days out there in the countryside where I was staying. The first time I had seen her I had looked on her admiringly; I’d been less touched by her the second time; and I had finally ended up looking at her with indifference, no matter how beautiful I still found her to be, no matter how beautiful she truly was. I wondered why such beauty so worthy of admiration had grown so uninteresting to me, why Beauty in general, even, didn’t inspire longer-lasting feelings.<br /><br />I was seeking out the reasons for such things when I noticed I was standing between two gardens, of which one seemed superb, and the other pleasant</span><span> [riant]</span><span style="font-style: italic;">.<br /><br />The gates to these two gardens were right across from one another.<br /><br />On that of the superb garden, these words could be read in golden letters: THE ABODE OF BEAUTY.<br /><br />On that of the pleasant garden was written, in characters in which all sorts of colors were melded together, making a single one that could not be defined: THE ABODE OF THE </span><span>JE NE SAIS QUOI</span><span style="font-style: italic;">.<br /><br />The abode of Beauty! I first said to myself; oh, I must see it; for whoever says “Beauty” says something much more impressive than the “</span><span>Je ne sais quoi</span><span style="font-style: italic;">,” something much worthier of being seen.<br /><br />And so, carried along by the strength of the word, I didn’t hesitate to choose the garden of Beauty, and to leave behind that of the </span><span>Je ne sais quoi</span><span style="font-style: italic;">, which I would return to enjoy later.<br />As determined as I was in preferring the former, I nevertheless threw another glance at the latter which seemed to me so pleasant, and wished it were possible to see them both at the same time. But apparently no side-by-side comparison could be drawn between the two; so one had to start with the most intriguing</span><span> [curieux]</span><span style="font-style: italic;"> one, which is what I did.<br /><br />As I entered the garden of Beauty, I noticed the footsteps of several people who had walked in, but I also noticed as many belonging to people who’d walked out.<br /><br />I walk on, and the more I observe, the more I admire.<br /><br />I will not retell all the beautiful things I saw; the description of those sites is beyond my abilities; but I was astonished, I was struck. Imagine everything grand, superb and magnificent that can be placed in a garden; everything extraordinary that the most exact symmetry and the best thought-out arrangement can create; and you’ll barely picture what I saw.<br /><br />But how can I describe to you what the palace that I found after walking for a while looked like? I couldn’t even try.<br /><br />If I had to say something about it, I would tell you about the person I saw there seated on some kind of throne, around which stood several men who, according to what they told me, had only preceded me there by an hour, and who all seemed to be frozen in place, as if in ecstasy upon seeing the woman on the throne.<br /><br />You be the judge of whether they were wrong: that was Beauty herself, in person, who, every once in a while and as if by chance [négligemment] cast on each of them, as well as on me, glances that made us all cry out: Oh! such beautiful eyes!, then, a moment later, oh! such a beautiful mouth! oh! such a beautiful face! oh! such a beautiful waist!<br /><br />Upon hearing these exclamations, Beauty smiled and lowered her eyes somewhat, more out of modesty than out of embarrassment; and, without answering, started looking at us again, as if to reinforce </span><span>[nous confirmer dans]</span><span style="font-style: italic;"> the feelings of admiration we held for her. Now and then she also raised her head with a certain haughty air, which seemed to tell us: your admiration must be accompanied by respect. That was all she had to say for herself.<br /><br />For the first quarter of an hour, the pleasure of contemplating her made us forget her silence; by the end of it, however, I began to notice it, and so did the others.<br /><br />What! we all said, nothing but smiles, nothing but turns of the head, not a single word; that’s hardly enough. Will only our eyes be gratified? Are there no pleasures but the pleasure of sight?<br /><br />Thereupon, one of us stepped forward to present her with a piece of fruit he’d picked in the garden. She accepted it while smiling all the while, and with the most beautiful hand in the world, but without opening her mouth; and her gesture was the only thanks she offered; we had to content ourselves with watching her.<br /><br />Apprarently each one of us got tired of this, for, little by little, our group got smaller; I could see my companions walk away; and soon, of all the admirers amongst whom I had found myself, I was the only one left, and I took my leave as well.<br /><br />As I crossed an alleyway heading back, I met a woman who seemed exceedingly proud, and before whom, as I passed her, I took a deep bow.<br /><br />Where are you going? she asked me with with an air both disdainful and displeased. I have just admired BEAUTY, I answered, and now I am leaving. Now, now, why leave? she replied. Shouldn’t you be frozen in place before Beauty? What is there left for you to see, after having seen her?<br /><br />You are doubtlessly right, I told her; but I have seen her long enough; I know her features by heart: they are always the same. It is always the same beautiful visage, over and over again, saying nothing to the spirit, speaking only to the eyes, and always telling them the same thing; thus, I had nothing left to learn from it. If only Beauty engaged her admirers in conversation a little, if only her soul played about her face somewhat, that would render that face less uniform, and more touching; it would please the heart as much as the eyes; but we only see it as beautiful, and don’t feel it to be so. Beauty should take the trouble to speak for herself, and to display her spirit [esprit]; for I don’t think she’s lacking in it.<br /><br />Now, now! What does it matter to you whether she has or hasn’t any? asked me that woman then; does she need any, looking as she does? Go on, you don’t understand a thing; were you dealing with an ordinary visage, I would agree with you; it would be to its advantage that spirit animate it; that would enhance it, and make up for the graces that it lacked. But to wish that spirit play across a beautiful face is to wish for the alteration of that face’s charms; spirit may add something to unformed features, but it could only hurt features that are perfectly shaped; it could do nothing but disturb them. A beautiful face is as complete as it can be; it can do no better than to stay just as it is; whatever the movements of the spirit were to add to it would throw it off balance </span><span>[en troublerait l’économie]</span><span style="font-style: italic;">, for it is precisely in the state it is supposed to be in, and could not come out of it but to its own detriment. Thus, you criticize without thinking; it is I who tell you so, I who am the unmoved Pride of beautiful people, and the helpmate of Beauty. I never leave her side, and take great care to keep her spirit cold and tranquil, so that her face may stay at rest, and that her noble propriety be not lessened. It is fortunately true that it is not hard for me to temper Beauty’s spirit, which is generally quite peaceful of its own accord, or at least it’s perfectly aware how important it is for it to maintain gravity, and that it cause no disorder in that beautiful visage, whose interests it respects too much to think of its own.<br /><br />Thus spoke to me the woman; and her words seemed to me so peculiar, that I only answered with a bow and took my leave, then quickly made for the abode of the </span><span>Je ne sais quoi</span><span style="font-style: italic;">, where I caught up with all those who had left me behind in Beauty's dwelling. <br /><br />There was nothing astonishing in this place, and, what is more, nothing that was purposefully arranged; everything looked as if it had been thrown down haphazardly; disorder, even, reigned there, and yet a disorder in the very best taste, creating a charming effect, and whose cause one could neither have understood</span><span> [démêler]</span><span style="font-style: italic;"> nor shown.<br /><br />In short, nothing was left to be desired, there; and yet it must have been that nothing had been finished, or that not everything that one would have wanted to place there had indeed been placed, for at every moment we could see something new being added.<br /><br />And, despite the tale that counts only three Graces, there were an infinity of them there, which, as they crossed the grounds, reworked them, retouching them everywhere. I say, "as they crossed," for they did nothing but come and go, but pass before us in quick succession, without allowing us the time to know them well; they were there, but barely could one see them that they disappeared, and that others took their place then passed by in their turn, making space for others yet. In one word, they were all over, and yet settled nowhere; and it was never just one, but a thousand of them, that could be seen.<br /><br />Well then, gentlemen, said I to those who were with me, this place is charming; I'd willingly spend here my entire life; but he who inhabits it, the </span><span>JE NE SAIS QUOI</span><span style="font-style: italic;">, where is he? Lead me to him, I pray you; for you must have seen him?<br /><br />Not yet, they answered; and ever since we have been here, we have been seeking him without yet being able to find him; it is true that we seek him at our leisure; for, though we have the greatest desire in the world to lay our eyes on him, we are not in the least impatient to find his whereabouts; and even were we never to find him, we are resolved to seek him out forever.<br />And yet he must be here, I answered; and barely had I uttered these words, that we heard a voice telling us: Here I am.<br /><br />We all turned around then, for we perceived nothing before us; and, as much as we kept turning, we still saw nothing.<br /><br />Where are you then, kindly </span><span>JE NE SAIS QUOI</span><span style="font-style: italic;">? we all asked as one.<br /><br />Here I am, I tell you, answered the voice again.<br /><br />And we kept looking around, expecting to see him, and seeing nothing still.<br /><br />You tell us: here I am, I continued, but you shun our sight.<br /><br />And yet you see nothing but me, he answered. In this infinite number of graces that pass ceaselessly before your eyes, coming and going, all different and yet all equally lovable, of which some are more virile and some more tender, watch them well, there I am; it's me you see there, always me. In these sights you love so much, in these objects of all kinds that hold for you so many pleasing touches, in the entire extent of the grounds, in all that you perceive here that is simple, fancy-free, unruly even, ornate or not ornate: there I am, I show myself in them, I constitute all their charm, I surround you. In the guise of these graces, I am the Je ne sais quoi that moves you in both sexes; there, the Je ne sais quoi that pleases in architecture, in furnishings, in gardens, in all that can be an object of taste. And yet don't seek me in one form, I have thousands, and yet not one of them that stays ever fixed; that is why one sees me without knowing me, without being able to either grasp me or define me; in seeing me, one loses me from sight, one can sense me and yet not understand</span><span> [démêle]</span><span style="font-style: italic;"> me; in short, you see me, and you seek me, and you'll never find me in any other way; therefore you'll never tire of seeing me. </span>Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-90648204702733794052011-01-11T07:46:00.000-08:002011-01-25T05:54:38.671-08:00Nostalgia for Texture, 5<div><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmKymLUqyTLZWb7fM-8DJKch6jWDGKXoqDQHXzKUNN_XT3XtrHRJt1x7xGnH_b4CNH4XKhfd2ovxl1l6af2nJvzozvsyzke8Qmt1nNBXjpgAvbSdreryFQ59zjSrgcuqBWNYSFYm0rI5Oe/s1600/continent-money.png"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmKymLUqyTLZWb7fM-8DJKch6jWDGKXoqDQHXzKUNN_XT3XtrHRJt1x7xGnH_b4CNH4XKhfd2ovxl1l6af2nJvzozvsyzke8Qmt1nNBXjpgAvbSdreryFQ59zjSrgcuqBWNYSFYm0rI5Oe/s320/continent-money.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5560956761239030514" /></a><p class="MsoNormal"><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Eighth example.<o:p></o:p></span></b></span></i></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Walked down to Times Square with Ari B. last weekend. We stood on the red lighted steps that give you a theatregoer’s view on the light show Times Square’s always been, though it’s “friendlier” now, and far brighter – supersized. One ad, repeating on one of the biggest boards, caught our attention; I’d been going on about my hobby horse, and Ari’s been following this blog, and we agreed, I think, that the ad proved my point, or at least substantiated it. It's the new Microsoft Windows Phone 7 ad:</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><a href="http://www.youtube.com/watch?v=EHlN21ebeak"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">http://www.youtube.com/watch?v=EHlN21ebeak</span></b></span></a></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The first third of the spot shows us typical modern consumer-type folks missing out on physically and aesthetically pleasurable and meaningful life-experiences (urban life, travel, the beach, shower, jogging, massage, coffee, family, sex, exercise, snorkeling) because we’re (too) absorbed in our hand-held devices. After each situation, the snarky refrain: “Really?” (The unspoken answer: “Not! Your (over)use of this medium is blocking your access to reality.") The ad’s second third turns the mode to slapstick when this absorption absurdly interrupts what may be greatest pleasure of all: taking a leak. (It also interrupts the buildup of the Peer Gynt suite, which, if this is an allusion to </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">M</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, is pretty darn crafty: This is a compulsion, you can’t help yourself.) From here on it’s a loss not directly of pleasure, but of (social) dignity, somewhat in the old “BO” ad mode: we make fools of ourselves at the opera, at our wedding, in bed, at work (as a surgeon: high stakes, high pathos, big laffs), at the dinner table, as a Dad at the Little League game… and the dénouement? – A sweet blonde girl toddler in PJs, facing the camera in some perplexity, her oblivious well-heeled professional mom texting out of focus on the sofa behind, and the baby – get this – </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">the poor mom-deprived past-bedtime baby is holding a sippy cup</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">! Way to get at every working mom’s ambivalent anxiety about not being able to breastfeed/spend time with her children because she’s working! Way, also, to reiterate J.H. Campe’s equation of media with the pacifier, immediacy (“Be Here Now”) with The Breast… So QED. But that’s not all. Here comes my paradox again (that nostalgia seeks fulfillment in simulacra of experience produced by the very media perceived to be blocking access to it)</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, except a bit in reverse: here, a variant of the media-object blamed for effecting distance is touted with the special ability to close it.</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Over the sippy-cup sequence (moment of greatest pathos) is where the voice-over comes in: “It’s time for a phone… to save us from our phones.” Ooh, a paradox… So what’s the argument? “New Windows phone: designed to get you in… and out... and back to life.” Cut to romantic dinner for two. OK, first off, is this “in and out” thing a double entendre? Probably, but that can’t be the whole story. “In and out” of what, then? – One’s email, the internet, texting, and so on, is what I imagine is meant; in other words, all those things all those people were losing life to in the rest of the ad. So is the argument that (and am I expected to believe that) the special virtue of this new product is that it will allow me to execute all those personal-device activities that I am obsessively compelled to perform in say, half the time, leaving 50% more time for non-mediated activities such as sleeping with my wife or nursing my baby? Not only is this obviously bunk, it’s a self-contradiction: if our engagement with these devices is as irrational (obsessive-compulsive) as the ad suggests (and as it so clearly</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> is</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">), then the rational time-management argument is beside the point: we don’t text all the time because objectively we need to, we do it because there’s something about the medium that makes us want to. (Ask your average high-school student if she’d spend less time texting if texting went faster.) The interaction is </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">itself</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> a pleasure (though an ambivalent one); what we have in this ad is an array of conventional luxury pleasures set up rhetorically against one that the spot is attempting to sell. The interesting added factor is guilt. (You are ignoring your baby! Your wife! Your family! Your life!) A whole book could be written on guilt as a factor in marketing – maybe one has. But what’s more interesting than the simple presence of guilt as a factor is how the ad employs guilt so to speak dialectically: by letting us laugh at our own captivity to our devices (and also laugh socially: we’re </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">all</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> doing this, and we all can laugh at it, so really it’s not so embarrassing), it grants us permission to continue essentially as before; or as Siegfried Kracauer put it regarding certain cinematic “products of directorial artistry produced for the intellectual bourgeoisie”: “In the end, the audiences for such works read a radical magazine and pursue their bourgeois profession with a bad conscience, in order to have a good conscience” (“Kino 1928”). How then does the sell work? The product the ad allows us to identify with the feeling of catharsis and moral relief produced by its </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">aesthetic</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> solution of the problem is thus affectively tagged as a solution to a problem identified with “other” phones. – Really?</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The whole strategy reminds me of the one used in the “Dove Evolution” ad:</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">http://www.facebook.com/video/video.php?v=549997458733</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">about which I wrote about a year ago on one of Dove’s Facebook discussion pages, “What do you think of Dove advertising,” </span></b></span></p> <p class="MsoNormal" style="text-align:justify"><a href="http://www.facebook.com/topic.php?uid=21435141328&topic=3516"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">http://www.facebook.com/topic.php?uid=21435141328&topic=3516</span></b></span></a></p> <p class="MsoNormal" style="text-align:justify"><b><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;">on which the suckered cluelessness of people’s enthusiasm for the ad<span class="Apple-style-span" style="font-family:Georgia, serif;"> </span></span></span></b><b></b></p><b><p class="MsoNormal" style="margin-bottom: 13pt; text-align: justify; line-height: 20pt; display: inline !important; "><span class="Apple-style-span" style="font-weight: normal; line-height: normal; "><b><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;">really bothered me:</span></span></b></span></p></b><p></p><p></p><p></p><p></p><p></p><p></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The Evolution video is a good video, and it makes a good point, and I'd certainly (maybe) recommend showing it to young girls and boys, but the "fan" comments all show that Dove is succeeding perfectly in its sales pitch: WE are the Ben & Jerry's of cosmetics; OUR brand is not appealing to the insecurities & vulnerabilities that others are. But as a matter of fact: it is – and then some; in fact, there's a special danger, I think, in the way Dove masks its self-interest in the form of a public-service announcement with which it's difficult to disagree. Not to mention that a) everyone knows this already, which adds the pleasant thrill of feeling confirmed in one's morally superior knowledge and b) "our" perception of beauty has ALWAYS been "distorted": perceptions of beauty have always been constructs, and "natural" is as much a construction as any (it dates in this form to the mid-18th century, thank you Rousseau</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">).</span><o:p></o:p></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Not to mention that the ad allows you to enjoy BOTH varieties of beauty, while also permitting you to assume the additionally titillating position of moral censor.</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">& not to mention also that in this case Dove's implicit promise is STILL that their products will make women more beautiful than they are naturally (i.e. without cosmetics). Which means that in fact they're STILL appealing to the same fears and insecurities that they would like to appear to be declaring obsolete.<o:p></o:p></span></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">---</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Same tactic, no?</span></b></span></p> <!--EndFragment-->Peter J. Schwartzhttp://www.blogger.com/profile/11822599925761846894noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-66511165183016979952011-01-07T02:16:00.000-08:002011-01-07T02:51:59.794-08:00On Nakedness at Abu-GhraibI'm about to start teaching a class on "The Modern Nude" (i.e., beginning with the <span style="font-style:italic;">Olympia</span>, of course) and in preparing for it, and looking through all my notes on the subject, I found a proposed op-ed piece I sent to the New York Times in 2004, shortly after the Abu Ghraib photos surfaced. (I almost wrote "a rejected op-ed piece," though of course no such rejection ever comes, one's submission is just ignored and that's it.) It may seem years out of date--and it is, of course--but upon reading it I realized that the ethical turn toward which it builds has since been my main interest in the study of the nude; indeed the reading list for this semester includes Levinas as well as other ethically-oriented philosophers such as Martha Nussbaum, and maybe even Stanley Cavell, though I may end up just having to summarize Cavell's arguments. (At the same time, I'm trying to downplay Marxist/ideology-critique/Lacanian readings, not that they're wrong as far as they go, but that they don't quite go far enough--but I'll elaborate that argument another time.) <br /><br />In any case, without any further prefacing, here is the text of my submission, all nicely dusted off and blinking in incomprehension as it sees the light of (some kind of) print for the first time in the almost seven years since it came into existence. In op-ed-ish, NYT-ish layman's terms (clearly, I was trying to hew as close to formula as I could) it expresses, or at least suggests, pretty well the ethical concerns at which I'm aiming:<br /><br /><br /><blockquote><span style="font-style:italic;">THE NAKED AND THE NUDE AT ABU GHRAIB<br /><br />The images of abused Iraqi detainees at Abu Ghraib prison disturb not only through their simple documentation of horrific acts; they also have a visual power of their own, though one that has little to do with the designs of their makers. After all, though details of the abuse have been known since January, it has been only with the publication of the photographs that the scandal has entered public consciousness. What accounts for the power of these images? One answer lies in their depiction of nakedness; thereby, the images unintentionally take their place in the complex history of representations of the nude, history that stretches back at least to the days of archaic Greece. Of the many art-historical images with which they resonate, we can select a few that can help us better understand the meanings these photographs suggest, and the reactions they elicit in us. <br /><br /> The pyramid of naked bodies seen in several of the photographs offers us a convincing image of hell. Indeed, very similar imagery was used to represent the damned cast into the netherworld in depictions of the Christian Last Judgment from the Middle Ages until at least the seventeenth century. In relief sculptures such as Lorenzo Maitani’s early 14th century façade for the Cathedral of Orvieto, or in frescoes such as Giotto’s at the Arena chapel in Padua, the damned are shown piled atop each other, naked and frail. They make up a seemingly undifferentiated, wriggling mass of flesh, condemned to be devoured by the infernal fire-pits. They are always contrasted with the saved, who more often than not are depicted clothed, and whose more idealized beauty is supposed to suggest their spiritual nature, as opposed to the unredeemed corporeality of the sinful lost souls. They are also always shown being controlled by the devils, who kick them, shove them, and gleefully manhandle them in many other ways.<br /><br /> Another image the photographs may recall, perhaps by way of contrast, is Jacques-Louis David’s Napoleonic-era “Leonidas at Thermopylae.” The large neoclassical canvas, which shows scores of nude warriors embracing each other tenderly the morning before the battle, makes explicit and celebrates the homoerotic bonds that hold an army together. It’s hard to imagine, however, that any modern military force would acknowledge such an explicit statement of the unconscious forces that hold it together; Napoleon certainly did not approve of David’s canvas, though its overt homoeroticism was never mentioned as the cause of his dislike. The behavior of the Abu Ghraib guards looks like a case-study demonstration of the repression and projection of similar psychosexual impulses. Forcing the detainees to simulate homosexual acts, as well as simply forcing them to lie nude against one another, the guards could project homoeroticism upon their demonized enemies, disavowing it in themselves while at the same time taking a very evident pleasure in its display.<br /><br /> Most importantly, however, the images invite comparison with other photographic representations of the human body. Since its invention, the photographic medium has been noted for its power to record the shock value of nakedness. Most photographers, however, have recoiled from this very power. One need only think of the aestheticization of the nude in the works of Imogen Cunningham or Edward Weston, where the naked body is converted into abstract plays of light and shadow, or of the parallel objectification that can be seen every month in the pages of Playboy. In such cases, formal abstraction or the deft use of the airbrush prevent the viewer from experiencing the actual corporeality of the naked body, and, implicitly, the subjectivity of the depicted individual.<br /><br /> A parallel kind of objectification can be seen at Abu Ghraib, carried out for the sake of neither aesthetics nor eroticism, but to strip the prisoners of their most elementary human dignity. Ironically, however, the guards’ own grotesque choice to commemorate their acts visually has helped to reverse that objectification. The deciding factor here was that the photographers were not professionals but amateurs, and thus incapable of, as well as uninterested in, shielding us by aesthetic means from the power of human nakedness. Looking at the photographs, we not only feel ashamed that our own troops have perpetrated such horrors. A further shame arises from our simple identification with those debased bodies, and from our realization that, as human beings, we are always in danger of ending up in the very same situation as theirs.<br /><br /> The French philosopher Emmanuel Lévinas thought that at the root of all ethics lay the simple encounter with the face of the other. In the Abu Ghraib photographs, in a further attempt to dehumanize the prisoners, all the faces are hooded. And yet, isn't there a sense that the process envisioned by Lévinas can still take place—that it is not the faces, but the humiliated, objectified, yet all too real naked bodies of the other that will force a sense of ethics upon us?</span><br /><br /><br /></blockquote>Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com2tag:blogger.com,1999:blog-6965436484511355077.post-3642150200461033412010-12-30T08:30:00.000-08:002011-01-25T05:58:07.131-08:00Nostalgia for Texture, 4<div><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-i_24oeu-a5KZiIZzmWElkuEUNdbZtImttcuFxPM_rQ-gby9YGKdzR_-ZmQOJZR0DMW6eZoMog4Zqx3WENUPlohrf6lr3NUEFFwzN0IWaGR85JcGQB2x1ETyCZ7TT_p1thwEbzinqEjx3/s1600/metropolisimage.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-i_24oeu-a5KZiIZzmWElkuEUNdbZtImttcuFxPM_rQ-gby9YGKdzR_-ZmQOJZR0DMW6eZoMog4Zqx3WENUPlohrf6lr3NUEFFwzN0IWaGR85JcGQB2x1ETyCZ7TT_p1thwEbzinqEjx3/s320/metropolisimage.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5556515056944281906" /></a><p class="MsoNormal"><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Third attempt at theory.<o:p></o:p></span></b></span></i></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Back to the problem of nylons. – Nostalgia for texture is fundamentally erotic. It’s driven by a desire for tactility, a desire to touch something that can no longer be touched; its peculiar paradox seems to be the construction of simulacra of touching precisely via the medium felt to </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">prevent</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> the touching. The lost object (or the object felt to be lost) is, I think, The Breast. </span></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">If I’m going to capitalize that, I suppose I shall need a theory to take things further; but which? My best guess is Lacan, but I’ve never been able to stand him long enough to understand him. There’s Piaget’s distinction between the sucked breast and the seen breast – as far as I understand it, the point here (as with Lacan?) is that human individuation occurs concurrently with a transition from an infantile feeling of physical identity with the mother (of which the breast is, or becomes, a metonym) to a sense of non-identity confirmed by the distancing quality of sight – but although I like this distinction as a heuristic, I don’t know Piaget’s theory (or his rep) well enough to follow it through to further theoretical consequences. In a bit, I’ll see what I can do with Alois Riegl’s distinction of haptic from optic styles in art… From this much alone, though, it’s clear that nostalgia for texture is psychologically regressive, involving a fantasy of identity with (or in) an object of desire perceived as lost in a transition to exile; Eden again. Where then has technological change been conceived as an expulsion from the garden? Prometheus, probably; which brings me to Goethe’s Faust in his study. </span></b></span></p> <p class="MsoNormal" style="text-align:justify"><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">A few paragraphs from the same as-yet-incomplete elsewhere as before:<o:p></o:p></span></b></span></i></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The Faust legend has been a means of expressing anxiety about </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">sexuality</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> since its conflation, by 1587, with the legend of Cyprian of Antioch, whose use of the Devil’s help to win his pious beloved Justina seems to have introduced the Helena theme to the scholar’s tragedy.</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn1" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[1]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Characterizing the Faust legend as “l’expression la plus parfaite de la Réforme,” in which we see accumulated many of its ideological traits – “la censure de l’imaginaire, la culpabilité intrinsèque de la nature et de son instrument principal: la femme,” Ioan Couliano observes, for one, the degree to which such anxiety is registered culturally, in Reformation Europe, by a trend in fashion to hide and flatten Nature’s favored metonym, the female breast; and, for another, by a surge of ambivalent interest in magic; a combination that would inform the European witch-craze of the sixteenth and seventeenth centuries.</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn2" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[2]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Jane Brown identifies the same fashion trend in late sixteenth-century paintings of women, connecting it not with magic but with anxieties produced by the process of secularization as it affected the problem of representation.</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn3" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[3]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> But secularization and early modern thinking on magic are linked phenomena, and if the one informs what Brown calls “the persistence of allegory” in later literature, so does the other.</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn4" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[4]</span></b></span></span></a></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The first study scene (“Nacht”) of Goethe’s </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Faust</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> expresses related concerns, using similar tropes. “Welch Schauspiel! aber ach! ein Schauspiel nur!” Faust declaims in frustration, having sought direct contact with Nature in signs – in this case, a printed sign, in a book, of the Macrocosm. “Wo faß ich dich, unendliche Natur?/ Euch Brüste, wo? Ihr Quellen alles Lebens, /An denen Himmel und Erde hängt,/ Dahin die welke Brust sich drängt – / Ihr quellt, ihr tränkt, und schmacht ich so vergebens?” Oddly, Faust has just </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">turned</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> to books, directly following (indeed, as if in answer to) a violent rejection of them: “Weh! steck ich in dem Kerker noch? Verfluchtes, dumpfes Mauerloch! Wo selbst das liebe Himmelslicht/ Trüb durch gemalte Scheiben bricht” – this an image of media generally – “Beschränkt mit diesem Bücherhauf,/ Den Würme nagen, Staub bedeckt,/ […] Das ist deine Welt! Das heißt eine Welt!” Just as Goethe’s Werther, rejecting an early offer to have his books sent to him, can protest, paradoxically, that his heart “doch genug aus sich selbst [braust],” then declare: “Ich brauche Wiegengesang, und den habe ich in Fülle gefunden in meinem Homer”;</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn5" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[5]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> and just as Werther, later, can soothe a soul troubled by social rejection with a carriage ride out to a sunset accompanied by Wetstein’s Homer,</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn6" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[6]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> so also does Faust find himself looking to printed signs in the very act of seeking to escape them.</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Reflection.<o:p></o:p></span></b></span></i></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">This would be another example of the paradox that has nostalgia seeking fulfillment in simulacra of (sensual) experience produced by the very technologies perceived to be blocking access to such experience.</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">To continue.<o:p></o:p></span></b></span></i></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Marlowe’s Faustus, too, has a problem with text: “I’ll burn my books!”</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn7" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[7]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> This, his last-ditch effort to avoid hell, ends a final monologue whose central theme is </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">not</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> books, but what seems a problem of </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">individuation</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">. This Faust, to avoid damnation, would have the earth swallow him; the stars draw him up “like a foggy mist/ Into the entrails of yon labouring cloud,/ That, when you vomit forth into the air,/ My limbs may issue from your smoky mouths,/ So that my soul may but ascend to heaven”; he envies the beasts, for “all beasts are happy,/ For when they die/ Their souls are soon dissolv’d in elements;/ But mine must live still to be plagu’d in hell. […] O soul, be chang’d into little water drops,/ And fall into the ocean, n’er be found.”</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn8" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[8]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> The extended desperate metaphor of dissolution is, I believe, a response to the “feeling of unprecedented inner loneliness of the single individual” – to the radical sense of aloneness with one’s own soul in the face of the problem of grace – that Max Weber saw at the heart of Calvinist Protestantism; precisely, Faustus’s loneliness.</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn9" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[9]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> “He is not well with being over-solitary,” observes one of his students. The comment applies to both Fausts, Marlowe's and Goethe's. The connection, for both, of such loneliness with the problem of books is characteristic generally of German (perhaps European) reactions to media revolutions at two (or, perhaps, four) distinct points in history. One of these – Marlowe’s context and that of the Faust legend’s origins – is the sixteenth-century print revolution, occasioned by the invention of movable type around 1450 and greatly accelerated by Humanist scholarship and the pamphlet wars of the Reformation, in the 1520s and after. Another is the last third of the eighteenth century, the moment in which the German </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Mittelstand</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> – Werther’s class – began to define itself as such, above all by construing itself as a reading (and book-buying and -publishing) public. In both eras, the positive value of printed texts as a medium of social and individual self-construction trailed a shadow in anxieties about the downside, the dangers of alienation in printing and reading.</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">From another sketch I wrote recently.<o:p></o:p></span></b></span></i></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">By the end of </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Doctor Faustus</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, Marlowe no longer needs the Good and Bad Angels of the morality tradition: they have changed fully from theological exteriorizations of conscience to moments of inward psychology, voices in Faustus’s head. What these voices enunciate is a terror of selfhood, of radical individuation; and what Faustus answers them with is a fantasy of dissolution, of de-individuation. If here selfhood is coded in terms of ethical conflict with God the Father, dissolution is cast as a flight from the angry father into the womb of Nature, the primal mother. Faustus, to avoid damnation, would have the earth swallow him; the stars draw him up “like a foggy mist/ Into the entrails of yon labouring cloud,/ That, when you vomit forth into the air,/ My limbs may issue from your smoky mouths,/ So that my soul may but ascend to heaven” (V.ii.86-90); he envies the beasts, for “all beasts are happy, for when they die/ Their souls are soon dissolv’d in elements,/ But mine must live still to be plagu’d in hell. […] O soul, be chang’d into little water drops,/ And fall into the ocean, n’er be found” (V.ii.103-105, 111-112). To repeat: the extended desperate metaphor of dissolution is, I believe, a response to the “feeling of unprecedented inner loneliness of the single individual” – to the radical sense of aloneness with one’s own soul in the face of the problem of grace – that Max Weber saw at the heart of Calvinist Protestantism.</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn10" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[10]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> The phantasmatic retreat to a state of non-differentiation in nature, coded female – with which the German romantics, too, answered their sense of the “fragmentary” quality of modern culture, which they blamed partly on Protestantism – is here articulated specifically in terms of a series of bodily fluids: implicitly, blood and tears; explicitly, milk and saliva. The aporia of Calvinist predestination is phrased in terms of a choice between bloods: Faustus’s own, used to seal the pact with the Devil, and Christ’s which could redeem him. This choice between bloods cannot be resolved without aid of tears: “Break heart, drop blood, and mingle it with tears,/ Tears falling from repentant heaviness/ Of thy most vile and loathsome filthiness” (V.i.39-41). Tears, a sign of repentance at an emotional level (not just the volitional, as are both bloods) are not forthcoming; in his desperation, unaided by tears, Faustus turns first to a vaporization of blood in what is implicitly the Milky Way: “See, see, where Christ’s blood streams in the firmament!/ One drop would save my soul, half a drop. Ah, my Christ!” (V.ii.74-75) and finally to images of integration into the natural water cycle: “O soul, be chang’d into little water drops,/ And fall into the ocean, n’er be found” (V.ii.111-112). Between these two fantasies of escape, we see Faustus distracted – seduced – by the saliva of a succubus, of womanhood marked as false, whorish, demonic: “Sweet Helen, make me immortal with a kiss. [</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">They kiss</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">.]/ Her lips sucks forth my soul. See, where it flies!” (V.i.92-93) Tears and milk are the answer; blood and saliva are not. The difference seems one between a regression to primal unity – psychologically, the preverbal oneness of mother and child, so often imagined as a return to Nature (as Isis, she of the many breasts)</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn11" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[11]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> – and the problematic entrapment in the guilts of family (blood) and sexuality (saliva, etc.)</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn12" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[12]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> attendant on the development to individuated selfhood. “O, would that I had never seen Württemberg, never read book!” (V.ii.19-20). This recalls Nietzsche, quoting Silenus, companion of Dionysus: “What is best of all is utterly beyond your reach: not to be born, not to </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">be</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, to be </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">nothing</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">. But the second best for you is – to die soon.”</span></b></span><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftn13" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[13]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> The problem, however, is not being born. It’s what comes after: the fall into language (“I’ll burn my books!”) and hence into selfhood and the Oedipal “law of the father” (Freud). From here (so it seems to Faustus), there is no way back to the mother, to the breast, to Nature, to Paradise.</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Final reflection.<o:p></o:p></span></b></span></i></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">I suppose that it’s no coincidence that Condillac’s ideal armature for the sensations was a (statue of a) nude woman, or that in </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Pygmalion</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Rousseau’s Galatea convinces herself of her individual selfhood by an act of touch: </span></b></span></p> <p class="MsoNormal" style="text-align:justify"><b><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;">Galathée</span></span></b><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> se touche, et dit</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> : Moi. <o:p></o:p></span></b></span></p> <p class="MsoNormal" style="text-align:justify"><b><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;">Pygmalion</span></span></b><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">transporté</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Moi. <o:p></o:p></span></b></span></p> <p class="MsoNormal" style="text-align:justify"><b><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;">Galathée</span></span></b><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> se touchant encore</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> C'est moi. <o:p></o:p></span></b></span></p> <p class="MsoNormal" style="text-align:justify"><b><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;">Pygmalion</span></span></b><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Ravissante illusion qui passes jusqu'à mes oreilles, ah ! n'abandonne jamais mes sens. <o:p></o:p></span></b></span></p> <p class="MsoNormal" style="text-align:justify"><b><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;">Galathée</span></span></b><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> fait quelques pas et touche un marbre</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Ce n'est plus moi. <o:p></o:p></span></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">(</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Pygmalion, dans une agitation, dans des transports qu'il a peine à contenir, suit tous ses mouvements, l'écoute, l'observe avec une avide attention qui lui permet à peine de respirer. Galathée s'avance vers lui et le regarde ; il se lève précipitamment, lui tend les bras, et la regarde avec extase. Elle pose une main sur lui ; il tressaille, prend cette main, la porte à son coeur, et la couvre d'ardents baisers.</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">) <o:p></o:p></span></b></span></p> <p class="MsoNormal" style="text-align:justify"><b><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;">Galathée</span></span></b><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">avec un soupir</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">. Ah ! encore moi.</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Rousseau’s fantasy, typically, resolves the non-identity involved in individuation with an identity recovered in erotic love </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">for one’s own work of art</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">; a Narcissist’s move that, equally typically, Goethe came to deplore. Why? (This will take some explaining, but it's a key point.) In any case, such regression, although Goethe felt it (see </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Werther</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">) was not for him (see </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Werther</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">). It’s not for me either, though the pull is strong…</span></b></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">In this context, it might be worth finding out how often early filmmakers used the conceit of the living statue; there are three examples in the Austrian Film Archive’s collection of early pornography </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Saturn, Filme 1906-1910: Die erotischen Anfänge der österreichischen Kinematografie</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, but I expect there’d have been many more. I must ask Gustav Deutsch and Hanna Schimek… Hauke Lange-Fuchs counts 160 silent Faust films between 1890 (a Zoopraxinoscope series) and 1933 (</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Faust im Film</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 28-30). Méliès alone seems to have made five or six.</span></b></span></p> <div style="mso-element:footnote-list"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span> <hr align="left" size="1" width="33%"> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn1" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[1]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> That is, if one doesn’t include the accusations of sodomy levelled against the historical Faust in 1507 and 1532. Bates I and VI. On Faust & Cyprian see Ioan Peter Couliano, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Éros et magie à la renaissance 1484</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (Paris: Flammarion, 1984), 282-291. Note Aby Warburg’s inclusion of the “Raub der Helena” theme in his </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Mnemosyne-Atlas</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, as an </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">“Antike Vorprägung” of the </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">ninfa fiorentina</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (WIA, Kasten 12; </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Mnemosyne-Atlas</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, Tafeln 24.8, 33.6</span></b></span><sup><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">3</span></b></span></sup><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 33.9, 35.2, 35.5, 35.7</span></b></span><sup><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">2</span></b></span></sup><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 35.8</span></b></span><sup><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">1</span></b></span></sup><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 35.9</span></b></span><sup><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">2</span></b></span></sup><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 37.19, 37.20, 3.23, 37.24, 38.9</span></b></span><sup><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">2</span></b></span></sup><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">) and hence as a </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Pathosformel</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> for anxiety about women and the dangers they signify. See also Ernst Gombrich, Roberto Calasso & Ulrich Raulff on the </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">ninfa</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></b></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn2" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[2]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Ioan Couliano, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Éros et magie à la Renaissance</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 282-291. On connections of anxieties about breastfeeding with accusations of witchcraft in the early modern period, see Deborah Willis, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Malevolent Nurture: Witch-Hunting and Maternal Power in Early Modern England</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (Ithaca, NY: Cornell UP, 1995), 18, 52, 66, 72-73, 156. <o:p></o:p></span></b></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn3" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[3]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Jane K. Brown, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The Persistence of Allegory</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 9. See also Hans Blumenberg, “Weltverlust und demiurgische Selbstbestimmung,” </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Säkularisierung und Selbstbehauptung</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (Frankfurt am Main: Suhrkamp, 1974), 158-166.<o:p></o:p></span></b></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn4" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[4]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Recent work on Fritz Lang’s film </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Metropolis</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (1926) – in parts, a reworking of the Faust theme – has made clear the extent to which anxieties about media change and the slippage of signs remain linked with gender anxieties in the cinema’s early years, while tending (in Lang) to allegory. See especially Tom Gunning’s chapter on </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Metropolis</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> in </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The Films of Fritz Lang: Allegories of Vision and Modernity</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (London: British Film Institute, 2000), and Andreas Huyssen, “The Vamp and the Machine: Technology and Sexuality in Fritz Lang’s Metropolis,” </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">New German Critique</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> 24/25 (Autumn 1981 – Winter 1982): 221-237. <o:p></o:p></span></b></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn5" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[5]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Werther</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, Erstes Buch, Brief des 13. Mai<o:p></o:p></span></b></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn6" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[6]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Werther</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, Zweites Buch, Brief des 15. März; see Hans </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Rudolf Vaget, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Dilettantismus und Meisterschaft. Zum Problem des Dilettantismus bei Goethe: Praxis, Theorie, Zeitkritik</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (Munich: Winkler, 1971), 51.<o:p></o:p></span></b></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn7" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[7]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> “Am Ende plant er, wie jeder schwarze oder weiße literarische</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Magier der Renaissance einschließlich Faustus, seine Bücher zu zerstören.” Jane K. Brown, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Ironie und Objektivität</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> 108. <o:p></o:p></span></b></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn8" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[8]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Marlowe, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Doctor Faustus</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, A-text, act 5.<o:p></o:p></span></b></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn9" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[9]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Max Weber, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Protestant Ethic</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 104; </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Pauline Honderich, “John Calvin and Doctor Faustus,” </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The Modern Language Review</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> 68.1 (Jan., 1973), 1-13</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></b></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn10" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[10]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Weber, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Protestant Ethic</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 104<o:p></o:p></span></b></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn11" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[11]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> See Pierre Hadot, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Le Voile d’Isis. Essai sur l’histoire de l’idée de Nature</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (Paris: Gallimard, 2004).<o:p></o:p></span></b></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn12" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[12]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Note to self: There might</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> be more to do here with the psychoanalysis of succubi. See Ernest Jones, “Incubus and Incubation,” </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">On the Nightmare</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (London: International Psycho-Analytic Society/Hogarth Press, 1951), 82-97.<o:p></o:p></span></b></span></p> </div> <div style="mso-element:footnote" id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-create.g?blogID=6965436484511355077#_ftnref" name="_ftn13" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[13]</span></b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> Friedrich Nietzsche, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The Birth of Tragedy</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, in </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Basic Writings of Nietzsche</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, trans. Walter Kaufmann (New York: Modern Library, 2000), 42.</span></b></span><o:p></o:p></p> </div> </div> <!--EndFragment-->Peter J. Schwartzhttp://www.blogger.com/profile/11822599925761846894noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-75943045777444500262010-12-15T21:06:00.001-08:002011-01-25T06:07:02.816-08:00Nostalgia for Texture, 3<!--StartFragment--> <p class="MsoNormal" style="text-align:justify"><i><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">All sorts of things, kind of mixed up</span></b></span></span></i></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">It seems that my problem goes further back than I thought.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">I found this passage from Plato’s </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Phaedrus</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> on the last page of Tom Gunning’s excellent book on Fritz Lang:<o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><i><span style="font-family:";"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Socrates</span></b></span></span></i><span style="font-family:";"><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">. At the Egyptian city of Naucratis, there was a famous old god, whose name was Theuth; the bird which is called the Ibis is sacred to him, and he was the inventor of many arts, such as arithmetic and calculation and geometry and astronomy and draughts and dice, but his great discovery was the use of letters. Now in those days the god Thamus was the king of the whole country of Egypt; and he dwelt in that great city of Upper Egypt which the Hellenes call Egyptian Thebes, and the god himself is called by them Ammon. To him came Theuth and showed his inventions, desiring that the other Egyptians might be allowed to have the benefit of them; he enumerated them, and Thamus enquired about their several uses, and praised some of them and censured others, as he approved or disapproved of them. It would take a long time to repeat all that Thamus said to Theuth in praise or blame of the various arts. But when they came to letters, This, said Theuth, will make the Egyptians wiser and give them better memories; it is a specific both for the memory and for the wit. Thamus replied: O most ingenious Theuth, the parent or inventor of an art is not always the best judge of the utility or inutility of his own inventions to the users of them. And in this instance, you who are the father of letters, from a paternal love of your own children have been led to attribute to them a quality which they cannot have; for this discovery of yours will create forgetfulness in the learners' souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves. The specific which you have discovered is an aid not to memory, but to reminiscence, and you give your disciples not truth, but only the semblance of truth; they will be hearers of many things and will have learned nothing; they will appear to be omniscient and will generally know nothing; they will be tiresome company, having the show of wisdom without the reality.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Phaedrus</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> 274b-277a, Jowett trans.]<o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Perhaps this explains an ambivalence I’ve often had about taking snapshots while travelling: I find not only that I tend to remember best the things I take photos of, but also that I forget everything else; if I don’t take pictures, I have equally hazy access to everything, but more access overall. </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The photos I’m probably most ambivalent about are the ones I had my friend Eric take of me burying my father, in 2006.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">I felt odd at the time about asking him to take them: is it </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">right</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> to photograph a funeral? – On the one hand, why not?</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">On the other, my sense that there’s some taboo here suggests there’s a reason why not… </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">In any case, I regret it.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Now, when I see myself burying my father, I see myself from behind, and I have to struggle to recall what I saw with </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">my</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> eyes.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">More: I can’t seem to bring myself to look at those pictures; not because they remind me of my father’s death, but because they intensify my feeling of loss by making me feel that beyond losing him, my bad call on documenting his funeral made me lose memories of him.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">– Yet I can’t bring myself to erase them. <o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Of course, moving through places with a camera </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">can</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> be a way of seeing them better.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">This is how I spent my week in Japan, which I wanted really to </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">see</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Kinoglaz</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">): <o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">http://ameansofillumination.blogspot.com/ <o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Walter Benjamin has a nice passage on what I think must be the same subject, in his essay on motifs in Baudelaire (though he’s thinking of Proust, with help from Bergson and Freud and Theodor Reik): “’The function of memory [</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Gedächtnis</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">],’ Reik writes, ‘is to protect our impressions; reminiscence [</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Erinnerung</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">] aims at their dissolution.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Memory is</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">essentially conservative; reminiscence, destructive.’</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Freud’s fundamental thought, on which these remarks are based, is the assumption that ‘emerging consciousness takes the place of a memory trace.’</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Therefore, ‘it would be the special characteristic of consciousness that, unlike what happens in all other systems of the psyche, the excitatory process does not leave behind a permanent change in its elements, but expires, as it were, in the phenomenon of becoming conscious.’</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The basic formula of this hypothesis is that ‘becoming conscious and leaving behind a memory trace are incompatible processes within one and the same system.’</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Rather, vestiges of memory are “often most powerful and enduring when the incident which left them behind was one that never entered consciousness”</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">[Benjamin, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Selected Writings, 1938-1940</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 317].</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">To return to my photographs: I’m reminded how much it bothered me when once I overheard someone exclaim of a glorious sunset out a train window: “That would make such a lovely postcard!”</span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">(The train window as archetype of the cinematic frame: Schivelbusch, Gunning, Kirby.)<o:p></o:p></span></b></span></span></p><p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-weight: normal; "><b><span class="Apple-style-span" style="font-size:small;">NB: A cliché -- that's the French word for photograph -- is dead language.</span></b></span></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">My father collected porcelain and ancient ceramics – vases, terracottas – among many other things.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Massively, compulsively.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">When I inherited his collection, I tried to understand why.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">I knew that he’d been obsessed with the thought of death all his life, since nearly dying of illness as a child; a large part of what he’d collected had been terracotta figurines of Harpocrates, the Graeco-Egyptian child Horus, protector of children. I imagine all this was a metonym, for him, of the triumph of life over death.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Death is entropy threatening form: the form we call life, and the forms we give life, which we sometimes call beauty.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Beauty is specially fragile in flesh and in clay.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">What better symbol of triumph than the two-foot intact terracotta Venus from third-century Asia Minor that I now have on my shelf? – After he died, things broke.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">My cats attacked the katchinas, thinking them birds, and one of them knocked over the signed Chaim Gross.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">One brilliant porcelain figurine lost a finger, and one of the two iridescent glass candlesticks shattered.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The dishwasher leached color from the Deco juice glasses, and a housecleaner snapped the Jugendstil flower plate from its ill-advised spring holder on the wall.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Glasses, plates, mugs seemed to perish at more than their usual rate.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">At one point I had the idea of filling a large square glass cube with the pieces and shards and calling it “Everything That Has Broken Since My Father Died,” but I’d already thrown out too much.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The collection could never become complete: I couldn’t make a new wholeness out of the shards, and it was my fault.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">(At least it was my fault: a sense of guilt can reframe even chaos as one’s own creation. Perhaps this description already does the trick.)<o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">What’s death got to do with it?</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">It would take more than I’ve got at present to properly put together the Phaedrus-love-death-beauty-Gustav von Aschenbach chain…but I’m thinking maybe I should, for that’s probably where the logic is.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Perhaps I’ll turn for the moment instead to Noël Burch’s argument (made with help from Baudrillard’s </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">L’échange symbolique et la mort</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> and Bazin’s essay on the ontology of the photographic image) that at the heart of the realist representational practices codified around 1910 in classical narrative cinema there lies a systematic denial of mortality, the fulfillment, in media practice, of what Burch calls the “great Frankensteinian dream of the nineteenth century: the recreation of life, the symbolic triumph over death” [</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Life to those Shadows</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 12].</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Which brings me back to Gunning, who, citing Burch a page before Plato, concludes: “Rather than denying death through a simulacrum of life, cinema as a historical machine at its best allows us to mourn life and time’s passing, experiencing again that evanescent beauty which Baudelaire saw as the particular domain of the modern arts.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Lang understood that every image of life includes the spectre of death” [</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The Films of Fritz Lang</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 479]. – A good conclusion, but not </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">my</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> conclusion: I need to go further.<o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">When I get depressed, I find I can’t finish sentences: my mind fogs over and loses the thread, I forget how the thoughts hang together, I can't handle syntax, the words feel dull and senseless, the phrases not mine, none of it worth the breath, the breath not worth it either.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">On the other hand, my writing style, when things are working, tends to the baroque, or at least the Tacitean-Germanic, parentheses, carefully borrowed rhythms, Chinese-box sentences, prepositional spatialities matched to metaphors and etymologies, punctuation in place, a perfect machine, everything works, I make sure it works. – Playing chicken with entropy, that’s how it seems to me: and I mean to win.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">If I can still form such sentences, then I have won over – what?</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Depression, entropy, death.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">They’re all the same, of course: melancholia (Freud) a death-wish turned inward. – I wonder: Could this explain certain styles, as Benjamin thought asthma explained Proust’s?</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Thomas Bernhard’s, W.G. Sebald’s, Robert Burton’s, Sir Thomas Browne’s, Benjamin’s maybe too?</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">(I should ask Sheherazade.)<o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Re: Burton, I have to admit, we also see eye-to-eye on the matter of footnotes.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">(This has been held against me.)</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The more you can tether your words to reality, the more you can take it with you…<o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">“Das hat geheiße, Mensch sei natürlich, du bist geschaffe Staub, Sand, Dreck.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Willst du mehr sein als Staub, Sand, Dreck?”</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">(</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Woyzeck</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, Sc. 3)<o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Then there’s the way Dziga Vertov suddenly freezes the moving image in </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The Man with the Movie Camera</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (1929).</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">What he stops is a sequence in which the cameraman films a party of well-dressed people in a horse-drawn carriage: the horse freezes in mid-air.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Although there’s a later horse-freeze that strikes me as a nod to Edweard Muybridge, this one is creepy, a creepiness heightened by what the Alloy Orchestra does in their soundtrack, an effect hard to describe and which, when once I asked them about it, they couldn’t explain… though they did say they’d based the music on Vertov’s notes, so maybe it’s legit to read intention from that. </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">In any case,</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Vlada Petric identifies the passengers as old or new bourgeois, in the latter case possibly beneficiaries of the NEP policies criticized in the film (</span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Constructivism in Film</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, 108-9); if this is so, then the freeze may have a meaning beyond the device-baring lesson in filmmaking that Vertov and Svilova make of it.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Elsewhere in the film, in the accelerated montage that ends what Petric calls the “working hands” sequence, we see the heads of NEP bourgeois, male and female, having their Czar Nicholas-style beards trimmed or their hair cut intercut with shots of an axe being sharpened on a wheel, a gun, a straight razor being stropped… the message, not very subtle: off with their heads! <o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">The difference (or one difference) between film and photography is that when we watch a film, what we watch seems, for the duration, alive, </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">animated</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">, even if we know that the actors are dead (the immortality promised by cinema and the phonograph).</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Once we take a photograph, we’ve made a memory: the life-moment photographed is instantly dead (the American Indians got that one right).</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">With that freeze on the NEP-carriage, Vertov declares the pastness & death of the bourgeoisie as effectively as with that axe: look, these people are </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">dead</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">: the Kinocs’ Kino-Eye has <i>made</i> them dead.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"><o:p></o:p></span></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">In his found-footage film </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Decasia</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> (2002), Bill Morrison does something similar with his signature decayed-nitrate bloom, only here it’s not still vs. motion photography, but film stock as mortal material vs. moving image as something appearing alive.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">There’s a sequence early on in the film, from a Japanese silent, where we see a window emerge from a whirling mess of surface decay; at the window, a woman in kimono; a moment, and she is covered again by the whorls.</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Every time I watch that sequence, I feel an urgent need to reach back behind the surface decay and rescue the woman, the living image, from death, from the death of nitrate, the mortality of the material (Rebecca with </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Lossless</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> again).</span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> </span></b></span><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">That it provokes this is the way </span></b></span><i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;">Decasia</span></b></span></i><span class="Apple-style-span" style="font-family:arial;"><b><span class="Apple-style-span" style="font-size:small;"> is elegy, in more or less the same vein as Paolo Cherchi Usai's <i>The Death of Cinema</i> (02001).</span></b></span><o:p></o:p></span></p> <!--EndFragment-->Peter J. Schwartzhttp://www.blogger.com/profile/11822599925761846894noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-53582301736568995752010-11-18T22:07:00.001-08:002010-11-18T22:13:40.191-08:00Academic tics, no. 1: Danger!!!<a href="http://www.google.com/search?q=%22dangerously+close+to+essentialism%22&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a">"dangerously close to essentialism"</a><br /><br /><a href="http://scholar.google.com/scholar?hl=en&q=%22dangerously+close+to+essentialism%22&btnG=Search&as_sdt=200000000000000&as_ylo=&as_vis=0">also</a><br /><br /><a href="http://www.google.com/search?hl=en&q=%22dangerously+close+to+essentialism%22&tbo=u&tbs=bks:1&source=og&sa=N&tab=sp">and</a><br /><br />etc etcAndrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com7tag:blogger.com,1999:blog-6965436484511355077.post-77594162433327151962010-11-15T10:48:00.001-08:002010-12-13T10:55:00.225-08:00Nosferatu in 2010<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0w0P3zD-AONcBoDRVbN52PLETzDqz5qRAxG9Maf1uG4LJJ7lAjI6FlqkcmCnV5dlWvAFZGJkL95KnXxMfHr89jo7a-wQz1M32AN_wBORH9V-QVHdfU8IHDjcLbvyWON1QrODypJ5Dwmo5/s1600/nosferatu18.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 288px; height: 216px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0w0P3zD-AONcBoDRVbN52PLETzDqz5qRAxG9Maf1uG4LJJ7lAjI6FlqkcmCnV5dlWvAFZGJkL95KnXxMfHr89jo7a-wQz1M32AN_wBORH9V-QVHdfU8IHDjcLbvyWON1QrODypJ5Dwmo5/s320/nosferatu18.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5539853396871100114" /></a><br /><span class="Apple-style-span" style="font-family:arial;"><b>(This is a short intro I gave on November 4 to a screening at BU of F.W. Murnau's film </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>Nosferatu</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> (1922), with live accompaniment by the Alloy Orchestra:)</b></span><div><span class="Apple-style-span" style="line-height: 24px; "><span class="Apple-style-span" style="font-family:arial;"><b> </b></span></span></div> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>Well, here we are, in the Year of the Vampire, looking back 90 years (or, OK, 88) to 1922, the year in which Friedrich Wilhelm Murnau made </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>Nosferatu</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b>. I recently checked on a favorite website of mine -- archive.org -- to find, a little to my surprise, that </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>Nosferatu</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> was far and away the most often downloaded film in the archive, with 305,000+ downloads exceeding the next movie, a Charlie Chaplin short, by 110,000 downloads. So here's a principle I'd like to work with: When one historical moment finds interest in another, or in a particular figure or theme or trope, one can surmise there's a reason. In this case, I think there are many. The short way to put this is to suggest that Germans in 1922 were worried about quite a few of the same things we're worried about today, and that our obsession with vampires reflects some common anxieties; </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>mutatis mutandis</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b>, of course, with differences, but still. So what were they preoccupied with, those interwar Germans, in 1922? Let me see...</b></span></p> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>• first, </b></span><b><span class="Apple-style-span" style="font-family:arial;">a galloping inflation</span></b><span class="Apple-style-span" style="font-family:arial;"><b>, which would soon turn to </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>hyper</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b>inflation, the kind you've possibly heard of, where people would rush after work to spend their paycheck because it would be worth much less in the morning, a loaf of bread cost a wheelbarrow full of bills, and it was cheaper to wallpaper rooms with currency than with wallpaper;</b></span></p> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>• second, an abiding </b></span><b><span class="Apple-style-span" style="font-family:arial;">political insecurity</span></b><span class="Apple-style-span" style="font-family:arial;"><b> following Germany's defeat in the First World War, accompanied by a pronounced lack of faith in the liberal government of the postwar Weimar Republic -- a lack of faith on both the right and the left that left the Republic without support when the Nazis mounted their challenge against it;</b></span></p> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>• next, a marked </b></span><b><span class="Apple-style-span" style="font-family:arial;">descent of large segments of the white-collar middle class</span></b><span class="Apple-style-span" style="font-family:arial;"><b> into relative penury, partly but not only on account of the great inflation -- an impoverishment that in effect proletarianized them, while at the same time the general culture encouraged a lifestyle they could afford less and less;</b></span></p> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>• then, a reorganization of </b></span><b><span class="Apple-style-span" style="font-family:arial;">gender roles</span></b><span class="Apple-style-span" style="font-family:arial;"><b> in the wake of mobilization, which drew men from the factories and women into them, accompanied by a culturally widespread feeling of emasculation provoked not only by defeat in the war, but also by the reduction to absurdity of traditional notions of heroism by the new realities of mechanized war;</b></span></p> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>• and then: new explorations of </b></span><b><span class="Apple-style-span" style="font-family:arial;">sexual life</span></b><span class="Apple-style-span" style="font-family:arial;"><b> in the cities -- hetero, homo, paid, unpaid, sado-maso-vanilla-and-other, with drugs and without, in public and private, in life and art; which earned Berlin, especially, the nickname "Capital City of Sin" (plus a lot of interest, often critical, also prurient, in the press), and led to a thematic oppositions, in film and elsewhere, of wholesome country life versus urban decadence; all this accompanied by an angry and highly politicized debate around the legalization of homosexuality;</b></span></p> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>• and, finally, a tendency toward </b></span><b><span class="Apple-style-span" style="font-family:arial;">scapegoating and mass psychosis</span></b><span class="Apple-style-span" style="font-family:arial;"><b>, which hangs together with all the above. </b></span></p><p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>(Does any of this sound familiar?)</b></span></p> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>For the people of Germany felt that their blood was being sucked dry: that their strength -- their financial, political, social, and sexual strength was being drained, by forces beyond their control and their understanding. They felt that they were victims, and what do people do when they feel that they're victims? They look for culprits to blame. But when the forces are faceless -- as they normally are, with such complex things as a world economy or modern politics -- people look to put a face on them, and then try to burn it at the stake. It's no accident that nearly half the films I show in my course on Weimar cinema include scenes of mass psychosis and scapegoating: </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>Caligari</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> in 1920, </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>Nosferatu</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> in 1922, Murnau's </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>The Last Laugh</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> in 1924, Fritz Lang's </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>Metropolis</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> in 1926 and his </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>M</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> in 1931... and there are others. In </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>Nosferatu</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b>, we have </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>one</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> answer to the question: </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>Who is doing this to us?</b></span></i></p> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>Now, we all know who was burned at the stake, back then. Who has come incognito from a foreign land & bought real estate across the street & set up shop in our cities & sucked our blood (and the blood of our women) & brought disease, epidemic (another dominant trope of the times, Murnau's and ours), and caused terror in the land? For the enemy is among us... and he's invisible, and he's a vampire, and he's killing us silently, and he controls everything, and he's like an epidemic, and he's like rats and spiders. He's also sexually perverse, as you will see clearly if you look at whose blood Nosferatu drinks, if you carefully read body language, and if you think just a little about the sex life of the protagonists, Hutter and Ellen. A threat best killed. Not coincidentally, these are all images we find attached to, yes, Jews, in Fritz Hippler's film </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>The Eternal Jew</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b>, a really awful piece of Nazi propaganda from 1940, which I will spare you tonight.</b></span></p> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>I won't spin this out any longer; I think you can do that yourselves. I just want to add that </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>if</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> this is all in the film, it's not as an </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>argument</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b>: I </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>don't</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> think that Murnau has axes to grind; with few exceptions, axe-grinding art is boring, it doesn't last. What he's done is tap a coherent symbolic vocabulary, invented in 1897 by one Bram Stoker, to show us an image of certain recurrent fears of the modern age. And frankly, I think they're </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>still</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> scary. The fears themselves, not so much the things we're afraid of. --</b></span></p> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span style="font-size:8.0pt;mso-bidi-line-height:150%font-size:12.0pt;"><o:p><span class="Apple-style-span" style="font-family:arial;"><b> </b></span></o:p></span></p> <p class="MsoNormal" style="text-align:justify;line-height:150%"><span class="Apple-style-span" style="font-family:arial;"><b>I'd like quickly to add one note on the Alloy Orchestra, who will be playing the music tonight. It's rare enough that one sees silent films these days, unless maybe you're me. It's rarer still to see them accompanied by live music -- which is, after all, how </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>all</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> of them used to be shown. There's a small coterie of makers of music for silent film, who I imagine all know each other and meet at obscure silent-film music conferences to hash out the intelligent things they say in the liner notes of their DVDs. In my opinion, the Alloy Orchestra is among the very most special of these special people. I will confess that I have watched Dziga Vertov's film </b></span><i><span class="Apple-style-span" style="font-family:arial;"><b>The Man With the Movie Camera</b></span></i><span class="Apple-style-span" style="font-family:arial;"><b> at least fifteen times with their soundtrack, and heard them do it once live; it still gives me goosebumps at all the right moments; it's a work of genius. I expect that tonight the goosebumps will be even higher. Let's welcome the Alloy Orchestra, and enter the vampire...</b></span></p> <!--EndFragment--> <div><span class="Apple-style-span" style="font-family:arial;"><b> </b></span></div>Peter J. Schwartzhttp://www.blogger.com/profile/11822599925761846894noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-58301350844625803942010-10-31T12:10:00.000-07:002010-10-31T12:10:00.612-07:00Nouveau Petit Larousse Illustré 1952A good while ago I found at a Red Cross book sale (for $1.50!) a copy of the 1952 Larousse; it's a book I was very familiar with, as I grew up with possibly a slightly later edition of it, but in any case one that looked almost indistinguishable from this one, owned by my grandparents. The moment I picked it up, the book--the texture of its cloth cover under my fingertips, its heft in my hands, the layout of its pages--felt so familiar as to bring about an unmistakably Proustian moment.<br /><br />Once home, I started flipping through it, for hours on end, remembering the fascination its strange, tiny line illustrations held for my eight- or ten-year old self, on rainy afternoons when I'd been dropped off by my parents and when I could find nothing better to read in the house. (I should add that my parents owned a larger, more up-to-date, mid-seventies edition of the same book, one in which all of the line illustrations had been replaced by photographs and which consequently felt significantly less magical to me). <br /><br />A dictionary, if you think about it, is a perfectly closed system, words referring to other words, definitions only made up of terms that need to be defined in their turn--until images are involved. The images function as an escape hatch from that seamless tissue of verbiage, and turn the dictionary into a machine for dreaming--dreaming of faraway places, long-dead creatures, obsolete modes of transportation, and natural phenomena one will never experience at first hand. I could go on about these illustrations forever--many of them seem to have survived from earlier, even much earlier, editions of the dictionary, maybe from the 1930's or even the 1890's, and some remind me of nothing so much as the book plates I had in my complete works of Jules Verne, another one of my childhood treasures--but I'd rather just show some of them to you. I've liberated them from their labels, the better to encourage reverie; and also because, the moment you don't know what they're supposed to be illustrating, each of them can open up a whole new world. Here then are my favorites, in alphabetical order, from B to M (and do keep in mind that, in the original, each one of these is less--some significantly less--than an inch high): <br /><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1039sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br /><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1040sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br /><br><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1042sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br /><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1045sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br /><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1048sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1051sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1055sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1057sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1062sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1065sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1071sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1074sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1076sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1078sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1080sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br><br><br /><a href="http://photobucket.com" target="_blank"><img src="http://i2.photobucket.com/albums/y50/andreim2/File1081sm.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a><br /><br />In their own way, they tell a kind of story, don't they?Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com4tag:blogger.com,1999:blog-6965436484511355077.post-84575044888926202052010-10-30T18:34:00.000-07:002010-10-31T10:27:14.289-07:00Nostalgia for Texture, 2.5<!--StartFragment--> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:Arial;"><i><span class="Apple-style-span" style=" font-style: normal; font-family:Georgia, serif;"></span></i></span></p><span class="Apple-style-span" style="font-family:Arial;"><i><p class="MsoNormal" style="text-align: justify; "><span class="Apple-style-span" style="font-family:Arial;"><i> <!--StartFragment--> </i></span></p><span class="Apple-style-span" style="font-family:Arial;"><i><p class="MsoNormal" style="text-align:justify"><i><span style="font-family:Arial;"><span class="Apple-style-span" style="font-size:small;"><b>Seventh example.</b></span><b><o:p></o:p></b></span></i></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size:small;"><b>In October of last year I went to see Ulrike Ottinger’s film </b><i><b>Prater</b></i><b> (2007) at the Harvard Film Archive. The film got me in the places that thoughts of the old Coney Island and its slow destruction get me in NYC every summer. (My mother’s Brooklyn childhood; my grandfather’s photographs of Coney and Canarsie; my own memories of maybe three visits to Luna Park grafted onto what I imagine to have been their attachment to the place.) Greasy, noisy, exciting, slightly dangerous machines, freakshows and old carney skank, chromolithography, family entrepreneurial sagas, the eternal impassable watershed of the war… When I asked, Ottinger insisted that she never meant the film to be nostalgic. That may be so, but it certainly </b><i><b>shows</b></i><b> and </b><i><b>elicits</b></i><b> a certain nostalgia, for what Ottinger called (something like) the supersession of </b><i><b>mechanical</b></i><b> by </b><i><b>electronic</b></i><b> entertainment. Nostalgia for the machine: again, for the technology before last, which, at least, could be smelled, touched, tasted, heard – not only seen. – They still have freakshows at Coney Island. I’ve been to one of them twice – “Sideshows By the Seahore.” Good stuff, but even if those nails are really going into his nose and those swords down her throat, it’s a simulacrum, a museum of itself: as at Colonial Williamsburg, the performers, in period costume, talk of what “they” used to do. Perhaps this is not unlike the dealer at the 2005 Armory photography show I saw showing recent Daguerrotypes, Platinotypes, Cyanotypes, Calotypes, gum bichromate prints… the whole alt-process thing a clear reaction to digital.</b></span></span><o:p></o:p></span></p><p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size:small;"><b> <!--StartFragment--> </b></span></span></span></p><span style="font-family:Arial;"><span class="Apple-style-span" style="font-style: normal;"><span class="Apple-style-span" style="font-size:small;"><b><p class="MsoNormal"><i style="mso-bidi-font-style:normal"><span style="font-family:Arial;">A question.<o:p></o:p></span></i></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;">Why, given so much work in found-footage cinema, is there, apparently, so little comparable found-audio music?<span style="mso-spacerun: yes"> </span>I should be more precise: sampling and scratching are, certainly, found-audio music; but the only example I’ve found that revives historical, “orphan” sound, elegiac or not, is John Schott’s <i style="mso-bidi-font-style:normal">Shuffle Play: Elegies for the Recording Angel</i> (2000), which frankly rather bores me.<span style="mso-spacerun: yes"> </span>What I’d maybe like is a Beastie Boys or DJ Shadow remix of old gospel and vaudeville and Edison cylinders (<i style="mso-bidi-font-style:normal">Tom’s Boutique</i>)...<span style="mso-spacerun: yes"> </span>Are the careful new Dust-To-Digital and Revenant compilations really found-audio compositions, or are they the mixtapes preceding found-audio mash-ups yet to come?<span style="mso-spacerun: yes"> </span>The odd thing is that in the early days of montage, sound montage was not far behind image montage, and even the latter was thought of musically: Walther Ruttmann made his visual “symphony” of Berlin in 1927, then the “sound montage” film <i style="mso-bidi-font-style:normal">Melodie der Welt</i> in 1929; Dziga Vertov <i style="mso-bidi-font-style:normal">began</i> with experiments in sound montage as early as 1916, moved from there to visual montage, then returned to sound with <i style="mso-bidi-font-style:normal">Entuziazm</i>, in 1931.<span style="mso-spacerun: yes"> </span>I can’t imagine that the difference is due simply to the fact that this was not found-footage cinema, nor elegaic.<span style="mso-spacerun: yes"> </span><o:p></o:p></span></p> <!--EndFragment--> </b></span></span></span><p></p> <!--EndFragment--> </i></span><p></p></i></span><p></p> <!--EndFragment-->Peter J. Schwartzhttp://www.blogger.com/profile/11822599925761846894noreply@blogger.com4tag:blogger.com,1999:blog-6965436484511355077.post-69434269719873904072010-10-30T14:03:00.001-07:002010-10-30T19:36:36.466-07:00Nostalgia for Texture, 2<!--StartFragment--> <p class="MsoNormal" style="text-align:justify"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>First attempt at theory.<o:p></o:p></b></span></span></i></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>(From something I’m having trouble writing about several versions of the </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Faust</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> story:) <o:p></o:p></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>In his </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Abeze- und Lesebuch</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> [ABC and Reader] of 1807, the German pedagogue Joachim Heinrich Campe warned against teaching children to read before the age of six, arguing that it was better to allow them first to exercise their senses with direct perceptions of nature than to start by conveying knowledge about nature through printed or written signs.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Campe worried especially that reading too early could harm a child’s ability to perceive things directly: “Die Erlernung und die oft wiederholte </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Vorstellung der Zeichen</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> schwächen und lähmen in jungen Seelen den Trieb zur klaren und lebendigen </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Vorstellung der Sachen</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>; sind wenigstens ein langweiliger und ermüdender Umweg zu diesen; verhalten sich zu ihnen gerade so, wie das nahrungslose, bloß hinhaltende, bloß beschwichtigende Lutschbeutelchen zu der vollen Mutterbrust [</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>The learning and the often repeated </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>imagination of signs</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> weaken and lame in the young soul the drive to the clear and lively </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>imagination of things</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>; are at least a boring and tiring detour on the way to the latter; are in precisely the same relation to them, as the non-nutritive, simply delaying, simply appeasing pacifier is to the full mother’s breast].</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>”</b></span></span><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftn1" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[1]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> Campe’s concern with the matter of reading here coincides metaphorically with his promotion of breast-feeding in the </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Allgemeine Revision des gesammten Schul- und Erziehungswesens</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> (General Revision of Schools and Education, 1785), where in a contribution entitled “Diätetik der Säugenden” [Dietetics of Nursing Babies] one Konrad Friedrich Uden develops Rousseau’s construction (in </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Émile</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>) of breast-feeding as the cornerstone of bourgeois morality into a 200-page antecedent of a La Leche League manifesto </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>attacking wet-nursing in favor of nursing by mothers themselves</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>.</b></span></span><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftn2" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[2]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>The metaphor is, so to speak, pregnant: representing one kind of distancing with another – the gap between child and reality by the gap between infant and breast – it addresses, in two different registers, what seems to me a form of anxiety characteristic of the second half of the eighteenth century.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>We might trace its origins, or at least its first canonical literary formulations, to Rousseau’s preoccupation with what Jean Starobinski has called “transparency,” and its obstruction.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>“Qu’il serait doux de vivre parmi nous,” Rousseau writes in the </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Discourse on Arts and Sciences </b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>(1750), “si la contenance extérieure était toujours l’image des dispositions de coeur” [How sweet it would be to live among us, if the outward countenance were always the image of the dispositions of the heart].</b></span></span><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftn3" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[3]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Starobinski notes that this sense of a rupture between appearance and being – of opacity or an obstruction where there should be transparency or access – “engenders other conflicts, like a series of amplified echoes: rupture between good and evil (between good and bad people), rupture between nature and society, between man and his gods, between man and himself.”</b></span></span><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftn4" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[4]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>This preoccupation seems certainly to have extended, for Rousseau, both to the alienation from nature effected by language</b></span></span><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftn5" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[5]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> and to the general social alienation that he construed as a consequence of women’s refusing to nurse their own babies.</b></span></span><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftn6" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[6]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b><o:p></o:p></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[…]<o:p></o:p></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>In general (Starobinski notes further), Rousseau’s theory of Man’s corruption by social life – in which, from the </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>First Discourse</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> on, such rupture so centrally figures – rewrites the Biblical drama of the Fall.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>In the </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Discourse on Arts and Sciences</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, Rousseau “rewrites a philosophical Genesis where neither the Garden of Eden nor sin nor the confusion of languages is lacking.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>A laicized, ‘demythologized’ version of the history of origins, but which, supplanting Scripture, repeats it on another language. […]</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Man, in his first condition, hardly emerges from animality; he is happy: this primitive condition is a </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>paradise</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>; he will never emerge from animality until he will have had an opportunity to exercise his reason, but with the increasing capacity for reflection there comes the knowledge of good and evil, the uneasy conscience discovers the misfortune of separated existence: it is therefore a </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>fall</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>.”</b></span></span><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftn7" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[7]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>In the </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Confessions</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, Rousseau dates an original loss of immediacy of experience to the age at which he began to read, aligning this loss with the Fall by construing the outcome as alienation in a self-consciousness from which he cannot return:</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>“J’ignore ce que je fis jusqu’à cinq ou six ans: je ne sais comment j’appris à lire; je ne me souviens que de mes premières lectures et de leur effet sur moi: c’est le tems d’où je date sans interruption la conscience de moi-même [I have no idea what I did before the age of five or six: I do not know how I learned to read; all I remember is what I first read and its effect on me; this is the moment from which I date my first uninterrupted consciousness of myself].”</b></span></span><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftn8" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[8]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Calling early learning from reading a “dangerous method,” he observes a similar problem to Campe with signs as ersatz experience: “Je n’avois aucune idée des choses, que tous les sentimens m’étoient déjà connus.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Je n’avois rien conçu; j’avois tout senti.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Ces émotions confuses que j’éprouvois coup sur coup n’alteroient point la raison que je n’avois pas encore: mais elles m’en formérent une d’une autre trempe, et me donnerent de la vie humaine des notions bizarres et romanesques, dont l’experience et la réflexion n’ont jamais bien pu me guérir [I had as yet no ideas about things, but already I knew every feeling.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>I had conceived nothing; I felt everything. This rapid succession of confused emotions did not damage my reason, since as yet I had none; but it provided me with one of a different temper; and left me with some bizarre and romantic notions about human life, of which experience and reflection have never quite managed to cure me].</b></span></span><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftn9" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[9]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>The lesson recurs in</b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> Émile</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>: “Que sert d’inscrire dans [la] tête [des enfants] un catalogue de signes qui ne représentent rien pour eux?” [What use is it to inscribe in the heads of infants a catalogue of signs that represent nothing for them?]</b></span></span><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftn10" name="_ftnref" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[10]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b><o:p></o:p></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Sixth example.<o:p></o:p></b></span></span></i></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>One of the highlights, for me, of the Orphans 7 film conference at NYU this past April (</b></span></span><a href="http://www.nyu.edu/orphanfilm/orphans7/program.php"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>http://www.nyu.edu/orphanfilm/orphans7/program.php</b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>) was a series of short films by Rebecca Baron and Douglas Goodwin, entitled </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Lossless</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Using software that they had designed, Baron and Goodwin had managed to extract and project the difference between how we see films on screen and how we see them on DVD; to let us see, in other words, what we lose to the new digital technology.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Here, in </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Lossless 1</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, you can see “the result of analog to digital conversion” in a well-chosen scene from </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>The Wizard of Oz</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>: </b></span></span><a href="http://c-cyte.blogspot.com/2009/08/no-place-like-home-rebecca-barons-doug.html"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>http://c-cyte.blogspot.com/2009/08/no-place-like-home-rebecca-barons-doug.html</b></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>The artists explain in voiceover: “We’ve seen </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>The Wizard of Oz</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> more times than any other movie.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>We imagine it playing in a movie palace, on a big screen, in full Technicolor.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>But the truth is that we’ve only seen it on the family TV.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Now we can watch the digitally enhanced ultra-resolution DVD on our computer screen.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>What has changed?</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>This shows exactly what has changed.”</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>What we have lost visually is a lot of the sparkle in those ruby slippers; symbolically, some of the force of this classic emblem of the losses entailed in the process of growing up.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>In growing up – so we feel – we lose our childhood.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>It’s odd, then, that nostalgia so often expresses itself as a sense that we’ve lost </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>our parents’</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> childhood: those movie palaces (where my father, aged seven, first saw </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>The Wizard of Oz</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, and never forgot it, as I remember); or the advertising, not of the '70s, but of the '50s (when did the '50s get refashioned into an age of innocence?). – While watching </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Lossless 3</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, which does something similar to </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Lossless 1</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> with extended segments of John Ford’s </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>The Searchers</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, I felt an almost physical need in myself to put my hand through the screen and </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>grab</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> what was eluding me: to </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>reach into</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> that shimmering pixellated desert and recover what was being lost.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>I was pleased and surprised when Rebecca, discussing this film, made a grasping motion with her hands to describe a similar feeling.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>What we lose is visual information, but we express that loss in terms of tactility: one sense is being deprived, but we feel that two, or all, are.<o:p></o:p></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Second attempt at theory.<o:p></o:p></b></span></span></i></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Historical moments of media revolution – of massive changes either in media technology, or in the markets for distribution of already existing technologies – tend to produce cultural anxieties that express themselves as fear of a loss of perceptual immediacy. </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>In the second half of the eighteenth century, as media markets rearrange themselves around the rising literate middle classes and their cultural ambitions, Rousseau and Campe worry that book-learning will damage man’s ability to learn through the senses, while Johann Gottfried Herder, building on Diderot, Condillac and Rousseau, makes the argument (in </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Plastik</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, 1770) that not vision but touch is the more primary sense and the one through which learning best happens in childhood.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>The problem has antecedents in certain sixteenth-century discussions concerning the print revolution, which I’ll try to approach in a later post, along with related debates of cinema’s “transitional period” (ca. 1907-1915). It survives, for example, in Guy Debord’s late ‘60s disapproval of the “society of the spectacle”: “Since the spectacle’s job is to cause a world that is no longer directly perceptible to be seen via different specialized mediations, it is inevitable that it should elevate the human sense of sight to the special place once occupied by touch; the most abstract of the senses, and the most easily deceived, sight is naturally the most readily adapatable to present-day society’s generalized abstraction.”</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>(</b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>The Society of the Spectacle</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, sec. 18, quoted in Jonathan Crary, </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Techniques of the Observer</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, 19.)</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Point taken, but Debord’s phrase “a world that is no longer directly perceptible” gives me pause: when was the world </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>ever</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> directly perceptible? <o:p></o:p></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Answer.<o:p></o:p></b></span></span></i></p> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>In Eden.<o:p></o:p></b></span></span></p> <p class="MsoNormal" style="text-align:justify"><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>To be continued.<o:p></o:p></b></span></span></i></p> <div style="mso-element:footnote-list"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b><br /></b></span></span><span class="Apple-style-span" style="font-size:small;"><b> </b></span><hr align="left" size="1" width="33%"> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftnref" name="_ftn1" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[1]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> Johann Heinrich Campe, </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Abeze- und Lesebuch</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, in </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Sämmtliche Kinder- und Jugendschriften von Johann Heinrich Campe </b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>(Braunschweig: In der Schulbuchhandlung, 1830), I:1-2.<o:p></o:p></b></span></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftnref" name="_ftn2" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[2]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> Konrad Friedrich Uden, “Diätetik der Säugenden,” in Joachim Heinrich Campe, </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Allgemeine Revision des gesammten Schul- und Erziehungswesens von einer Gesellschaft praktischer Erzieher</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, part 3 (Hamburg: Carl Ernst Bohn, 1785), 77-290.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>On Rousseau, see Simon Richter, </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Missing the Breast: Gender, Fantasy, and the Body in the German Enlightenment</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> (Seattle: University of Washington Press, 2006), 12; on Campe & Uden, 93 ff.<o:p></o:p></b></span></span></p> </div> <div id="ftn"> <p class="MsoNormal" style="margin-bottom:0in;margin-bottom:.0001pt;text-align: justify"><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftnref" name="_ftn3" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[3]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Jean Starobinski, </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Jean-Jacques Rousseau: La transparence et l’obstacle, suivi de Sept essais sur Rousseau</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> (Paris: Gallimard, 1971),</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>13<o:p></o:p></b></span></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftnref" name="_ftn4" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[4]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> Starobinski 14<o:p></o:p></b></span></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftnref" name="_ftn5" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[5]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> “Naturel dans son origine, [le langage] constitue une anti-nature dans ses aboutissements.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Le dangereux privilège de l’homme, c’est d’avoir dans sa propre nature la source des pouvoirs per lesquels il s’opposera à sa nature et à la Nature.”</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Starobinski 357-8. <o:p></o:p></b></span></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftnref" name="_ftn6" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[6]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Émile</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> (Gallimard ed.), 47-8</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b><o:p></o:p></b></span></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftnref" name="_ftn7" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[7]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> Starobinski 339-340<o:p></o:p></b></span></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftnref" name="_ftn8" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[8]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> “Ces romans sont un vestige de la mère perdue.”</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Starobinski 18<o:p></o:p></b></span></span></p> </div> <div id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftnref" name="_ftn9" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[9]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> Rousseau, </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Les Confessions</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> (Gallimard ed.), 8; Angela Scholar, trans., p. 8.</b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Editor’s note, p. 1237: “La conscience de soi est donc ici conscience de liseur, et de liseur de romans.”<o:p></o:p></b></span></span></p> </div> <div style="mso-element:footnote" id="ftn"> <p class="MsoFootnoteText" style="text-align:justify"><a href="http://www.blogger.com/post-edit.g?blogID=6965436484511355077&postID=6943426971987390407#_ftnref" name="_ftn10" title=""><span class="MsoFootnoteReference"><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>[10]</b></span></span></span></a><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b> </b></span></span><i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>Émile</b></span></span></i><span class="Apple-style-span" style="font-family:arial;"><span class="Apple-style-span" style="font-size:small;"><b>, 139</b></span></span><o:p></o:p></p> </div> </div> <!--EndFragment-->Peter J. Schwartzhttp://www.blogger.com/profile/11822599925761846894noreply@blogger.com9tag:blogger.com,1999:blog-6965436484511355077.post-64639880668310027052010-10-29T08:27:00.000-07:002010-10-30T18:01:16.654-07:00Nostalgia for Texture<!--StartFragment--> <p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-family:'Bookman Old Style';"><b> <!--StartFragment--> </b></span></p><span class="Apple-style-span" style="font-family:'Bookman Old Style';"><b><p class="MsoNormal" style="text-align:justify"><span class="Apple-style-span" style="font-weight: normal; font-size:15.8333px;"><b></b></span></p><b><p class="MsoNormal" style="text-align: justify; display: inline !important; "><i style="mso-bidi-font-style: normal"><span style="font-family:Arial;">First example.</span></i></p></b><p></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;">I have a thing for French postcards. <span style="mso-spacerun: yes"> </span>The ones from the ‘20s and ‘30s.<span style="mso-spacerun: yes"> </span>I don’t like them all equally.<span style="mso-spacerun: yes"> </span>The “artistic” nudes – the ones posed like statues with vases or columns, done up like Salomé in veils and snakes, or in Nibelung armor – frankly bore me; the “anatomical” ones, well… What I like best is the flappers with cars or with bicycles on country roads, reading the <i style="mso-bidi-font-style: normal">Kama Sutra</i> on the grass with a girlfriend, with those silly cloche hats and the Clara Bow makeup and the sloppy black stockings in mid-thigh disarray.<span style="mso-spacerun: yes"> </span>The stockings especially. <span style="mso-spacerun: yes"> </span>Not that I’m into that ordinarily.<span style="mso-spacerun: yes"> </span>It took me a while to see what it was.<span style="mso-spacerun: yes"> </span>It was that they weren’t nylon.<span style="mso-spacerun: yes"> </span>Nylon was invented in 1940.<span style="mso-spacerun: yes"> </span>Silk and rayon and cotton drape differently on the leg.<span style="mso-spacerun: yes"> </span>You can’t rumple nylon.<span style="mso-spacerun: yes"> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><i style="mso-bidi-font-style: normal"><span style="font-family:Arial;">Second example.<o:p></o:p></span></i></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;">Stopped in “Buckaroo’s Mercantile” the other day, one of those shops that sells retro stuff: Archie jam jars, Chango Macho 7-day candles, ‘50s ashtrays, Mexican floral oilcloth by the yard, spud guns, lampshades, vintage film posters.<span style="mso-spacerun: yes"> </span>Like the tin adverts for Schlitz and Pennzoil, the posters were reproductions, but good ones – digital; the place had a good selection, but the owner said he could order others online, from a catalogue.<span style="mso-spacerun: yes"> </span>Then, apropos ordering – oddly – he apologized for his laptop: he didn’t much like it, but it was useful for business.<span style="mso-spacerun: yes"> </span>Why did he feel a need to apologize for his computer? <span style="mso-spacerun: yes"> </span>What he sells is nostalgia for technologies of reproduction <i style="mso-bidi-font-style:normal">before</i> digital: chromolithography, glass appliqué, letterpress – technologies with stronger tactile qualities than what we live with now (digital, offset).<span style="mso-spacerun: yes"> </span>He can move some of the cheaper originals – fruit labels, postcards, bowling shirts – but there aren’t that many around and the good ones would be too expensive for his niche, so his business is mostly in simulacra: the posters and new tin printed to look weatherbeaten, the new clothing silkscreened with old insignia, the published anthologies of ‘20s and ‘30s matchbook cover art, Tijuana bibles, Topps wacky packs, Mexican film posters…done by four-color offset in Singapore on smooth matte stock, the matchbooks enlarged to show every fiber of the cheap stock they were printed on… but what they’re now printed on has no fibers, it’s perfectly smooth, and the indentations of the matchbooks' and Tijuana bibles’ <span style="mso-spacerun: yes"> </span>letterpress type are now purely optical, a high-tech trompe-l’oeil. <span style="mso-spacerun: yes"> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><i style="mso-bidi-font-style: normal"><span style="font-family:Arial;">Intermediate thought.<o:p></o:p></span></i></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;">Those French postcards – where did I see them?<span style="mso-spacerun: yes"> </span>Printed by Taschen in Singapore (or maybe China).<span style="mso-spacerun: yes"> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><i style="mso-bidi-font-style: normal"><span style="font-family:Arial;">Third example.<o:p></o:p></span></i></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;">From Dean Blackwood’s liner notes for the very remarkable compilation CD <i style="mso-bidi-font-style:normal">American Primitive Vol. II: Pre-War Revenants (1897-1939)</i> (Revenant Records): “Particle physicist Carl H. Haber of Lawrence Berkeley (Calif.) Laboratory heard on the radio that archivists needed ways to nondestructively extract sound from old recordings.<span style="mso-spacerun: yes"> </span>He makes arrays of sensors for tracking minute particles in powerful accelerators.<span style="mso-spacerun: yes"> </span>To align their arrays, they scan sensor surfaces by using a micrometer with submicrometer resolution.<span style="mso-spacerun: yes"> </span>The scientist used his microscope to make a two-dimensional map of the grooves on a 78-revolutions-per-minute shellac disc.<span style="mso-spacerun: yes"> </span>He also wrote software that calculates the velocity with which a stylus would move in the mapped grooves.<span style="mso-spacerun: yes"> </span>A sound clip from the virtual disc sounded better than the same section played back from the original disc with a stylus did, Haber reported in the December 2003 <i style="mso-bidi-font-style:normal">Journal of the Audio Engineering Society</i>.”<span style="mso-spacerun: yes"> </span><o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><i style="mso-bidi-font-style: normal"><span style="font-family:Arial;">A thankful thought.<o:p></o:p></span></i></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;">Without digital technology, none of this weird old shit that I love so much would be coming out on CD.<span style="mso-spacerun: yes"> </span>There’s more of it available now, to more people, than there ever was.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><i style="mso-bidi-font-style: normal"><span style="font-family:Arial;">Fourth example.<o:p></o:p></span></i></p> <p class="MsoNormal"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;">(From a proposal for an MLA talk that was not accepted and never quite got off the ground.) <o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><b style="mso-bidi-font-weight: normal"><span style="font-family:Arial;">Found-Footage Film as Elegy.<span style="mso-spacerun: yes"> </span><o:p></o:p></span></b></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><i style="mso-bidi-font-style: normal"><span style="font-family:Arial;">Elegy is a tendency in found-footage filmmaking, though not all found-footage film is elegy</span></i><span style="font-family:Arial;">.<span style="mso-spacerun: yes"> </span>My films: <i style="mso-bidi-font-style:normal">Decasia – The State of Decay</i> (Bill Morrison, 2002); <i style="mso-bidi-font-style:normal">Welt Spiegel Kino </i>(Gustav Deutsch, 2005); <i style="mso-bidi-font-style:normal">Wienfilm 1896-1976</i> (Ernst Schmidt Jr., 1977);<span style="mso-spacerun: yes"> </span><i style="mso-bidi-font-style:normal">Kádár’s Kiss</i> (Péter Forgács, 1997); <i style="mso-bidi-font-style:normal">Lyrical Nitrate</i> (Peter Delpeut, 1990).<span style="mso-spacerun: yes"> </span>My non-elegiac control group, some of which include moments of elegy: <i style="mso-bidi-font-style: normal">Rose Hobart</i> (Joseph Cornell, 1936); <i style="mso-bidi-font-style: normal">The Forbidden Quest</i> (Peter Delpeut, 1993); <i style="mso-bidi-font-style: normal">Diva Dolorosa</i> (Peter Delpeut, 1999); <i>Film ist.</i> (Gustav Deutsch, 1998/2002/2009); <i style="mso-bidi-font-style: normal">The Fall of the Romanov Dynasty</i> (Esfir Shub, 1927); <i style="mso-bidi-font-style:normal">Tribulation 99</i> (Craig Baldwin, 1998).<o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><i style="mso-bidi-font-style: normal"><span style="font-family:Arial;">These films are elegies for what?</span></i><span style="font-family:Arial;"><span style="mso-spacerun: yes"> </span>For content, medium, form, possibilities lost, roads not taken.<span style="mso-spacerun: yes"> </span>Content: lost worlds, people now dead, places changed utterly, eras past.<span style="mso-spacerun: yes"> </span>Medium: particular moments in the technological history of cinema, often approached with a focus on the medium’s materiality, e.g. the chemical degradation of nitrate film, dye fading or saturation, scratches.<span style="mso-spacerun: yes"> </span>Form: past techniques and styles of filmmaking, acting,<span style="mso-spacerun: yes"> </span>mise-en-scène, dress.<span style="mso-spacerun: yes"> </span>The films are sometimes, not always, nostalgic, but never simply so.<span style="mso-spacerun: yes"> </span>They are often utopian, their mourning of possibilities lost (roads not taken: moments in the development of technologies or of cinematic codes that precede forks in the historical road through narrative & formal options) amounting usually to a critique of the present (of the roads in fact taken, especially of the normalized narrative strategies of classical Hollywood cinema and of the cultural and political hegemonies it supports).<span style="mso-spacerun: yes"> </span>The utopianism is more often than not recuperative: the films mourn possibilities lost, but in so doing return them as possibilities to mind and attempt to reclaim them – as elegy will –<span style="mso-spacerun: yes"> </span>for those still living.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><i style="mso-bidi-font-style: normal"><span style="font-family:Arial;">Added reflection, 2010.<o:p></o:p></span></i></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;">Modern found-footage filmmaking normally requires cutting-edge restoration practice & editing technology, and I’ve seen most of it on DVD.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><i style="mso-bidi-font-style: normal"><span style="font-family:Arial;">Fifth example.<o:p></o:p></span></i></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;">(Noise is the new black:)<span style="mso-spacerun: yes"> </span>That fat splintery tone that Jack White gets with the White Stripes and which seems to have carried over to the Dead Weather, that tone that just screams authenticity, the sonic correlate of his tube amps (the technology before last!), the neo-Western bone grime of <i style="mso-bidi-font-style:normal">Horehound</i>, and the insistence (on <i style="mso-bidi-font-style:normal">Elephant</i>) that “No computers were used during the writing, recording, mixing or mastering of this record” – how does he get that tone?<span style="mso-spacerun: yes"> </span>Big Muff and Digitech Whammy, mostly, is my guess.<o:p></o:p></span></p> <p class="MsoNormal" style="text-align:justify"><span style="font-family:Arial;"><o:p> </o:p></span></p> <p class="MsoNormal" style="text-align:justify"><i style="mso-bidi-font-style: normal"><span style="font-family:Arial;">More examples and, eventually, theory to follow.<o:p></o:p></span></i></p> <!--EndFragment--> </b></span><p></p> <!--EndFragment-->Peter J. Schwartzhttp://www.blogger.com/profile/11822599925761846894noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-57929742038347122152010-05-21T12:41:00.000-07:002010-05-21T13:00:35.366-07:00The Hegel-Bishop connection"The human being is this night, this empty nothing, that contains everything in its simplicity... One catches sight of this night when one looks human beings in the eye." <br />--Hegel, Jena <span style="font-style:italic;">Realphilosophie </span>lectures, 1805-1806<br /><br />"If you catch him,<br />hold up a flashlight to his eye. It's all dark pupil,<br />an entire night itself, whose haired horizon tightens<br />as he stares back, and closes up the eye." <br />--Elizabeth Bishop, "The Man-Moth," 1935<br /><br />I like this connection between two topics on which I'm currently writing, or at least about which I'm thinking. The Hegel will be a proper, you know, <span style="font-style:italic;">article</span>. The Bishop, hopefully, a soon-to-come post on this blog.<br /><br />By the way, <a href="http://whenhernameyouwriteyoublot.blogspot.com/2006/05/night-of-world.html">here</a> are more passages said to be reminiscent of the Hegel above. I think the Bishop is closer than any of them. And I seriously doubt Bishop ever read Hegel. <br /><br />One more "by the way." Bishop claimed that the title of "The Man-Moth" was inspired by a New York Times misprint for "mammoth." (Well, in a note to the poem she only says "newspaper misprint," but in a letter she mentions specifically the Times.) Sad to say, neither a NYT search nor a Lexis-Nexis one uncovered the misprint in question.Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com0tag:blogger.com,1999:blog-6965436484511355077.post-54840129796055855522010-05-21T00:21:00.000-07:002011-01-11T09:47:41.222-08:00Mistranslating LacanWell, one might as well inaugurate this blog this way... by carping.<br /><br />I have had little justification to call myself a Lacanian for well over a decade. Lacan's work was most important to me during my early years in grad school (which I began in 1990), but by the time I was writing my dissertation, I began moving away from psychoanalysis as an interpretive framework. Nevertheless, when I cared about him more, I found myself dissatisfied with the English versions I had, so I got the French originals to compare. The first revelation was that the Sheridan translations of the major texts ("Ecrits" and "The Four Fundamental Concepts of Psychoanalysis") were abysmal. Because of a very recent discussion about Zizek and his fidelity to Lacan that I have been having on Facebook with <a href="http://www.tcj.com/hoodedutilitarian/tag/caro/">Caroline Small</a>, I pulled off the shelf all the Lacan books that I haven't opened in years; as it turns out, I had anally marked up the first half of "The Four Fundamental Concepts" with all the translation problems. Judging simply by the density of my annotations, and leaving out all the not-particularly-faithful-but-correct-enough passages, I would say there are on average two to three mistranslations per page, ranging from slight inexactitudes to howlers that go completely against the meaning of the original. <br /><br />(Here is a not atypical double-page spread from my copy.)<br /><a href="http://i381.photobucket.com/albums/oo253/A280/File3275.jpg" target="_blank"><img src="http://i381.photobucket.com/albums/oo253/A280/File3274.jpg" border="0" alt="" ></a><br /><br />A few examples: According to Sheridan's version, Lacan, when referring to his earlier response to Jacques-Alain Miller, who had questioned him “as to [his] ontology,” says: “I was able only to answer him within the limits imposed on dialogue by the time-table.” (Ch. 3, sec. 1; Norton, 1981, p. 29) In the original, however, Lacan (as edited by Miller himself) wrote: “<span style="font-style:italic;">Je n’ai pas pu lui repondre dans les limites qui sont imparties au dialogue par l’horaire</span>” (edition in Collection Points, p. 37), that is, "I was <span style="font-style:italic;">not able to answer him</span> within the limits..." This change seems utterly arbitrary; admittedly, in the overall scheme of things, it does little harm to the English reader's understanding of Lacan's theories, but why change it at all when the literal version is as good, if not better, English as the published translation?<br /><br />Other changes are less innocuous. In chapter 2 section 3 of "The Four Fundamental Concepts," for example, Lacan discusses discontinuity as the "essential form in which the unconscious first appears as a phenomenon," and asks against what background are we to place--and read--this manifestation. In Sheridan's version, Lacan then asks: “Where is the background? Is it absent? No.” (p. 26) However, the French original reads: “<span style="font-style:italic;">Oú est le fond? Est-ce l’absence ? Non pas.</span>” (Points p. 34) Not "is the background absent?" (as in, missing), but "is it absence?" That's a pretty significant difference there.<br /><br />The last example I'll give appears in the conclusion to the famous story (well, that's what Sheridan calls it--"I will now tell you a little story" [p. 95]; Lacan says "<span style="font-style:italic;">je vais vous raconter maintenant un petit apologue</span>" [Points p. 109], which is certainly more evocative as well as more exact) of the sardine can. In Sheridan's version, Lacan's commentary reads: “The picture, certainly, is in my eye. But I am not in the picture.” (Chapter 7, section 1, p 96). Again, here is the French original: “<span style="font-style:italic;">Le tableau, certes, est dans mon oeil. Mais moi, je suis dans le tableau.</span>” (Points, p. 111) "But me, I am in the picture." NOT "I am <span style="font-style:italic;">not</span>." "I am."<br /><br />What this basically amounts to is that if you've read Lacan in Sheridan's versions, you really haven't read Lacan at all. In the mid-90s, when I discovered this, I tried to militate a bit about it, letting people know that they should demand better translations. After a while though, as I mentioned, I largely lost interest in Lacan and let the matter drop. Which brings me to the recent incident that precipitated this post. I still cared enough about Lacan that in 2006, when the paperback edition of Bruce Fink's complete translation of "Ecrits" came out, I picked it up, though it ended up just sitting on my shelf unread and largely unopened. Nevertheless, given Fink's reputation, I assumed that his version had to be a definite improvement over Sheridan's.<br /><br />My discussion with Caroline led me finally to take it off the shelf, and in order to refresh my memory I began reading one of my favorite essays in the book, "<span style="font-style:italic;">La Chose Freudienne</span>," or "The Freudian Thing." I largely skimmed its introductory first section, but as soon as I got into the meat of the matter, in the first named section, "The Adversary," I was stopped in my tracks by this passage:<br /><br /><blockquote>“If Freud contributed nothing more to the knowledge of man than the verity that there is something veritable, there is no Freudian discovery. Freud simply belongs then to a line of moralists in whom a tradition of humanistic analysis is embodied, a milky way in the heavenly vault of European culture in which Balthazar Gracian and la Rochefoucauld are among the brightest stars, and Nietzsche is a nova as dazzling as it is short-lived. The latest to join them—and spurred on, like them, no doubt by a characteristically Christian concern for the stirrings of the soul—Freud was able to precipitate a whole casuistry into a map of Tendre, in which one couldn’t care less about an orientation for the offices for which it was intended.” (pp. 406-407 in the marginal page numbers, which refer to the pagination of the original 1966 French edition)</blockquote><br /><br />What really struck me was the last sentence, about which I told myself there was no way it was correctly translated. However, going back to the French original, I found problems even before getting to that crux. For example, Fink added "simply" in the second sentence out of nowhere, and for no reason that I can fathom turned Lacan's simple "<span style="font-style:italic;">ciel</span>" into "heavenly vault," completely falsifying the tone of the passage. (There's also the description of Nietzsche, which in the original reads “<span style="font-style:italic;">nova aussi fulgurante que vite rentrée dans les ténèbres</span>”--but I can't keep carping about every single point.) <br /><br />In any case, here is the original of that last sentence I quoted: “<span style="font-style:italic;">Freud a su précipiter toute une casuistique en une carte du Tendre ou l’on n’a que faire d’une orientation pour les offices auxquels on la destine.</span>” Let's skip the fact that "<span style="font-style:italic;">casuistique</span>" in French does not have quite the same pejorative overtones as "casuistry" in English (from which point of view Sheridan's translation of it as "casuistics" is better). But what is the English reader to make of this "map of Tendre, in which one couldn’t care less about an orientation for the offices for which it was intended”?<br /><br />Well, let me just say, to begin with, that this Tendre will not appear on any actual map. At least the Sheridan translation annotates and explains it, which Fink does not. Here is Sheridan: "The <span style="font-style:italic;">Pays du Tendre</span> was an allegorical country in which love was the sole preoccupation. It was the creation of Mlle de Scudéry and other novelists of the seventeenth century." (Ecrits, Sheridan translation, Norton 1977 p. 145 fn. 3) (See more <a href="http://fr.wikipedia.org/wiki/Carte_de_Tendre">here</a>.) Without this--still incomplete--explanation, a reader of the Fink version who is unaware of <span style="font-style:italic;">Précieux </span>discourse during the French classical age has no way of relating, for example, Freud's mapping of the unconscious to the mapping of the stations of love in the allegorical Tendre. (By the way, do keep in mind that in this paragraph Lacan is actually paraphrasing the views of psychoanalysts and commentators on Freud he disagrees with; yet, even so, this notion of a map not needing an orientation--that is, only concerned with the connections and paths between the locations it indicates, but not with their geographical placement--uncannily prefigures Lacan's later interest in topology.) <br /><br />Is this it? No, it gets worse. Both Sheridan and Fink translate the French word "<span style="font-style:italic;">offices</span>" as, well, "offices," leaving us with the image of an accountant, perhaps, or a secretary in a war office, hanging a map on their wall without knowing or caring which way is up. Unfortunately, however, the French "<span style="font-style:italic;">office</span>" only translates into the English "office" in the very limited sense of "administrative post"--the office of the president, for example--or the administrative branch organized under that administrative post, for example in the "<span style="font-style:italic;">office du tourisme</span>." "<span style="font-style:italic;">Office</span>" in French does <span style="font-style:italic;">not </span>mean "a place of business." So what did Lacan mean? Was he using the term to mean administrative post"? Highly unlikely. Rather, it seems clear to me, he was using it to mean "service," as in "religious service," or "ritual." This connects directly to the allegorical language of the <span style="font-style:italic;">Précieuses </span>, who used religious metaphors to refer to the, ahem, sacraments of love. Furthermore, this also connects to Lacan's view (or, rather, the view he paraphrases) of the psychoanalytic situation itself as a set ritual. Indeed, the passage continues: “Its [actually, this probably should be "his," as in "Freud's"] objectivity is, in fact, strictly tied to the analytic situation, which, within the four walls that limit its field, can do very well without people knowing which way is north since they confuse north with the long axis of the couch, assumed to point in the direction of the analyst.” <br /><br />The explanation of "<span style="font-style:italic;">carte du Tendre</span>" and the correct translation of "<span style="font-style:italic;">offices</span>" makes the imagery in this entire paragraph clearer and more coherent. As both Fink and Sheridan failed to make any of this explicit, I really wonder what they saw their purpose as translators to be. I am especially disappointed that Fink fell in the same trap as Sheridan in translating "<span style="font-style:italic;">offices</span>" by its false English correlative, "offices." This is translation on auto-pilot, sleepwalking translation. Lacan deserves better. And English-language Lacan readers, beware.Andrei Molotiuhttp://www.blogger.com/profile/17400106944822618816noreply@blogger.com8