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Encounters: Gerard Titus-Carmel, Jean-Luc Nancy, Claire Denis PDF

129 Pages·2015·8.913 MB·English
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co NT R Gérard Titus-Carmel, Jean-Luc Nancy, Claire Denis "To encounter is to find, to capture, to steal, but there is no method for finding other than a long preparation." GILLES DELEUZE Gérard Titus-Carmel, Jean-Luc Nancy, Claire Denis ZSUZSA BAROSS ACADEMIe PRE S S Brighton" Chicago" Toronto Copyright © Zsuzsa Baross, 2015. The right of Zsuzsa Baross to be identified as Author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. 2468 1097 5 3 1 First pttblished 2015 in Great Britain by SUSSEX ACADEMIC PRESS PO Box 139 Eastbourne BN24 9BP and in the United States of America by SUSSEX ACADEMIC PRESS Independent Publishers Group 814 N. Franklin Street, Chicago, IL 60610 and in Canada by SUSSEX ACADEMIe PRESS (CANADA) 24 Ranee Avenue, Toronto, Ontario, M6A 1M6 AU rights reserved. Except for the guotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. British Library Catalogtting in PNblication Data A CIP catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Pztblication Data Baross, Zsuzsa. Encounters : Girard Titus-Carmel, Jean-Luc Nancy, Claire Denis / Zsuzsa Baross. pages cm ISBN 978-1-84519-663-9 (hbk: alk. paper) ISBN 978-1-84519-715-5 (pbk: alk. paper) 1. New and old in art. 2. Arts-Philosophy. 3. Creation (Literary, artistic, etc.) 4. Human body (Philosophy) 5. Human body in literature. 6. Human body in motion pictures. 7. Titus-Carmel, Girard, 1942- Suite Grünewald. 8. Nancy, Jean-Luc. Il y a du rapport sexuel. 9. Denis, Claire. 1. Title. BH301.N48B37 2015 700.1-dc23 2014040499 MIX Paper from FSC responslble sources W'N'/.'fscorg FSC® C013056 Typeset and designed by Sussex Academic Press, Brighton & Eastbourne. Printed by TJ International, Padstow, Cornwall. Acknowledgements VI Abbreviations Vll Illmtrations VUI In Place of a Preface 1 159+ 1 Variations or Painting Becoming Music 17 Il Y a du Rapport Sexuel 64 The Body in the Cinema of Claire Denis and theWd ting of Jean-lue Nancy v Three persons l need to thank for their indispensable contribution to this book project: Jean-Luc Nancy, for participating in and giving shape to the confer-· ence that inspired the second essay here. Despite obstacles, he tirelessly supported the encounter l was organizing with Claire Denis, which took place, with the tide '''Il y a du rapport sexuel': le corps du cinéma de Claire Denis et de l'écriture de Jean-Luc Nancy," at the Collège International de Philosophie with the support of the Médiathèque Marguerite Duras in Paris on March 9, 2013. The second essay, with the same tide partially translated into English, develops the materials l pre pared for the conference. Joan Titus-Carmel, who since our very first contact-an email from me to the Collège des Bernardins where the first exhibition of the Suite Grilnewald took place-has played the indispensable role of intermediary, mediator, facilitator, advisor; she took charge of the correspondence, copied and transmitted aIl the image materials, sent me catalogues, rele vant sources in the literature .. And wh en the first draft of my study of the Suite was ready, she enthusiastically shared it with other writers in the field whose work l deeply respect. To Gérard Titus-Carmel l am indebted for his friendship, for the "guided tour" of the second exhibition of the Suite at the Musée de Soissons in 2010 and later in his studio. l am grateful for his generous conversations, for guiding my gaze to "pregnant mOll1ents" in the draw ings, for his intimidatingly erudite discussions, not just on the subject of the work, but also its rich references in art history, literature, and poetry. TC also made available in digital format the entire Suite of 159+ 1 images, as weIl as over two dozen ofhis work notes, texts and designs that have informed my understanding of the work; and kindly permitted the reproduction of his work in the book and on the cover ... l regret that we were not able to include more than 18 color plates. Here l also wish to express my gratitude to the Musée Unterlinden in Colmar for permission to reproduce the central panel of Grünewald's altarpiece, Crucifixion. vi D: Jacques Derrida, La Dissémination (Paris: Editions du Seuil, 1972). IT: Jacques Derrida, Le ToucherJJean-Luc Nancy (Paris: Galilée, 2000). DI: Gilles Deleuze and Claire Parnet, Dialogues, trans. Hugh Tomlinson and Barbara Habberjam (New York: Columbia University Press, 1987). DR: Gilles Deleuze, Difference and Repetition, trans. Paul Patton (New York: Columbia University Press, 1994). PS: Gilles Deleuze, Proust and Signs, trans. Richard Howard (Minneapolis: University of Minnesota Press, 2000). C: Jean-lue Nancy, Corpus (Paris: Editions Métailié, 2000). C : Jean-lue Nancy, Corpus, trans. Richard A. Rand (New York: Fordham University Press, 2008). 1: Jean-lue Nancy, LJlntrtls (Paris: Galilée, 2000). RBA: Jean-lue Nancy,"Rühren, Berühren, Aufi-uhr," Wien, Tanzquartier, 2010, MS. IF: Jean-lue Nancy, "Icon of Furry: Claire Denis's Trouble Every Day," Pilm-Philosophy, 12 (2008), "Icone de l'acharnement, Trouble Every Day de Claire Denis," Trafic, 3 (2001). Films of Claire Denis SFM: SJen fout la mort, 1990. JPS:JJai pas sommeil, 1994. NB: Nénette et Boni, 1996. TE: Trouble Every Day, 2001. VS: Vendredi soir, 2002. 1: LJlntrusJ 2005. WM: White Material, 2009. vi i s III Cover illustration: Gérard Titus-Cannel, Suite Grünewald, no. 73, décembre '94. Frontispiece (opposite): Black and white photograph (Fig. 1): The view of the exhibition of Gérard Titus-Carmel, Suite Grünewald, held at the Collège des Bernardins, in Paris, 19 March-June 7,2009. The colour plate section (after page 22). In the text, figure numbers appear in bold; TC's work notes by their number preceded by the # sign; drawings are referenced by their number in the tide, in roman font. Color plate (Fig. 2): Reproduction of Grünewald's Crucifixion and the single painting, closing the variation Suite Grünewald. Color plates (Figs. 3-19) reproduce a selection of drawings from the 159 variations of Suite Grünewald: individually, in blocks as they appeared at the 2009 exhibition, and in clusters and combinations thereof in support of the analysis carried out in the text. The entire work appeared in the catalogue of the exhibition: Gérard Titus-Carmel, Suite Grünewald, Paris: Collège des Bernardins, 2009. vi i i

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