The notion of the formless found a lasting definition in Documents, the dissident Surrealist magazine led by Georges Bataille, Carl Einstein and Michel Leiris from 1929 to 1931. In an unassuming short entry for its ‘Dictionnaire’, Bataille presents the informe emphatically not as a system or a structure, but as ‘un terme servant à déclasser’; yet neither the disruptive impulse of the 'Dictionnaire', nor the more recent exhibitions it has generated, can avoid a measure of taxonomic organisation (L'Informe: mode d'emploi, 1996; Undercover Surrealism, 2006). In the realm of poetry, free verse has eroded the boundaries of the poetic, but its freedom from formal constraints is limited too; as Jay Parini (2008) contends, ‘formless poetry does not really exist, as poets inevitably create patterns in language that replicate forms of experience.’ Through a small number of case studies, this chapter will consider the legacy of Bataille’s definition while assessing the ongoing tension between form and its undoing in textual and visual art of the twenty-first century.
“无形”的概念在1929年至1931年由乔治·巴塔耶、卡尔·爱因斯坦和米歇尔·莱里斯创办的超现实主义杂志《文件》中得到了一个持久的定义。巴塔耶在其“词典”的一篇毫不谦虚的简短条目中，强调信息不是作为一种系统或结构，而是作为“un terme servant dsamicclasser”;然而，无论是“词典”的破坏性冲动，还是最近它所产生的展览，都不能避免某种程度上的分类组织(L' informe: mode d' employi, 1996;卧底超现实主义，2006)。在诗歌领域，自由诗侵蚀了诗歌的界限，但它摆脱形式约束的自由也受到限制;正如杰伊·帕里尼(Jay Parini, 2008)所主张的那样，“无形的诗歌并不真正存在，因为诗人不可避免地会在语言中创造出复制体验形式的模式。”通过少量的案例研究，本章将考虑巴塔耶定义的遗产，同时评估21世纪文本和视觉艺术中形式与其毁灭之间持续的紧张关系。
{"title":"A la dérive","authors":"Eric Robertson","doi":"10.2307/j.ctvxbpgtg.21","DOIUrl":"https://doi.org/10.2307/j.ctvxbpgtg.21","url":null,"abstract":"The notion of the formless found a lasting definition in Documents, the dissident Surrealist magazine led by Georges Bataille, Carl Einstein and Michel Leiris from 1929 to 1931. In an unassuming short entry for its ‘Dictionnaire’, Bataille presents the informe emphatically not as a system or a structure, but as ‘un terme servant à déclasser’; yet neither the disruptive impulse of the 'Dictionnaire', nor the more recent exhibitions it has generated, can avoid a measure of taxonomic organisation (L'Informe: mode d'emploi, 1996; Undercover Surrealism, 2006). In the realm of poetry, free verse has eroded the boundaries of the poetic, but its freedom from formal constraints is limited too; as Jay Parini (2008) contends, ‘formless poetry does not really exist, as poets inevitably create patterns in language that replicate forms of experience.’ Through a small number of case studies, this chapter will consider the legacy of Bataille’s definition while assessing the ongoing tension between form and its undoing in textual and visual art of the twenty-first century.","PeriodicalId":169706,"journal":{"name":"What Forms Can Do","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125750077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：