The images: can we picture to ourselves, when we hear of a plurality of images, not a collection of discrete individual images but an abundance unsurveyable and without internal differentiation? Just as one hears in so many languages of the waters: die Wässer, les eaux. . . . In the flux of experience it may be no more possible to isolate a singular “image” than it is to isolate a singular “water.” The waters, according to Roberto Calasso in his meditation on Hindu mythology, Ka, symbolize the glittering flow of inner images, the ceaseless proliferation of specters and simulacra, that constitutes consciousness.1 Nevertheless, in the most prevalent theories of images developed by theology, by classical epistemology, by the academies of art, premodern and modern alike, and by anthropology, the image is paradigmatically still, framed, and graspable. The image stands alone, outside time. Whereas in experience, which is a flow of images in time, every image is in the process of becoming another image, for percepts, memories, and dreams are images generated and coordinated by the body. According to Henri Bergson, perception is nothing other than an aggregate of images “referred to” one particular image, the body.2 The body itself is an image insofar as it receives movement, and in
图像:当我们听到许多图像时，我们能自己描绘出来吗?这些图像不是离散的个体图像的集合，而是一种无法测量且没有内部差异的丰富?就像人们在许多水的语言中听到的那样:死亡Wässer, les eaux. . . .在不断变化的经验中，要孤立一个单一的“形象”，就像要孤立一个单一的“水”一样，可能是不可能的。罗伯托·卡拉索(Roberto Calasso)在他对印度神话Ka的沉思中说，水象征着构成意识的内在意象的闪闪发光的流动，不断扩散的幽灵和拟像然而，在神学、古典认识论、前现代和现代艺术学院以及人类学所发展的最流行的图像理论中，图像是典型的静止的、有框架的、可理解的。影像独立存在于时间之外。而在经验中，它是时间中的图像流，每个图像都在变成另一个图像的过程中，因为感知、记忆和梦都是由身体产生和协调的图像。根据亨利·柏格森的观点，知觉只不过是“指向”一个特定的形象——身体——的一系列形象的集合身体本身是一个图像，因为它接受运动，在
{"title":"Painting and Plurality","authors":"Christopher S. Wood","doi":"10.1353/CGL.2010.0000","DOIUrl":"https://doi.org/10.1353/CGL.2010.0000","url":null,"abstract":"The images: can we picture to ourselves, when we hear of a plurality of images, not a collection of discrete individual images but an abundance unsurveyable and without internal differentiation? Just as one hears in so many languages of the waters: die Wässer, les eaux. . . . In the flux of experience it may be no more possible to isolate a singular “image” than it is to isolate a singular “water.” The waters, according to Roberto Calasso in his meditation on Hindu mythology, Ka, symbolize the glittering flow of inner images, the ceaseless proliferation of specters and simulacra, that constitutes consciousness.1 Nevertheless, in the most prevalent theories of images developed by theology, by classical epistemology, by the academies of art, premodern and modern alike, and by anthropology, the image is paradigmatically still, framed, and graspable. The image stands alone, outside time. Whereas in experience, which is a flow of images in time, every image is in the process of becoming another image, for percepts, memories, and dreams are images generated and coordinated by the body. According to Henri Bergson, perception is nothing other than an aggregate of images “referred to” one particular image, the body.2 The body itself is an image insofar as it receives movement, and in","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131150874","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}
painting). Palace its modern figure has been established. Virtually every painting in the Palatine Gallery is a rectangle. By the time we get back on the bus, even a tourist in the field of art history like me cannot fail to be struck by the question: What determined this modern figure of painting as the historical shape that has dominated it until the present day?8 We know that painting created the modern picture plane by stretching linen over a wooden frame, no longer working on the more sculptural wooden panel but, instead, on the flat surface of a lightweight material, creating portable paintings that, while still attached to the wall, were free to move from one wall to another. Not only was the compositional structure of linear perspective enhanced by the rectangular framework of modern painting (as is clear in Alberti’s visual pyramid) but its own three-dimensionality was kept out of the picture by a second frame: a “picture frame” that is designed to conceal the edge of the material apparatus that is the new (and true) “frame” of painting, namely, the stretcher.9 The aim is to create the appearance of the picture plane as a two-dimensional surface whose flatness is retained by maintaining the tension of the canvas through an adjustable framework whose material outline is effaced by the picture frame. It is on this virtual plane that painting will be free to claim its birth right as a visual art. To do so, however, requires the operation of a double frame in which the edge of the apparatus that creates the picture plane is concealed by the edge of the rabbet frame, such that the painting is free to create a limit that would appear to be set by the picture plane itself, not imposed upon it from the outside as a boundary. At the same time, its material structure will raise the question of the nature of painting in its modern condition: the metaphysical question of its existence as an autonomous creation in so far as painting is free to project a visual space of its own on the picture plane. As Hegel would see, this threedimensional virtual space is not simply a matter of drawing, but operates as IconoclastIc Images 29 a kind of apparition (Schein) or what we would like to think of as a spectral image, and not just (as it was for him) in the “magic” that takes place in oil painting in its “pure appearance” as a chromatic creation (“coloration”).10 Not only was the compositional structure of linear perspective enhanced by the rectangle in the creation of the virtual space of the picture plane, but the real three-dimensionality of the painting was kept out of the picture by a second frame that was designed to present the picture plane as a two-dimensional surface without an outline that would define it as a material form. In this respect, a spectral rectangle was created, and one that was designed to provide a format that saved the painting itself from operating as a “plastic” image. Instead, strictly “visual” images would take place on the pict
{"title":"Iconoclastic Images","authors":"Gregory Schufreider","doi":"10.1353/cgl.2010.0005","DOIUrl":"https://doi.org/10.1353/cgl.2010.0005","url":null,"abstract":"painting). Palace its modern figure has been established. Virtually every painting in the Palatine Gallery is a rectangle. By the time we get back on the bus, even a tourist in the field of art history like me cannot fail to be struck by the question: What determined this modern figure of painting as the historical shape that has dominated it until the present day?8 We know that painting created the modern picture plane by stretching linen over a wooden frame, no longer working on the more sculptural wooden panel but, instead, on the flat surface of a lightweight material, creating portable paintings that, while still attached to the wall, were free to move from one wall to another. Not only was the compositional structure of linear perspective enhanced by the rectangular framework of modern painting (as is clear in Alberti’s visual pyramid) but its own three-dimensionality was kept out of the picture by a second frame: a “picture frame” that is designed to conceal the edge of the material apparatus that is the new (and true) “frame” of painting, namely, the stretcher.9 The aim is to create the appearance of the picture plane as a two-dimensional surface whose flatness is retained by maintaining the tension of the canvas through an adjustable framework whose material outline is effaced by the picture frame. It is on this virtual plane that painting will be free to claim its birth right as a visual art. To do so, however, requires the operation of a double frame in which the edge of the apparatus that creates the picture plane is concealed by the edge of the rabbet frame, such that the painting is free to create a limit that would appear to be set by the picture plane itself, not imposed upon it from the outside as a boundary. At the same time, its material structure will raise the question of the nature of painting in its modern condition: the metaphysical question of its existence as an autonomous creation in so far as painting is free to project a visual space of its own on the picture plane. As Hegel would see, this threedimensional virtual space is not simply a matter of drawing, but operates as IconoclastIc Images 29 a kind of apparition (Schein) or what we would like to think of as a spectral image, and not just (as it was for him) in the “magic” that takes place in oil painting in its “pure appearance” as a chromatic creation (“coloration”).10 Not only was the compositional structure of linear perspective enhanced by the rectangle in the creation of the virtual space of the picture plane, but the real three-dimensionality of the painting was kept out of the picture by a second frame that was designed to present the picture plane as a two-dimensional surface without an outline that would define it as a material form. In this respect, a spectral rectangle was created, and one that was designed to provide a format that saved the painting itself from operating as a “plastic” image. Instead, strictly “visual” images would take place on the pict","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127823928","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}
{"title":"Introduction: Reality and Its Shadow","authors":"E. Peretz","doi":"10.1353/CGL.2010.0001","DOIUrl":"https://doi.org/10.1353/CGL.2010.0001","url":null,"abstract":"","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127251646","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}
Aby Warburg’s1 first teaching engagement after his return from Kreuzlingen,2 the 1925 seminar on “The Significance of Antiquity for the Stylistic Change in the Italian Art of the Early Renaissance” (“Die Bedeutung der Antike für den stilistischen Wandel in der italienischen Kunst der Frührenaissance”), was also the first occasion on which he could claim the title of professor that he had been granted in absentia by the recently established University of Hamburg.3 The significance of this test can be understood both as a further confirmation of his full recovery4 and as the in-
阿比·沃伯格从克罗伊茨林根回来后的第一次教学活动是1925年关于“古代对早期文艺复兴时期意大利艺术风格变化的意义”的研讨会(“Die Bedeutung der Antike f r den stilistischen Wandel in der italienischen Kunst der fr文艺复兴时期”)。这也是他第一次有机会宣称他缺席了新成立的汉堡大学授予他的教授头衔。这次测试的意义既可以理解为他完全康复的进一步证实，也可以理解为他的成功
{"title":"Aby Warburg’s Pentimento","authors":"Davide Stimilli","doi":"10.1353/CGL.2010.0002","DOIUrl":"https://doi.org/10.1353/CGL.2010.0002","url":null,"abstract":"Aby Warburg’s1 first teaching engagement after his return from Kreuzlingen,2 the 1925 seminar on “The Significance of Antiquity for the Stylistic Change in the Italian Art of the Early Renaissance” (“Die Bedeutung der Antike für den stilistischen Wandel in der italienischen Kunst der Frührenaissance”), was also the first occasion on which he could claim the title of professor that he had been granted in absentia by the recently established University of Hamburg.3 The significance of this test can be understood both as a further confirmation of his full recovery4 and as the in-","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116588740","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}
Plato’s thought, from his metaphysics to his poetics, is unthinkable apart from his theory of the image. Images occupy the center of Plato’s universe for the same reason that imitation does: Platonic metaphysics rests on the assumption of an image that is copied in successive stages, each suffering a derogation from the original Form or idea (shape, image). The phenomenal world is a (bad) copy of an original image. Art and poetry are necessarily caught up in the same metaphysical process of imitation (mimēsis) and copy, producing images that lie at an even farther remove from the original Forms. There would seem to be no escaping the image in a Platonic world.1 Or is there? The idea of a Form is paradoxical in any number of ways, but the most salient and relevant of these is the question why Forms are called Forms at all. If they are shapes or images, what do they look like? But even to put the question in this way is to open up a Pandora’s box of problems. Surely Forms cannot “look like” something else in the sense of resembling a more perfect image, else we would encounter a vicious regress, with each step leading to another image that prompts the same question: What does it look
{"title":"Plato and the Platonic Tradition: The Image Beyond the Image","authors":"J. Porter","doi":"10.1353/CGL.2010.0009","DOIUrl":"https://doi.org/10.1353/CGL.2010.0009","url":null,"abstract":"Plato’s thought, from his metaphysics to his poetics, is unthinkable apart from his theory of the image. Images occupy the center of Plato’s universe for the same reason that imitation does: Platonic metaphysics rests on the assumption of an image that is copied in successive stages, each suffering a derogation from the original Form or idea (shape, image). The phenomenal world is a (bad) copy of an original image. Art and poetry are necessarily caught up in the same metaphysical process of imitation (mimēsis) and copy, producing images that lie at an even farther remove from the original Forms. There would seem to be no escaping the image in a Platonic world.1 Or is there? The idea of a Form is paradoxical in any number of ways, but the most salient and relevant of these is the question why Forms are called Forms at all. If they are shapes or images, what do they look like? But even to put the question in this way is to open up a Pandora’s box of problems. Surely Forms cannot “look like” something else in the sense of resembling a more perfect image, else we would encounter a vicious regress, with each step leading to another image that prompts the same question: What does it look","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133919649","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}
{"title":"“Combustion-Focal Point”: Studying the Image in Benjamin’s “Life of Students”","authors":"Peter Fenves","doi":"10.1353/CGL.2010.0006","DOIUrl":"https://doi.org/10.1353/CGL.2010.0006","url":null,"abstract":"","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114358588","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}
{"title":"Becoming Woman: From Antonioni to Anne Carson and Cindy Sherman","authors":"A. Ricciardi","doi":"10.1353/CGL.2010.0003","DOIUrl":"https://doi.org/10.1353/CGL.2010.0003","url":null,"abstract":"","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124116999","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}
We rarely think of Rainer Maria Rilke as anything other than a great German poet. As a result, there has been a critical tendency to overlook the fact that Rilke is a great German poet who also wrote no less than four hundred and fifty poems in French, a language he only mastered in his twenties.1 In his monograph The Translingual Imagination, Steven Kellman speaks of such writers as ‘translingual’: “A majority of the world’s population is at least bilingual. Fortunately, few speakers are
{"title":"Reborn as René: The Interplay of Self and Language in a Selection of Rilke’s Late French and German Poems","authors":"Eugenia Kelbert","doi":"10.1353/CGL.2010.0010","DOIUrl":"https://doi.org/10.1353/CGL.2010.0010","url":null,"abstract":"We rarely think of Rainer Maria Rilke as anything other than a great German poet. As a result, there has been a critical tendency to overlook the fact that Rilke is a great German poet who also wrote no less than four hundred and fifty poems in French, a language he only mastered in his twenties.1 In his monograph The Translingual Imagination, Steven Kellman speaks of such writers as ‘translingual’: “A majority of the world’s population is at least bilingual. Fortunately, few speakers are","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126747174","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}
Although its editor, Giorgio Colli, warns the reader of “a certain abruptness” in its formulations, Nietzsche’s draft essay “On Truth and Lie in the Extra-Moral Sense” has served as a rallying point for those concerned to work out the relation between language and literature.1 It puts a skeptical finger on the psychophysical operations we know as experience, damning them with the faint praise of rhetorical terminology as it names them instances of “translation” and “metaphor”:
尽管它的编辑乔治·科利(Giorgio Colli)警告读者注意其表述中的“某种突然性”，但尼采的初稿《论超道德意义上的真理与谎言》(On Truth and Lie in the超道德意义上的真理与谎言)已经成为那些关心解决语言与文学之间关系的人的集结点它对我们称之为经验的心理物理操作持怀疑态度，用修辞术语的微弱赞美来谴责它们，因为它将它们称为“翻译”和“隐喻”的实例:
{"title":"Getting Mimetic Again","authors":"Haun Saussy","doi":"10.1353/CGL.2010.0008","DOIUrl":"https://doi.org/10.1353/CGL.2010.0008","url":null,"abstract":"Although its editor, Giorgio Colli, warns the reader of “a certain abruptness” in its formulations, Nietzsche’s draft essay “On Truth and Lie in the Extra-Moral Sense” has served as a rallying point for those concerned to work out the relation between language and literature.1 It puts a skeptical finger on the psychophysical operations we know as experience, damning them with the faint praise of rhetorical terminology as it names them instances of “translation” and “metaphor”:","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123056811","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}
Yes... I take the view that the biographical is very important for scholars of Comparative Literature, or Literary and Cultural Studies, whose life experiences go back to the late colonial period, who have been lucky to have lived so long. I was born in 1946 and the first fourteen years of my life were lived in late colonial Nigeria, so I grew up in the period when there was an intensification of the nationalist movement. And I was born in Ibadan, which at that time was the biggest city in black Africa. There were around one and a half to two million people living there at that time, and it was also the cultural and intellectual capital of the country. So I grew up... I mean this is all in hindsight now, you know... but at the time I was growing up, at least for the first ten years of my life, I wasn’t that aware of the nationalist movement. I would say that it was ten years of my life, up to the upper levels of primary school. I think I had this—I don’t think this was clear to me, I think it was to my generation—this kind of romance of empire, you know, because of all of the rituals of the Eyal Peretz
{"title":"An Interview with Biodun Jeyifo","authors":"E. Peretz","doi":"10.1353/CGL.2011.0010","DOIUrl":"https://doi.org/10.1353/CGL.2011.0010","url":null,"abstract":"Yes... I take the view that the biographical is very important for scholars of Comparative Literature, or Literary and Cultural Studies, whose life experiences go back to the late colonial period, who have been lucky to have lived so long. I was born in 1946 and the first fourteen years of my life were lived in late colonial Nigeria, so I grew up in the period when there was an intensification of the nationalist movement. And I was born in Ibadan, which at that time was the biggest city in black Africa. There were around one and a half to two million people living there at that time, and it was also the cultural and intellectual capital of the country. So I grew up... I mean this is all in hindsight now, you know... but at the time I was growing up, at least for the first ten years of my life, I wasn’t that aware of the nationalist movement. I would say that it was ten years of my life, up to the upper levels of primary school. I think I had this—I don’t think this was clear to me, I think it was to my generation—this kind of romance of empire, you know, because of all of the rituals of the Eyal Peretz","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130389540","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}
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