This article reconsiders the important work of Leroi-Gourhan through the lens of Christopher Johnson's ‘Leroi-Gourhan and the Limits of the Human’ (2011) by returning to the context of French prehistory of the 1860s that lies behind Leroi-Gourhan's discoveries and interpretations of hominid remains and artefacts in the Grotte du Renne. The Exposition universelle of 1867 and French publications of the period capture the importance of ‘préhistoire’ for Second Empire France materialized in Napoleon III's establishment at Saint-Germain-en-Laye of the first national Musée des Antiquités Nationales dedicated to their collections. The archaeological discoveries, and the debates they inspired, did not escape the encyclopaedic bricolage and designs of Flaubert. With delicious clins d'oeil to the question of ‘l'homme fossile’ and ‘l'homme futur’ that he had already debated with Louis Bouilhet, this article uncovers how Flaubert's Légende de Saint Julien details the ‘limits of the human’ in Johnson's reading of Leroi-Gourhan. By returning to ‘real’ counterparts for the legendary Stag in Flaubert's tale, its contextual, allegedly fantastical, ‘préhistoires’ can better be excavated. To find the non-legendary, extreme contemporary, sources for Flaubert's disturbing text crucially informs a critique of the dehistoricization of seeing in post-war French cultural studies and sciences of the human.
本文通过克里斯托弗·约翰逊（Christopher Johnson）的《勒罗伊·古尔汉与人类的极限》（Leroi Gourhan and the Limits of the Human）（2011）的镜头，重新思考了勒罗伊·古尔汉的重要作品，回到了19世纪60年代法国史前史的背景下，这正是勒罗伊·古汉在雷恩河发现和解释人类遗骸和手工艺品的背后。1867年的世博会和这一时期的法国出版物捕捉到了“历史”对法兰西第二帝国的重要性，拿破仑三世在圣日耳曼建立了第一个国家古董博物馆，专门收藏他们的藏品。考古发现及其引发的争论并没有逃脱福楼拜百科全书式的拼凑和设计。这篇文章对他已经与路易·布伊莱特辩论过的“人类化石”和“人类未来”问题进行了精彩的探讨，揭示了福楼拜的《圣朱利安的légende de Saint Julien》如何在约翰逊对勒罗伊·古汉的解读中详细阐述了“人类的极限”。通过回到福楼拜故事中传说中的雄鹿的“真实”对应物，可以更好地挖掘其背景，据称是幻想的“历史”。为福楼拜令人不安的文本寻找非传奇的、极端的当代来源，至关重要地为批判战后法国文化研究和人类科学中的去历史化提供了信息。
{"title":"The Grotte du Renne, Leroi-Gourhan and Flaubert's La Légende de Saint Julien l'Hospitalier (1877): The Question of ‘Préhistoire(s)’ to Delimit the Human","authors":"M. Orr","doi":"10.3366/para.2021.0374","DOIUrl":"https://doi.org/10.3366/para.2021.0374","url":null,"abstract":"This article reconsiders the important work of Leroi-Gourhan through the lens of Christopher Johnson's ‘Leroi-Gourhan and the Limits of the Human’ (2011) by returning to the context of French prehistory of the 1860s that lies behind Leroi-Gourhan's discoveries and interpretations of hominid remains and artefacts in the Grotte du Renne. The Exposition universelle of 1867 and French publications of the period capture the importance of ‘préhistoire’ for Second Empire France materialized in Napoleon III's establishment at Saint-Germain-en-Laye of the first national Musée des Antiquités Nationales dedicated to their collections. The archaeological discoveries, and the debates they inspired, did not escape the encyclopaedic bricolage and designs of Flaubert. With delicious clins d'oeil to the question of ‘l'homme fossile’ and ‘l'homme futur’ that he had already debated with Louis Bouilhet, this article uncovers how Flaubert's Légende de Saint Julien details the ‘limits of the human’ in Johnson's reading of Leroi-Gourhan. By returning to ‘real’ counterparts for the legendary Stag in Flaubert's tale, its contextual, allegedly fantastical, ‘préhistoires’ can better be excavated. To find the non-legendary, extreme contemporary, sources for Flaubert's disturbing text crucially informs a critique of the dehistoricization of seeing in post-war French cultural studies and sciences of the human.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46228139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The prehistorian André Leroi-Gourhan envisages technological behaviour along a continuum of manual activity extending to artistic production. His work on Palaeolithic cave art, which dominates the final phase of his career, builds on parameters set out in the 1950s and 1960s, and indeed early works on figuration ( Bestiaire du bronze chinois (1936) and Documents pour l'art comparé (1943)) already use the methodology which characterizes his Préhistoire de l'art occidental (1965). Nevertheless, there is a qualitative shift in Leroi-Gourhan's post-war work in response to structuralism and in dialogue with his work on human evolution. Le Geste et la Parole (1964–5) represents an important point of mediation, describing the physiological foundations of aesthetic experience and the stages of development which precede figuration. Leroi-Gourhan argues for the normality of Palaeolithic art as an artistic tradition while insisting on its absolute otherness. The mind in the cave is capable of the most abstract and esoteric variations of form and content, but also represents an alternative world to our own.
史前学家AndréLeroi Gourhan设想了一种从手工活动延伸到艺术生产的连续性技术行为。他在旧石器时代洞穴艺术方面的工作，主导了他职业生涯的最后阶段，建立在20世纪50年代和60年代设定的参数之上，事实上，早期的造型作品（《青铜中国》（1936）和《艺术比较文献》（1943））已经使用了他西方艺术史（1965）的方法论。尽管如此，勒罗伊·古尔汉的战后作品还是发生了质的转变，以回应结构主义，并与他关于人类进化的作品对话。Le Geste et la Parole（1964–5）代表了一个重要的中介点，描述了审美体验的生理基础和塑造之前的发展阶段。Leroi Gourhan主张旧石器时代艺术作为一种艺术传统的正常性，同时坚持其绝对的另类性。洞穴中的心灵能够在形式和内容上进行最抽象、最深奥的变化，但也代表了我们自己的另一个世界。
{"title":"Leroi-Gourhan and the Evolution of Forms","authors":"Christopher Johnson","doi":"10.3366/para.2021.0373","DOIUrl":"https://doi.org/10.3366/para.2021.0373","url":null,"abstract":"The prehistorian André Leroi-Gourhan envisages technological behaviour along a continuum of manual activity extending to artistic production. His work on Palaeolithic cave art, which dominates the final phase of his career, builds on parameters set out in the 1950s and 1960s, and indeed early works on figuration ( Bestiaire du bronze chinois (1936) and Documents pour l'art comparé (1943)) already use the methodology which characterizes his Préhistoire de l'art occidental (1965). Nevertheless, there is a qualitative shift in Leroi-Gourhan's post-war work in response to structuralism and in dialogue with his work on human evolution. Le Geste et la Parole (1964–5) represents an important point of mediation, describing the physiological foundations of aesthetic experience and the stages of development which precede figuration. Leroi-Gourhan argues for the normality of Palaeolithic art as an artistic tradition while insisting on its absolute otherness. The mind in the cave is capable of the most abstract and esoteric variations of form and content, but also represents an alternative world to our own.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42670145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Nathalie Sarraute on the Brink","authors":"Naomi Toth","doi":"10.3366/PARA.2021.0368","DOIUrl":"https://doi.org/10.3366/PARA.2021.0368","url":null,"abstract":"","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46669355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article addresses the question of the relationship between corporeality and the ordinary in the works of François Laruelle. This is done through the formulation of the ‘ordinary body’ that draws from across Laruelle's work on the ordinary, corporeality and photography in order to outline Laruelle's radically immanent account of embodiment. The critical outline of Laruellean corporeality and the ordinary body is drawn out via a critical posing of Laruelle in contrast to Deleuze and Guattari. In doing so, the article indicates the singular difference between Laruelle, on one side, and Deleuze and Guattari, on the other, with respect to corporeal immanence and the usage of the everyday and ordinary. The article concludes with an argument that the relationship between the body and the ordinary in Laruelle's thought implies a novel non-philosophical or non-standard ‘poetics’ and usage of the ordinary.
{"title":"The Ordinary Contested, Laruelle contra Deleuze and Guattari","authors":"Andrew Sackin-Poll","doi":"10.3366/PARA.2021.0367","DOIUrl":"https://doi.org/10.3366/PARA.2021.0367","url":null,"abstract":"This article addresses the question of the relationship between corporeality and the ordinary in the works of François Laruelle. This is done through the formulation of the ‘ordinary body’ that draws from across Laruelle's work on the ordinary, corporeality and photography in order to outline Laruelle's radically immanent account of embodiment. The critical outline of Laruellean corporeality and the ordinary body is drawn out via a critical posing of Laruelle in contrast to Deleuze and Guattari. In doing so, the article indicates the singular difference between Laruelle, on one side, and Deleuze and Guattari, on the other, with respect to corporeal immanence and the usage of the everyday and ordinary. The article concludes with an argument that the relationship between the body and the ordinary in Laruelle's thought implies a novel non-philosophical or non-standard ‘poetics’ and usage of the ordinary.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45978915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Writing remains. One could argue that it is precisely because of this uncanny and unpredictable survival that inscription holds an inextricable influence on culture. Deconstructive theory posits this as the ‘biodegradability’ of writing — that culture consumes writing's intended meaning, employing it as fuel for its own survival. In this article, I argue for Michel Houellebecq's awareness of this survival, suggesting that his texts stage their — and their author's — own biodegradability to interweave truth and fiction. Particularly, he utilizes the ‘untranslatability’ of the proper name — its brief resistance to cultural biodegradability — to intercept and write into the future(s) inscription is tied to. This draws attention to the vital paradox of proper names, and suggests that their untranslatability forces every reader to conjure different, contradicting and often ‘out-of-sync’ histories. Houellebecq's names, which necessitate an interminable coining, gesture to the inevitable (re)translation of finitude.
{"title":"The Vertigos of Coining: ‘Michel Houellebecq’, Or, What Names Remain(s)?","authors":"James Dutton","doi":"10.3366/PARA.2021.0362","DOIUrl":"https://doi.org/10.3366/PARA.2021.0362","url":null,"abstract":"Writing remains. One could argue that it is precisely because of this uncanny and unpredictable survival that inscription holds an inextricable influence on culture. Deconstructive theory posits this as the ‘biodegradability’ of writing — that culture consumes writing's intended meaning, employing it as fuel for its own survival. In this article, I argue for Michel Houellebecq's awareness of this survival, suggesting that his texts stage their — and their author's — own biodegradability to interweave truth and fiction. Particularly, he utilizes the ‘untranslatability’ of the proper name — its brief resistance to cultural biodegradability — to intercept and write into the future(s) inscription is tied to. This draws attention to the vital paradox of proper names, and suggests that their untranslatability forces every reader to conjure different, contradicting and often ‘out-of-sync’ histories. Houellebecq's names, which necessitate an interminable coining, gesture to the inevitable (re)translation of finitude.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47741162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The publication of Derrida's fragment Le Calcul des langues — Distyle offers an insight into Derrida's negotiation with empiricism and his rethinking of rhetoric in the early 1970s. Delineating Condillac's pervasive idealization of empiricism, Derrida gestures to a pain-becoming-pleasure and pleasure-becoming-pain that resists the fixed identity of the proper body. His emphasis on the pains and wounds of rhetoric registers both the limits of Condillac's philosophical project (rhetoric re-marks the excess of metaphor and the sensuous origins of language) and the possibility of another kind of empiricism, of the gaps that border on the word and the body. The article includes a reading of rhetoric and sex in Rousseau, as a gesture to Derrida's still unpublished seminar on rhetoric. It closes with an examination of the two-columned nature of Derrida's work, which ends mid-word (on the left) and mid-sentence (on the right).
{"title":"The Wounds of Rhetoric: Derrida on Condillac and Rousseau","authors":"S. Gaston","doi":"10.3366/PARA.2021.0365","DOIUrl":"https://doi.org/10.3366/PARA.2021.0365","url":null,"abstract":"The publication of Derrida's fragment Le Calcul des langues — Distyle offers an insight into Derrida's negotiation with empiricism and his rethinking of rhetoric in the early 1970s. Delineating Condillac's pervasive idealization of empiricism, Derrida gestures to a pain-becoming-pleasure and pleasure-becoming-pain that resists the fixed identity of the proper body. His emphasis on the pains and wounds of rhetoric registers both the limits of Condillac's philosophical project (rhetoric re-marks the excess of metaphor and the sensuous origins of language) and the possibility of another kind of empiricism, of the gaps that border on the word and the body. The article includes a reading of rhetoric and sex in Rousseau, as a gesture to Derrida's still unpublished seminar on rhetoric. It closes with an examination of the two-columned nature of Derrida's work, which ends mid-word (on the left) and mid-sentence (on the right).","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44041057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Opening with a consideration of the distribution of the two graphic acts — drawing and writing — this article offers a comparative study of Jacques Derrida's and Jean-Luc Nancy's respective exhibitions and catalogue essays on the subject of drawing. Through a comparative examination of what I take to be their central theoretical contributions to the study of drawing — Derrida its ‘rhetoric’, Nancy its ‘rhythm’ — this article moves on to suggest how these concepts inform a theory of poetic lineation.
{"title":"Rhetoric and Rhythm — Derrida, Nancy and the Poetics of Drawing","authors":"Thomas Gould","doi":"10.3366/PARA.2021.0363","DOIUrl":"https://doi.org/10.3366/PARA.2021.0363","url":null,"abstract":"Opening with a consideration of the distribution of the two graphic acts — drawing and writing — this article offers a comparative study of Jacques Derrida's and Jean-Luc Nancy's respective exhibitions and catalogue essays on the subject of drawing. Through a comparative examination of what I take to be their central theoretical contributions to the study of drawing — Derrida its ‘rhetoric’, Nancy its ‘rhythm’ — this article moves on to suggest how these concepts inform a theory of poetic lineation.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44679918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent years, commentators have begun to re-examine the proximity of Frantz Fanon's and Jacques Lacan's work — a proximity which has traditionally been underappreciated. This article adds to these voices, demonstrating the reciprocal intellectual relationship between these two figures. It develops five interrelated arguments to chart this proximity. First, it emphasizes Lacan's and Fanon's connections through their ontological perspectives on madness. Second, it arbitrates the two theorists’ criticisms of the limits of Western psychoanalysis. Third, it shows the importance placed by both on social structures in determining mental illnesses. Next, it demonstrates the centrality of their common understanding of psychosis. Finally, it argues that Lacan's argument in The Sinthome concerning the colonizer's power is inherited from Fanon's Black Skin, White Masks — itself influenced by Lacan's early theory of language. The article does not attempt to cast Fanon as an apprentice Lacanian but rather to argue that reciprocity helped shape both oeuvres.
{"title":"The Logician of Madness: Fanon's Lacan","authors":"Sinan Richards","doi":"10.3366/PARA.2021.0366","DOIUrl":"https://doi.org/10.3366/PARA.2021.0366","url":null,"abstract":"In recent years, commentators have begun to re-examine the proximity of Frantz Fanon's and Jacques Lacan's work — a proximity which has traditionally been underappreciated. This article adds to these voices, demonstrating the reciprocal intellectual relationship between these two figures. It develops five interrelated arguments to chart this proximity. First, it emphasizes Lacan's and Fanon's connections through their ontological perspectives on madness. Second, it arbitrates the two theorists’ criticisms of the limits of Western psychoanalysis. Third, it shows the importance placed by both on social structures in determining mental illnesses. Next, it demonstrates the centrality of their common understanding of psychosis. Finally, it argues that Lacan's argument in The Sinthome concerning the colonizer's power is inherited from Fanon's Black Skin, White Masks — itself influenced by Lacan's early theory of language. The article does not attempt to cast Fanon as an apprentice Lacanian but rather to argue that reciprocity helped shape both oeuvres.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44918427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article addresses the role of auditory-related verbs in the work of Jean-Luc Nancy and Pierre Schaeffer in order to shed light on a broader tendency in French thought. Through a comparative reading of the ways in which Nancy, in Listening, and Schaeffer, in Treatise on Musical Objects, mobilize verbs such as écouter and entendre, I connect the issue of language to debates about descriptive and prescriptive approaches towards listening. Drawing on the Dictionary of Untranslatables, I argue that Nancy's and Schaeffer's engagements with listening can be mapped onto historical modes of framing politics and ethics, which are also characterized by descriptive and prescriptive approaches. By showing how theories of listening connect to political and ethical debates, this study discusses the ideological instrumentalization of listening as opposed to more descriptive and exploratory forms of engagement in the auditory and the faculty of the ear.
{"title":"Listening Through Language: Jean-Luc Nancy and Pierre Schaeffer","authors":"I. Reyner","doi":"10.3366/PARA.2021.0364","DOIUrl":"https://doi.org/10.3366/PARA.2021.0364","url":null,"abstract":"This article addresses the role of auditory-related verbs in the work of Jean-Luc Nancy and Pierre Schaeffer in order to shed light on a broader tendency in French thought. Through a comparative reading of the ways in which Nancy, in Listening, and Schaeffer, in Treatise on Musical Objects, mobilize verbs such as écouter and entendre, I connect the issue of language to debates about descriptive and prescriptive approaches towards listening. Drawing on the Dictionary of Untranslatables, I argue that Nancy's and Schaeffer's engagements with listening can be mapped onto historical modes of framing politics and ethics, which are also characterized by descriptive and prescriptive approaches. By showing how theories of listening connect to political and ethical debates, this study discusses the ideological instrumentalization of listening as opposed to more descriptive and exploratory forms of engagement in the auditory and the faculty of the ear.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43955487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article delves into the discreet yet persistent presence of music in Sarah Kofman's work. Three strands or movements of unequal length are explored here, each of which touches upon a specific volume of Kofman's: Nietzsche and Metaphor, L'Imposture de la beauté and, lastly, Rue Ordener, Rue Labat. More specifically, the article shows how her interpretations of Nietzsche's writings on music are almost paradigmatically neutral in their readerly fidelity to the originals, whereas Rue Ordener, Rue Labat suggests a more emotionally charged rapport with music. In closing, the article considers the possibility that these two, ostensibly divergent modes of reading and writing are very much in tune with each other in that they blur the line between interprétation as philosophical commentary and interprétation as musical performance.
{"title":"Sarah Kofman and the Allure of Music","authors":"Cosmin Toma","doi":"10.3366/PARA.2021.0355","DOIUrl":"https://doi.org/10.3366/PARA.2021.0355","url":null,"abstract":"This article delves into the discreet yet persistent presence of music in Sarah Kofman's work. Three strands or movements of unequal length are explored here, each of which touches upon a specific volume of Kofman's: Nietzsche and Metaphor, L'Imposture de la beauté and, lastly, Rue Ordener, Rue Labat. More specifically, the article shows how her interpretations of Nietzsche's writings on music are almost paradigmatically neutral in their readerly fidelity to the originals, whereas Rue Ordener, Rue Labat suggests a more emotionally charged rapport with music. In closing, the article considers the possibility that these two, ostensibly divergent modes of reading and writing are very much in tune with each other in that they blur the line between interprétation as philosophical commentary and interprétation as musical performance.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44616619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","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：