Adventures in Phenomenology by unknow

Author:unknow
Language: eng
Format: epub
ISBN: 9781438466071
Publisher: SUNY Press
Published: 2017-07-15T05:00:00+00:00

Notes

1.Maurice de Gandillac, Henri Gouhier, and René Poirier, eds., Bachelard: Colloque de Cerisy (Paris: Union Générale d’Éditions, 1974), 284; my translation: “Les peintres d’aujourd’hui sont très convaincus que ce qu’ils font échappe aux mots. Personnellement, après une experience relativement longue, qui est allée de l’abstrait au concret, je crois que le discours, d’une certaine manière, peut très bien render compte aussi de l’image, encore qu’elle ne soit jamais épuisée par lui.”

2.Writing in 1951, Bachelard could not have foreseen the ubiquity of planetary “speech” made possible by the internet. But such phenomena as the World Wide Web simply enrich his original observation that we now all live in a logosphere.

3.Jacques Derrida, Of Grammatology, trans. Gayatri Chakravorty Spivak (1967; Baltimore: Johns Hopkins University Press, 1974), 3 (emphasis added); hereafter cited as G.

4.Jacques Derrida, Margins of Philosophy, trans. Alan Bass (1972; Chicago: University of Chicago Press, 1982), xii; hereafter cited as M.

5.Jacques Derrida, The Truth in Painting, trans. Geoff Bennington and Ian McLeod (1978; Chicago: University of Chicago Press, 1987), 2, 255; hereafter cited as TP.

6.See Martin Heidegger, “The Origin of the Work of Art,” in Basic Writings, ed. David Farrell Krell (New York: Harper & Row, 1977), 143–87. See also Meyer Schapiro, “The Still Life as a Personal Object: A Note on Heidegger and Van Gogh,” in The Reach of Mind: Essays in Memory of Kurt Goldstein, ed. Marianne L. Simmel (New York: Springer, 1968), 203–9.

7.Louis Marin has attempted to establish parallels between verbal and iconic techniques of communication. See his “Toward a Theory of Reading in the Visual Arts: Poussin’s The Arcadian Shepherds,” in The Reader in the Text: Essays on Audience and Interpretation, ed. Susan R. Suleiman and Inge Grossman (Princeton: Princeton University Press, 1980), 293–324, and his “On Reading Pictures: Poussin’s Letter on Manna,” Comparative Criticism 4 (1982): 3–18. Such “readings” of visual art rely on the identification of structures drawn from language but common to each medium. Bachelard, on the other hand, clearly gives a privileged status to words themselves, that is, to semantic rather than semiotic elements, as the necessary means of imagining. As I have argued elsewhere, however, Bachelard’s determination to avoid technical, “linear” readings does not preclude or invalidate more conceptual methods, provided these are attempted separately and are not the initial means of approaching the work. See my essay “Gaston Bachelard and Critical Discourse: The Philosopher of Science as Reader,” Stanford French Review 5 (1981): 217–28, and my revised and updated Gaston Bachelard, Philosopher of Science and Imagination (Albany: SUNY Press, 2016), 134–36.

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