Table Of ContentReaoing Images
ano
Seeing Woros
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FAUX TITRE
245
Etudes de langue et litterature franc;aises
publiees sous la direction de
Keith Busby, M.J. Freeman,
Sjef Houppermans, Paul Pelckmans
et Co Vet
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Reaoing Images
ano
Seeing Woros
Eoiteo b~
Alan English
ano
Rosalina Silvester
AMSTERDAM - NEW YORK, NY 2004
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Cover illustration:
Georges Braque, 'Forme, 1917-1947'
© ADAGP, Paris and DACS, London 2004
The paper on which this book is printed meets the requirements of
'ISO 9706: 1994, Information and documentation -Paper for documents -
Requirements for permanence'.
Le papier sur lequel le present ouvrage est imprime remplit !es prescriptions
de "ISO 9706: 1994, Information et documentation -Papier pour documents
-Prescriptions pour la permanence".
ISBN: 90-420-1771-6
Editions Rodopi B.V., Amsterdam -New York, NY 2004
Printed in The Netherlands
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CONTENTS
LIST OF ILLUSTRATIONS v
ACKNOWLEDGMENTS vi
LIST OF CONTRIBUTORS vii
PREFACE ix
David Scott
1. Introduction 1
Rosalind Silvester & Alan English
I. - READING IMAGES
2. Henri Michaux: Destruction of the Book Form and
Creation of the Book-Object 19
Nina Parish
3. The Revolution of the Word Follows the Revolution of the Eye:
Carl Einstein and Cubism in Image and Text 37
Nicola Creighton
4. Narrative Duration : Tacita Dean's Disappearance at Sea 57
Maria Walsh
5. Une ligne: Proust. .. Beckett ... Deleuze. L'image epuisante 71
Guillaume Thouroude
6. Words, Images and Knots 83
Massimo Leone
II. - SEEING WORDS
7. Seeing is Perceiving: Sartre's Language of Phenomenology 109
Rosalind Silvester
8. Verlaine: Blurred Images and Ambiguous Text 123
Alan English
9. Gesture, Point of View and Proto-cinema in Victor Hugo's
Les Miserables 13 7
David Denby
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iv Contents
10. Rhetorique de la photographie dans l'autobiographie
contemporaine: Des Histoires vraies de Sophie Calle 157
Nicolas Feve
11. Image, Word, Absence and Silence in Pennac's
Monsieur Malaussene 171
Sarah Cant
12. Description as the Manifestation of Absence : Analysis
of Pictoriality in Gaspard de la nu it by Aloysius Bertrand 181
Nicolas Wan/in
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LIST OF ILLUSTRATIONS
'Forme 1917-1947' by GEORGES BRAQUE frontispiece
1. First page of HENRI MICHAUX'S Par la voie des rythmes
(Fontfroide-le-Haut: fata morgana, 1974) 20
2. Contents page of HENRI MICHAUX' s Par la voie des rythmes 28
3. Large circular configurations - from HENRI MICHAUX'S
Par la voie des rythmes 33
4. The lighthouse lamp at dusk - from Disappearance at Sea,
a film by TACIT A DEAN, 1996 60
5. Close-up oflighthouse at sunset - from Disappearance at Sea 63
6. Example of the classification of knots - from AK.Io KAWAUCHI's
A Survey ofK not Theory (Basel, Boston, Berlin :
Birkhauser Verlag, 1996) 89
7. Engraving from FELIPE GUAMAN POMA DE AYALA'S
Nueva cor6nica y buen gobierno (Paris :
Institut d'ethnologie, 1989) 92
8. Semiotic elements of the 'quipu' language - from CYRUS L. DAY'S
Knots : The Role of the Knot in Primitive Ancient Cultures
(Lawrence : University of Kansas Press, 1967) 9 3
9. The Borrominean knot-from JACQUES LACAN,
Seminaire XX - Encore (Paris: Seuil, 1975) 97
10. 'II disinganno', c. 1745, by FRANCESCO QUEIROLO,
in the Chapel of Sansevero, Naples - from RENE CIOFFI,
La Cappel/a Sansevero -Arte barocca e ideologia massonica
(Salemo: 10/17, 1994) JOO
11. Transcription of the main European alphabets and (underneath)
a translation of a Peruvian song into 'quipu' signs -
from RENE CIOFFI, La Cappel/a Sansevero - Arte barocca e
ideologia massonica I 02
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ACKNOWLEDGEMENTS
The editors would like to thank the Cultural Service of the French
Embassy in Dublin, the Department of French and the Arts Faculty at
Trinity College Dublin, and Trinity College Dublin Association and
Trust for their financial support of the colloquium and for the public
ation of this present volume. We gratefully acknowledge the guidance,
advice and support which we received from David Scott, Department
of French, Trinity College.
We also greatly appreciate the permission given by Editions fata
morgana to reproduce three illustrations from Henri Michaux's Par la
voie des rythmes, which appear in the chapter by Nina Parish. Like
wise, our thanks are extended to the Frith Street Gallery in London
and the Marian Goodman Gallery, Paris/New York, who allowed
Maria Walsh to use two stills from Tacita Dean's work Disap
pearance at Sea. Included in Massimo Leone's contribution are 'Knot
Table no. 2' from Akio Kawauchi's A Survey of Knot Theory, the
engraving from Felipe Guaman Poma de Ayala's Nueva cor6nica y
buen gobierno, the image drawn from Cyrus L. Day's Knots : The
Role of the Knot in Primitive Ancient Cultures, and finally the photo
graph 'II distinganno' taken by Francesco Queirolo and featured in
Rene Cioffi's La Cappel/a Sansevero -Arte barocca e ideologia mas
sonica. These are reproduced with the kind permission, respectively,
of the Springer-Verlag, the Institut d'Ethnologie, Paris, the University
Press of Kansas and 10/ 17 , Salerno. We also thank the Georges
Braque Estate for the permission granted to use 'Forme 1917-1947' as
the cover illustration.
A Government of Ireland Post-doctoral Fellowship awarded by the
Irish Research Council for the Humanities and Social Sciences
facilitated Alan English's involvement in initial planning and
organization of this project.
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LIST OF CONTRIBUTORS
NINA PARISH lives and works in Paris. She recently submitted her Ph.D.
thesis 'Henri Michaux : Experimentation with Signs. An Interdisciplinary
Study' to Royal Holloway, University of London. Her research interests
include text and image, modem and contemporary poetry and the 'livre
d'artiste'.
NICOLA CREIGHTON is currently completing a doctoral thesis on the later
works of Carl Einstein at Trinity College, University of Dublin. She has
contributed a translation and interpretation of a poem by Gottfried Benn
to Poetry Project (Irish Germanists Interpret German Verse). She has
also published an article on Einstein and the work of Georges Braque for
the International Carl Einstein Colloquium 2001, and another on Einstein
and Weimar crisis literature and theory.
MARIA WALSH is a lecturer in Art History and Theory at Chelsea College of
Art and Design, London. She is currently completing her Ph.D. on nar
rative as performance in relation to suspended film moments, considering
Tacita Dean's Disappearance at Sea and Chantal Akerman's News from
Home in particular. She has published essays on film and narrative in
COIL magazine and The Visual-Narrative Matrix : Interdisciplinary Col
lisions and Collusions. She is a regular reviewer of contemporary art for
Art Monthly.
GUILLAUME THOUROUDE teaches philosophy at the Lycee Fran9ais in Dublin.
His current research interests include contemporary philosophy (Deleuze)
and its links with literature (Andre Dhotel, Proust, Beckett). He is also the
author of some literary texts and regularly contributes to the critical
review Lieu-Dit.
MASSIMO LEONE lectures in semiotics at the University of Siena, Italy, and as
a Fulbright Scholar at the Graduate Theological Union of the University
of Berkeley. He is the author of Religious Conversion and Identity : The
Semiotic Analysis of Texts (Routledge, 2003). His research interests inc
lude semiotic theory, religious literature and art, and comparative studies.
ROSALIND SIL VESTER is a lecturer in French at Queen's University Bel fast,
where she teaches and researches into stylistics and sociolinguistics. She
has published articles on Jean-Paul Sartre, modem French authors and
Franco-Chinese writing. Her book, Seeing Sartre's Style, was published
in July 2003. She taught previously at Trinity College Dublin and the
University of Nottingham.
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viii Contributors
ALAN ENGLISH is a lecturer in French at St. Patrick's College, Dublin City
University. His research and pedagogical interests include modern French
poetry, Symbolist aesthetics, prose poetry and fantasy literature. He has
published articles on Verlaine and Balzac and will shortly publish a book
on Verlaine's prosody, based on his Ph.D. and post-doctoral fellowship
research undertaken at Trinity College Dublin.
DA YID DENBY teaches French and Intercultural Studies at Dublin City
University. He is the author of Sentimental Narrative and the Social
Order in France, 1760-1820 (Cambridge, 1994). Articles on the
literature, politics, science and cultural history of the French Enlighten
ment, on nineteenth-century re-interpretations of the Enlightenment, and
on issues in language-learning and in contemporary political and social
philosophy have been published in Britain, Ireland, France, Germany and
Canada. His recent research work includes an exploration of Baudelaire's
interpretation of the Enlightenment, articles on the ethnographic writing
oflate-Enlightenment authors Volney and Gerando, and entries on sensib
ility and imagination for the Oxford Encyclopaedia of the Enlightenment.
He is currently working on a book about the place of cul-tural difference
in Enlightenment thought.
NICOLAS FEVE's current research draws on recent critical theories of text and
image and focuses on the role and occurrence of the photographic image
in contemporary autobiography, in the contexts of the overall autobio
graphical project and the book as object. To date, he has concentrated his
attention most especially on Sophie Calle, but also Raymond Depardon,
Roland Barthes, Herve Guibert and Anny Duperey. The development of
this research will highlight the specificity of photography in the discourse
of the self and in the writing process. The corpus under examination will
be extended to include the work of Brassai", Willy Ronis, Denis Roche,
Jean Le Gae and Alain Fleischer. He is currently completing an article on
Calle's Doubles-jeux.
SARAH CANT has recently finished a book-length study of self-referentiality
in contemporary French literature entitled 'Paper Authors : Self-Refer
entiality and the Works of Annie Emaux, Patrick Modiano and Daniel
Pennac' which will be published by Editions Rodopi. She has published
various articles on these authors and is currently researching the crossover
of themes and motifs in contemporary French and English language
works.
NICOLAS WANLIN is a former student of the Ecole Normale Superieure, Paris.
He is currently completing a doctoral thesis on pictorial description in
nineteenth-century French poetry at the Universite de Paris IV-La Sor
bonne, where he teaches stylistics as an 'assistant'.
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