knell v. knelled, knell·ing, knells v. intr. 1. To ring slowly and solemnly, especially for a funeral; toll. 2. To give forth a mournful or ominous sound. v. tr. To signal, summon, or proclaim by tolling. n. 1. The sound of a bell knelling; a toll. 2. A signal of disaster or destruction.
[Middle English knellen, from Old English cnyllan.] dobre adj. 2g. (sXV cf IVPM) 1. que é ou se apresenta dobrado; duplicado,dúplice 2. p. metf. Fingido,artificioso, falso, dúplice
• s.m. 3. m.q DUPLICAÇÃO (‘repetição’) 4. B acção de cantar (diz-se de pássaro) 5. LUD duplicação de uma aposta durante um jogo 6. MÚS toque especial do sino empr. em certos actos litúrgicos
d. informativo LUD no brídege, fala artificial com que um jogador visa informar o seu parceiro de que a sua mão detém uma certa força ☞ p.opos. a dobre punitivo • d. punitivo LUD no brídege e em outros jogos de cartas, fala que dobra os pontos a serem perdidos ou ganhos pelos oponentes, significando desafio ou descrença no cumprimento do contrato por eles proposto ☞ p. opos. a dobre informativo ETIM alt. de dobro com restrição de signf., prov. por infl. de acp. do esp. doble SIN/VAR como adj.: doble; ver tb. sinonímia de fingido HOM dobre (fl. dobrar) glas nm (glà ; l’s se lie : le glâ-z attristant)
1. Son d’une cloche qu’on tinte pour annoncer la mort ou l’agonie de quelqu’un. La plume échappe de sa main ; il [l’athée] écoute avec effroi le glas de la mort. [CHATEAUBRIAND, Le génie du christianisme, ou Les beautés de la religion chrétienne] 2. Par extension. Quand la cloche des ténèbres Balance ses glas funèbres. [LAMARTINE, Harmonies poétiques et religieuses] 3. Se dit des salves d’artillerie tirées aux funérailles d’un souverain ou d’un militaire élevé en grade. remarque On a dit glais dans le XVIIe siècle, et Richelet le préfère à glas. knell dobre glas
Galeria Quadrado Azul will open next Thursday, March 29th, at 10 pm, the collective exhibition “knell dobre glas”, curated by Óscar Faria, which will take place in its three venues (Lisbon and Oporto). The starting point for the exhibition were the texts about art written by Jean Genet, in which he discusses the works of a sculptor (Giacometti), a painter (Rembrandt) and a funambuliste (Abdallah Bentaga). The desire to extend questions related with the intersection between the artistic and the political sphere led to an expansion of the exhibition not only until an evocation of the writer’s biography, namely his defences of the Black Panther Party, the cause of the Palestinian people and the immigrant rights – not forgetting his homosexuality neither his multiple imprisonments –, but also until an attempt to work the concepts of death, truth and beauty, through the presented works. Therefore, the works that are proposed reflect the dialogue held among the artists and writers involved in the exhibition, which will have a catalogue with new texts by Rui Baião and Rui Nunes. It may be observed that “knell dobre glas”, as the title suggests, was constructed having as reference the thinking of Jacques Derrida, namely the book Glas, written in 1974, the year of the Portuguese revolution. In this book in particular, the phi- losopher, in parallel columns, confronts Hegel – whose dialectical thinking constitutes a defence of the values represented by the Law understood as a result of an ethic based on family, civil society and state – and Genet, the antithesis of this social body.
Two other books had inspired the process of constructing “knell dobre glas”: Genet, by Edmund White and Felix Gonzalez-Torres, edited by Julie Ault in Lisbon, the exhibition includes rigo 23, rui baião, rossella biscotti, kevin van braak, emory douglas, luis manuel gaspar, karl holmqvist, heinz peter knes, andré maranha, pedro morais, paulo nozolino, henrik olesen, willem oorebeek, sara rodrigues, ahlam shibli, arlindo silva, thierry simões, andré sousa, sérgio taborda, francisco tropa and danh võ.
A wide range of new works (painting, sculpture, drawing, photography and poetry) are going to be presented. Many of the artists will be present at the opening reception.
Today, emory doulglas will be at bartleby bar – rua da imprensa nacional nº 116b –, at 10.30 pm to host an informal talk about the black panther party.
Tomorrow, also at bartleby, same hour, karl holmqvist will do a reading of his poems. glas
1. Agosto, Stefano: Glas, libro scandaloso. Per chi suona questa campana, Il Giorno, (15.01.1975). 2. Anquetil, Gilles: Glas, le nouveau livre de J. Derrida, Nouvelles Littéraires 2457, (28.10.1974), p. 9. 3. Aune, James A.: Glas, by Jacques Derrida, Quarterly Journal of Speech 75 (1989), p. 354-356. 4. Baptist, Gabriella: La scrittura falsa. Glas e La Carte Postale di Jacques Derrida, Intersezioni 19:2 (1989), n.p. 5. Baptist, Gabriella, and Lucas, H.C.: Wem schlägt die Stunde in Derridas Glas, Hegel‑Studien, vol. 23 (1988), p. 139-179. 6. Barroso, Henrique: “Glas” et la question de l’ecriture fragmentaire chez Jacques Derrida, MA Thesis, McGill University, Canada (1991), 118 pages. 7. Berezdivin, Ruben: Gloves inside-out, Research in Phenomenology 8 (1978), p. 111-126. 8. Bickel, Gisele: Crime and Revolution in the Theatre of Jean Genet, Patricia M. Hopkins and Wendell M. Aycock eds., Myths and Realities of Contemporary French Theater: Comparative Views, Lubbock: Texas Tech Press (1985), p. 169-179. 9. Blanchard, Gérard: A propos de Glas, Communication et Langages 26 (1974), n.p. 10. Bougon, Patrice: Genet recomposé, Magazine Litteraire n. 286 (mars, 1991), p. 46-48. 11. Patrice Bougon, Genet et la politique. Entretien avec Jean-Michel Rabaté, Études francaises, n°31-3, quatrième trimestre (1995), p. 103-110. 12. Patrice Bougon & Albert Dichy, eds., Poétiques de Jean Genet, Actes du Colloque de Cerisy-la-Salle, Paris: IMEC (2004). 13. Briel, Holger: Derridas Hyperkarte: Glas, Weimarer Beiträge 38 (1992), p. 485-505. 14. Chaudhuri, Una: No Man’s Stage: A Semiotic Study of Jean Genet’s Major Plays, Diss. Columbia University (1982). 15. Conley, Tom: A trace of style, Mark Krupnick ed., Displacement – Derrida and After, Bloomington: Indiana UP (1983), p. 78-90. 16. Critchley, Simon: A Commentary on Glas, Bulletin of the Hegel Society of Great Britain 18 (1988), p. 6-32. 17. Critchley, Simon: Writing the Revolution, Radical Philosophy (autumn, 1990), p. 25-34. 18. Delacampagne, Christian: Hegel et Gabrielle, le ‘premier’ livre de Jacques Derrida, Monde des livres 9321 (03.01. 1975), p. 12. 19. Derrida, Jacques: Proverb: ‘He that would pun...’, John P. Leavey Jr. ed., Glassary, Lincoln: University of Nebraska Press (1986), p. 17-20. 20. Doleh, J.: The Translation Process and Derrida’s “Glas”. Translation Review, no. 38-39 (1992), p. 23-24. 21. Gasché, Rodolphe: Strictly Bonded, Inventions of Difference: On Jacques Derrida, Cambridge: Harvard UP (1994), p. 171-198.
1/4 22. Mairéad Hanrahan, Jean Genet: special issue, Paragraph: A Journal of Modern Critical Theory, vol. 27 (2004). 23. Hamacher, Werner: pleroma, Hegels Geist des Christentums und andere Schriften, Stuttgart: Ullstein (1979). 24. Hart, Kevin: Glas (Book Review), Australasian Journal of Philosophy vol. 67, no. 2 (1989), p. 243ff. 25. Hartman, Geoffrey: Monsieur Texte: On Jacques Derrida. His Glas, Georgia Review 29.4 (1975), p. 759-797, repr. in Saving the Text (see below), p. 1-32. 26. Hartman, Geoffrey: Monsieur Texte II: Epiphony in Echoland, Georgia Review 30.1 (1976), p. 169-204, repr. in Saving the Text (see below), p. 33-66. 27. Hartman, Geoffrey: Crossing Over: Literary Comment as Literature. Comparative Literature 28.3 (1976), p. 257-276. 28. Hartman, Geoffrey: Psychoanalysis: The French Connection, Psychoanalysis and the Question of the Text, Baltimore: Johns Hopkins University Press (1978), p. 86-113, repr. in Saving the Text (see below), p. 96-117. 29. Hartman, Geoffrey: Saving the Text. Literature, Derrida, Philosophy. Baltimore: John Hopkins UP (1981). 30. Howells, Christina M.: Review of Glas, by Jacques Derrida, Notes and Queries 35 (1988), p. 556-558. 31. Howells, Christina M.: Derrida and Sartre: Hegel’s Death Knell, Hugh Silverman, ed., Derrida and Deconstruction, New York: Routledge (1989), p. 169-181. 32. James, Carol P.: Reading Art through Duchamp’s Glass and Derrida’s Glas, Sub-Stance 31 (1981). 33. Jannoud, Claude: L’Évangile selon Derrida: Sur Hegel et Genet, Figaro Litteraire no. 1489 (30 Nov. 1974), p. 15-18. 34. Kambouchner, D. et al., Between Brackets I, Points... Interviews 1974-1994, ed. E. Weber, Stanford UP (1995), p. 5-29. 35. Kambouchner, D. et al.: Ja, ou le faux bond II, Points... Interviews 1974-1994, ed. E. Weber, Stanford UP (1995), p. 30-77. 36. Kemp, Peter: L’ethique au lendemain des victoires des atheismes, Revue Theologique et Philosophique 111 (1979), p. 105-121. 37. Koehler, Carol F.: The Effectiveness of Deconstructive Teaching Strategies on Student’s Critical Thinking Skills, PhD. University of Missouri – Kansas City (1993). 38. Krapp, Peter: Derrida Online, Oxford Literary Review 18 (1996), p. 159-173. 39. Krapp, Peter: Lesegruppe - Glasreste. Verstärker 1/1996, www.culture.hu-berlin.de/ verstaerker/vs001/krapp_glas.html. 40. Krapp, Peter: Screen Memory: Hypertext und Deckerinnerung, Medien des Gedächtnisses, ed. Aleida Assmann et al., Deutsche Vierteljahresschrift f¸r Literaturwissenschaft und Geistesgeschichte 72, DVjS Sonderheft 1. Stuttgart: Metzler (1998), p. 279-296. 41. Laferrière, D.: Le glas de la deconstruction. Phi Zére 2-3 (1982), p. 45-70.
2/4 42. Laruelle, François: Le style di-phallique de Jacques Derrida, Critique 334 (mars 1975), p. 320-339. 43. Laruelle, François: La Scène du vomi, ou comment ça se détraque dans la théorie, Critique 347 (avril 1976), p. 265-279. 44. Leavey, John P.: Jacques Derrida’s Glas: A Translated Selection and Some Comments on an Absent Colossus, CLIO 11:4 (Summer 1982), p. 327-337. 45. Leavey, John P., ed.: Glassary, Lincoln: University of Nebraska Press (1986). 46. Llewelyn, John: Glasnostalgia, Bulletin of the Hegel Society of Great Britain 18 (1988), n.p. 47. Loriot, P.: Glas, par J. Derrida, Nouvel Observateur 256 (09.12. 1974), n.p. 48. Lukacher, Ned: Review of Glas, Modern Language Notes 102 (1987), p. 1196-1201. 49. Ian Magedera, Jean Genet and the Ontological Perversion of Sexual Desire, Lucille Cairns, ed., Gay and Lesbian Cultures in France, New York and Bern: Peter Lang, (2002), p. 233-243. 50. Ian Magedera, Relation(s) in Les Bonnes; Genet and Sophocles; Hegel and Derrida, Aspects of 20th-century Theatre in French (New York and Bern: Peter Lang, 2000), p. 101-111. 51. Ian Magedera, Jean Genet: Les Bonnes, Glasgow: Glasgow Introductory Guides to French Literature (1998). 52. Ian Magedera, Cuvier’s Bone, Derrida’s Glas and the Remains of Genet’s Rembrandt, A Festschrift for Philip Thody (New York and Bern, Peter Lang: 1998), p. 209-215. 53. Ian Magedera, Seing Genet, Citation and Mourning ; à propos de Glas by Jacques Derrida, Paragraph, a Journal of Modern Critical Theory (Edinburgh University Press), volume 21, number 1 (March 1998), p. 28-44. 54. Mall, James P.: Glas: What Is Derrida Doing?, French Literature Series, Columbia, SC. vol. 6 (1979), p. 95-100. 55. Merlin, Frédéric: Pour qui sonne glas, Nouvelles Littéraires 2461 (25.11. 1974), p. 10. 56. Miles, Jack: Does Derrida Taste Great, or Is He Less Filling?, Los Angeles Times (12.07. 1987), B-6. 57. Norris, Christopher: Glas, Times Literary Supplement 4420 (18.12. 1987), p. 1407-1414. 58. Omlor, John Victor: What Remains: Reading and Writing between Glas and One Hundred Years of Solitude, PhD, University of Southern Florida, Tampa (1992). 59. Pachet, Pierre: Une entreprise troublante, Quinzaine Littéraire 197 (01.11. 1974), p. 19-20. 60. Parenti, Claire: Glas, Magazine Littéraire 96:1 (1975), p. 38. 61. Rapaport, Herman: Glas, by Jacques Derrida, Genre 21/1 (1988), p. 108-117. 62. Rapaport, Herman: Deconstructing Apocalyptic Rhetoric: Ashbery, Derrida, Blanchot, Criticism: A Quarterly for Literature and the Arts, Detroit, MI. vol. 27 no. 4, (1985 Fall), p. 387-400, repr. in Between the Sign and the Gaze (Cornell UP 1994), p. 229-249 as Tonalities of Apocalypse. 63. Rapaport, Herman: On Recuperating Derrida. New Orleans Review, New Orleans, LA. vol. 8 no. 3 (1981 Fall), p. 238-240. 64. Riffaterre, Michel: Syllepsis. Critical Inquiry 6 (1980), p. 625-638.
3/4 65. Riffaterre, Michel: La trace de l’intertexte. La Pensee 215 (1980), p. 4-18. 66. Robinson, Sally: Misappropriations of the ‘Feminine’. SubStance: A Review of Theory and Literary Criticism, Madison, WI. vol. 18 no. 2 (59) (1989), p. 48-70. 67. Sartiliot, Claudette: Citation and Modernity: Derrida, Joyce, and Brecht. Diss. University of California, Irvine (1986); Norman: University of Oklahoma Press, (1993). 68. Sartiliot, Claudette: Reading with another ear: Derrida’s Glas in English?, New Orleans Review 15/3 (1988), p. 18-29. 69. Sartiliot, Claudette: Telepathy and Writing: Jacques Derrida’s Glas, Paragraph 12 (1989). 70. Sartiliot, Claudette: Herbarium/Verbarium: The Discourse of Flowers, Texts and Contexts Series, Lincoln: University of Nebraska Press (1993). 71. Scobie, S.: Glas. Malahat Review, no. 82 (1988), p. 101-105. 72. Simont, Juliette: Bel effet d’où jaillissent les roses (à propos du Saint Genet de Sartre et Glas de Derrida), Les Temps modernes vol. 44 no. 510 (1989), p. 113-137. 73. Spivak, Gayatri Chakravorti: Glas-Piece: A Compte Rendu, Diacritics 7 (1977), p. 22-43. 74. Sturrock, John: The Book is Dead, Long Live the Book!, New York Times 13 (Sept. 1987), 7:3. 75. Taylor, Mark C.: Altarity. Chicago University Press (1987), chapter 9. 76. Todd, Jane-Marie: Autobiography and the Case of the Signature: Reading Derrida’s Glas, Comparative Literature 38:1 (1986), p. 1-19. 77. Todd, Jane-Marie: The Philosopher as Transvestite: Textual Revision in Glas, Marshall, Donald G. (ed.). Literature as Philosophy/Philosophy as Literature. Iowa City: U of Iowa P (1987), p. 295-305. 78. Ulmer, Gregory: Sounding the Unconscious, Glassary. Ed. John P. Leavey Jr. Lincoln and London: University of Nebraska Press (1984), p. 23-119. 79. Wood, Michael: Deconstructing Derrida, New York Review of Books 3 (March 1977), p. 27-30
4/4 http://www.courtauld.ac.uk/people/wilson-sarah/REMBRANDT_%20GENET_%20DERRIDA.pdf knell dobre glas
Galeria Quadrado Azul will open next Friday, April 27th, at 10 pm, in Porto, the second moment of the collective exhibition, curated by Óscar Faria, which is also happen- ing in Lisbon. The starting point for the exhibition were the texts about art written by Jean Genet, in which he discusses the works of a sculptor (Giacometti), a painter (Rembrandt) and a funambuliste (Abdallah Bentaga). The desire to extend questions related with the intersection between the artistic and the political sphere led to an expansion of the exhibition not only until an evocation of the writer’s biography, namely his defences of the Black Panther Party, the cause of the Palestinian people and the immigrant rights – not forgetting his homosexuality neither his multiple imprisonments –, but also until an attempt to work the concepts of death, truth and beauty, through the presented works. Therefore, the works that are proposed reflect the dialogue held among the artists and writers involved in the exhibition, which will have a catalogue with new texts by Rui Baião and Rui Nunes. It may be observed that “knell dobre glas”, as the title suggests, was constructed having as reference the thinking of Jacques Derrida, namely the book Glas, written in 1974, the year of the Portuguese revolution. In this book in particular, the philosopher, in parallel columns, confronts Hegel – whose dialectical thinking con- stitutes a defence of the values represented by the Law understood as a result of an ethic based on family, civil society and state – and Genet, the antithesis of this social body.
Two other books had inspired the process of constructing “knell dobre glas”: Genet, by Edmund White and Felix Gonzalez-Torres, edited by Julie Ault in Porto, the exhibition includes rigo 23, julie ault, rui baião, rossella biscotti, kevin van braak, christian capurro, emory douglas, christine fowler, luis manuel gaspar, felix gonzalez-torres, heinz peter knes, david maranha, pedro morais, paulo nozolino, henrik olesen, willem oorebeek, ana pérez-quiroga, sara rodrigues, ahlam shibli, arlindo silva, thierry simões, andré sousa, sérgio taborda, francisco tropa and danh võ.
A wide range of new works (painting, sculpture, drawing, photography and poetry) are going to be presented.
Many of the artists will be present at the opening reception, which will include a concert by manuel mota –12 string tricone dobro – and david maranha – 6 string single- cone dobro, and a performance by sara rodrigues – “Rio”.
The next day, by 6h30pm, diogo dória and sérgio taborda will make a reading perfor- mance – “Poema com peso para livro aberto”, from a poem by graça moura.