DOCSLIB.ORG

Lizzie Lloyd Thesis FINAL Feb 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lizzie Lloyd Thesis FINAL Feb 2019 This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Lloyd, Lizzie Title: Art Writing and Subjectivity Critical Association in Art-Historical Practice General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Art Writing and Subjectivity: Critical Association in Art-Historical Practice Lizzie Lloyd A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of PhD in the Faculty of Arts. School of Humanities, September 2018 Word Count: 68,802 !ii Abstract This thesis stages three pairings of artworks and texts – Francisco de Zurbarán and Susan Sontag (chapter 2); Walter Pater and Peter Doig (chapter 3); Michael Simpson and Gertrude Stein (chapter 4) – that are connected through a perceived material and phenomenological association articulated through my writing. The basis for their connection is neither historical, thematic nor causal. The matter of writing in this thesis is, therefore, key: it is used less as a vehicle to convey falsifiable findings than as a means to generate ideas, and an exploratory performance of research. As a result, its form, style and timbre is highly contingent on its physical, emotive and intellectual encounters with particular artworks and texts. The character of each chapter is distinct in tone, mood and content because these qualities materialise through the occasion of their writing; they are individuated ‘bespoke’ responses where my words in each chapter are ‘site-specific’, alive to the landscape of particular images and words, enacting and bearing witness to the critical nature of association at stake in each chapter. In this way, fundamental questions emerge around how the coupling of texts and images suggest themselves. How do they unfold in thought and writing? And what is the value and implication of foregrounding the development of their association as the objective of research in its own right? This manner of approaching art and writing harnesses subjectivity as an active, responsive, and ultimately improvisatory, mode of thought and feeling while simultaneously maintaining productive tension with the discipline of art history at large. Since subjectivity here makes itself felt in the way that it asserts itself through the writing into association of each pairing – through, for example, description, affective response, experimental rendering and serendipitous detour – the manner of its writing is both reflective and performative. This thesis focuses on the practice rather than the product of research, asking what an approach like this can add to disciplines like criticism, art history, and art writing. !iii !iv Acknowledgements This thesis began under the supervision of Elizabeth Prettejohn whose support of my work through my Master’s dissertation spurred me to develop the text that appears here. When she left University of Bristol for University of York, Andrew Ginger’s scholarly rigour and daring, as well as his generosity of spirit, became invaluable. Peter Dent joined my supervisory team late on but his comments and advice have, nonetheless, been crucial. Grace Brockington has been with me throughout, her trust in me even through my inarticulate gesticulations and many an unfinished (non) sentence has been unwavering. Many thanks also go to my examiners, Gavin Parkinson and Simon Shaw-Miller, whose feedback and suggestions got right to the heart of things. Elements of this thesis have been presented at various conferences, workshops and seminars. Most valuable of these was ‘Situate Yourself’ (2012, Concordia University, Canada) and ‘Hybrid Writing: Literature as Criticism, Criticism as Literature’ (2016, University of East Anglia, UK) for which I thank the conference convenors for their inclusion of my work and the attendees for their support and critique. Thank you to Rebecca O’Dwyer for extending an invitation to me to contribute to her project ‘Response to a Request’, a version of which forms part of chapter 3 here. Thanks to Bruce Haddock and James Wakefield with whom I worked between in 2013 and 2014 on the translations of Giovanni Gentile which are referenced throughout this thesis. Thanks to Michael Simpson for your many conversations. Three funded writing residencies – at the Arvon Foundation (supported by Visual Arts South West), at Arnolfini Gallery and in Plymouth for the Art Writers Group (funded by Arts Council England) – have given me invaluable opportunities to keep at it. Throughout this process a number of artists, writers, curators and editors have helped hone my writing by offering me freelance opportunities to write for, with and about them. You know who you are – thanks for taking a chance on me. And to my family: In many more ways than one neither I nor this text would be here without my parents whose support and patience have been a wonder. My children, Archie, Emmett and Len – the oldest of whom was a mere 7 years when I began – have been a source of constant amazement and necessary distraction (even if I didn’t always know it at the time). Thank you, boys, for your patience, your mid- sentence shoulder massages, and morale-boosting cuddles (I couldn’t see my computer screen at the time but they were worth it). The biggest thanks must go to my husband, Owen, who has fed me, watered me, picked up my pieces, and reminded me, on more than one occasion, that this is just a process. You are the greatest. !v !vi Declaration I declare that the work in this dissertation was carried out in accordance with the requirements of the University’s Regulations and Code of Practice for Research Degree Programmes and that it has not been submitted for any other academic award. Except where indicated by specific reference in the text, the work is the candidate's own work. Work done in collaboration with, or with the assistance of, others, is indicated as such. Any views expressed in the dissertation are those of the author. SIGNED: ............................................................. DATE:.......................... !vii !viii Table of Contents Introduction 1 Brief Overview 2 Preliminary Thoughts on Structure and Tone 6 Extended Overview Chapter 1 Thinking Around a Poetic Art History 18 Conversation and ‘Poetic Imagining’ 23 Art History as Practice 25 Art Transhistorically 28 The Essay 30 Types of Subjectivity 31 Subjectivity through Art History 37 Subjectivity and Giovanni Gentile 40 The Implications of Matthew Rampley’s Critique 45 A:1 Triangulation 45 A:2 Pursuit of Intimations 48 B:1 Followable Anomalies 50 B:2 On Method 52 C:1 On Knowledge 53 C:2 On Art Writing 54 Art Writing/Creative Criticism/Art Criticism/Art History 56 Chapter 2 ‘Stray Associations’ and Interpretation: Francisco de Zurbarán’s, Still Life with Four Vessels and Susan Sontag 61 Introduction 62 Section 1: Thinking Still Life with Four Vessels 66 Section 2: Enter writing around Zurbarán 73 Section 3: Enter Susan Sontag 78 Section 3.1: Sontag’s Formalism and Sensualism 83 Section 3.2: Making sense of Sontag 86 Section 3.3: Sontag’s Aesthetic Hunger 88 Section 4: When Sontag meets Four Vessels 91 Section 4.1: ‘The truth is balance, but the opposite of truth, which is unbalance, may not be a lie’ 92 Section 4.2: ‘Expounded’ 95 Section 4.3: ‘Soul’ 96 Section 4.4: ‘How it is what it is, even that it is what it is’ 97 Section 4.5: Learning ‘to see more, to hear more, to feel more’ 99 Section 5: In Focus: Sontag’s Art Writing 101 Chapter 3 Time and Confluence: Passing between Peter Doig and Walter Pater 107 A red boat, put one way 108 Passing about the painting 110 A red boat, put another way 112 Not mine but 113 !ix Clustering 121 Drift adrift 124 Reflections go further 127 Reflection across history 129 History, doubled and reflected 132 Accident 141 Pater and contemporary scholarship 144 Closing with water 151 ‘Our place knows us no more’ 154 This chapter has already fallen 157 Chapter 4 Thinking Through: Michael Simpson and Gertrude Stein 160 Beginnings: This is the beginning 161 This is a beginning (of sorts) 164 This is beginning again, by juxtaposition 166 ‘Beginning again and again is a natural thing even when there is a series’ 170 Repetitions: ‘It was all so nearly alike it must be different’ 171 In their repeating something else emerges 180 ‘Can I repeat it’: Essaying (lists) 181 Adverbs: Mechanically 182 Metaphysically 185 Systematically
Load more

Recommended publications
  • Derrida's Open and Its Closure: the Aporia of Différance and the Only
    Language, Literature, and Interdisciplinary Studies (LLIDS) ISSN: 2547-0044 http://ellids.com/archives/2018/09/2.1-Wu.pdf CC Attribution-No Derivatives 4.0 International License www.ellids.com Derrida’s Open and Its Closure: The Aporia of Différance and the Only Logic of Thinking Mengxue Wu “…for an opening is relative to a ‘surrounding plenitude.’”1 “The gallery is the labyrinth which includes in itself its own exits: we have never come upon it as upon a particular case of experience—that which Husserl believes he is describing.”2 Metaphysics—the entire history of metaphysics has been considered as the metaphysics of presence—is closed; it is closed like a dead end. In its “surrounding plenitude” no exit can be found and it is meeting its own death. Though a system of philosophy with incompleteness is not a perfect theory, but the rebuke of how comprehensive and close a philosophy is and the demand of that philosophy to open its house to the alien and the ungraspable would be a preposterous importunity. However, upon the stage where the entire history of Western philosophy has been played, “…nothing is staged or displayed theatrically. Rather, the battle of the new gods against the old is being fought” (Heidegger 22). This battle, between the new gods and the old, between the new thoughts and the old, is a battle of breaking into new ruptures and finding new openings in the old thoughts. At the moment when traditional philosophy has become a closure of the metaphysics of presence, even those streams of thought that already broke new phenomenological grounds in the beginning of twentieth century and Levinas’s ethical breaking are closed “as the self-presence in absolute knowledge” (Derrida 102, SP).
    [Show full text]
  • 5 Derrida's Critique of Husserl and the Philosophy
    5 DERRIDA’S CRITIQUE OF HUSSERL AND THE PHILOSOPHY OF PRESENCE David B. Allison* Now would be the time to reject the myths of inductivity and of the Wesenschau, which are transmitted, as points of honor, from generation to generation. ...Am I primitively the power to contemplate, a pure look which fixes the things in their temporal and local place and the essences in an invisible heaven; am I this ray of knowing that would have to 1 arise from nowhere? SÍNTESE – O autor reexamina a crítica de Derrida ABSTRACT – The author reexamines Derrida’s à fenomenologia de Husserl de forma a mostrar critique of Husserl’s phenomenology, so as to como a sua coerência estrutural emerge não show how its structural coherency arises not so tanto de uma redução a uma doutrina particular, much from the reduction to a particular doctrine, mas antes das exigências de uma concepção but rather from the demands of a unitary concep- unitária, especificamente impostas pelas deter- tion, specifically from the demands imposed by minações epistemológicas e metafísicas da the epistemological and metaphysical determina- presença. tions of presence. PALAVRAS-CHAVE – Desconstrução. Derrida. KEY WORDS – Deconstruction. Derrida. Husserl. Fenomenologia. Husserl. Presença. Significado. Meaning. Phenomenology. Presence. * Doutor. Professor, State University of New York, Stony Brook, EUA. 1 Maurice Merleau-Ponty, Le Visible et l’invisible (Paris: Editions Gallimard, 1964), Eng. tr., Alphonso Lingis, The Visible and the Invisible (Evanston: Northwestern University Press, 1968). pp. 113-116. VERITAS Porto Alegre v. 50 n. 1 Março 2005 p. 89-99 It is practically a truism to say that most of Husserl’s commentators have in- sisted on the rigorously systematic character of his writings.
    [Show full text]
  • Speech and Phenomena and Other Essays on Husservs Theory of Signs
    Jacques Derrida Translated, with an Introduction, by Preface by Speech and Phenomena And Other Essays on HusserVs Theory of Signs DAVID B. ALLISON NEWTON GARVER NORTHWESTERN UNIVERSITY PRESS EVANSTON 19 7 3 Copyright © 1973 by Northwestern University Press All rights reserved library of Congress Catalog Card Number: 72-80565 ISBN 0-8101-0397-4 Printed in the United States of America Speech and Phenomena was originally published in French under the title La Voix et le Phinomene, copyright © 1967 by Presses Uni- versitaires de France. "Form and Meaning" appeared in French under the title "La Forme et le vouloir-dire: Note sur la ph6nom6nologie du langage," in the Revue internaHonale de philosophic, Volume LXXXI (1967). "Differance" appeared in French under the tide "La Difference" in the Bulletin de la Society fran^aise de philosophie, Volume LX1I (1968) and was reprinted in ^Thiorie d'ensembte, a collection of essays published by Editions du Seuil in 1968. Quotations from the following works of Edmund Husserl are used by permission of the publishers: Logical Investigations, translated by J. N. Findlay. Copyright © 1970 by Routledge & Kegan Paul Ltd, London, and Humanities Press, Inc., New York, Ideas, translated by W. R. Boyce Gibson. Copyright © 1931 by George Allen & Unwin Ltd, London, and Humanities Press, Inc., New York. Jacques Derrida is Professor of Philosophy at the Ecole Normale Sup&ieure of the University of Paris. David B. Allison is Assistant Professor of Philosophy at the State Uni• versity of New York at Stony Brook. Contents
    [Show full text]
  • LEVINAS on LAW a Derridean Reading of Manderson's Proximity, Levinas, and the Soul of Law
    LEVINAS ON LAW A Derridean Reading of Manderson's Proximity, Levinas, and the Soul of Law Jacques de Ville* In this article, Desmond Manderson's book, Proximity, Levinas, and the Soul of Law (2006), is analysed specifically with reference to the accuracy with which it translates Derrida's thinking into law. Manderson, in a number of instances, invokes Derrida's thinking as a 'corrective' to that of Levinas. The author shows that this invocation by Manderson of Derrida's texts is selective and does not take account of Derrida's broader 'philosophical' approach. The author points to the differences between, but also the correspondence in the thinking of, Levinas and Derrida. He contends that being true to Derrida's thinking requires that proximity be viewed not as simply making law responsive as proposed by Manderson, but as having a paradoxical structure. The latter would give expression to the distinction that Derrida draws between the conditional and the unconditional. Only if proximity is viewed in this manner will judges be faced with a true responsibility in deciding negligence cases; only then will justice stand a chance. Introduction Translating Levinas into law is not a task that many legal scholars undertake. There are, however, a number of scholars who in recent years have made admirable attempts to do so.1 In this article, I reflect on some of the difficulties involved in translating Levinas into law through a 'Derridean' reading of the recently published book of Desmond Manderson, Proximity, Levinas, and the Soul of Law. This book makes a valuable attempt at translating a number of Professor of Law, University of the Western Cape.
    [Show full text]
  • The Science of Writing
    The Science of Writing Introduction In 1967 the French philosopher, Jacques Derrida, published in book form a collection of texts he had been composing, under the title De la Grammatologie, Of Grammatology.1 The book was translated into English in 1974 by Gayatri Spivak and, with its one-hundred-page translator’s introduction, constituted the first major introduction to Derrida for English-speaking audiences. In 1985 an American professor of English Literature, Gregory Ulmer, published his engagement with Derrida under the title, Applied Grammatology: Post(e) Pedagogy from Jacques Derrida to Joseph Beuys.2 Ulmer’s investigation is one of the very few instances where Derrida’s mention of ‘grammatology’ is taken up at length. In July 2008, at the Derrida Today conference held at the University of Sydney, in Australia, the French Derrida scholar, Catherine Malabou, presented a key note address that probed the fate of Derrida’s notion of ‘grammatology’ and how its question might be re-engaged or re-invented today.3 By ‘grammatology,’ Derrida inferred a ‘science of writing,’ though an approach to the question of writing that radically engages with the question of science, of truth and of knowing. And if Ulmer activates the question posed by grammatology, it is in order to question a scene of teaching the radically questions writing as such. This paper aims at asking if the work of Derrida and Ulmer has continued relevance for a radicalising of the scene of teaching precisely by a critical engagement with what we commonly name as writing and what we commonly understand as its agency.
    [Show full text]
  • New Editions 2012
    January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher.
    [Show full text]
  • Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
    Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene
    [Show full text]
  • David Zwirner Tomma Abts
    David Zwirner New York London Paris Hong Kong Tomma Abts November 6–December 14, 2019 533 West 19th Street, New York Opening reception: Wednesday, November 6, 6–8 PM Tomma Abts, Samke, 2019. Photo © Marcus Leith. Courtesy the artist and David Zwirner New York David Zwirner is pleased to present an exhibition of new work by Tomma Abts at the gallery’s 533 West 19th Street location in New York. Included in the exhibition will be paintings from two distinct but related bodies of work that, in different ways, showcase Abts’s sustained engagement with process and form. This will be the artist’s third solo presentation with the gallery and her first exhibition in New York since 2014. Abts is known for her complex paintings and drawings, the subject of which is ultimately the process of their creation. Working in accordance with a self-determined and evolving set of parameters, the artist enacts a series of decisions, which results in compositions that are intuitively constructed according to an internal logic. While abstract, her paintings are nevertheless illusionistic, rendered with sharp attention to details—such as shadows, three-dimensional effects, and highlights—that defy any single, realistic light source. As she has noted, “Making a painting is a long-winded process of finding a form for something intuited … and making whatever shape and form it takes as clear and precise as possible.”1 Begun in 1998, Abts’s body of intimately scaled canvases—which uniformly measure approximately 19 by 15 inches (48 by 38 centimeters)—are created entirely freehand and without preconceived ideas or preliminary sketches.
    [Show full text]
  • Education As the Possibility of Justice: Jacques Derrida
    DOCUMENT RESUME ED 422 198 SO 028 563 AUTHOR Biesta, Gert J. J. TITLE Education as the Possibility of Justice: Jacques Derrida. PUB DATE 1997-03-00 NOTE 35p.; Paper presented at the Annual Meeting of the American Educational Research Association (Chicago, IL, March 24-28, 1997). PUB TYPE Reports - Descriptive (141) Speeches/Meeting Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Educational Philosophy; *Educational Theories; Epistemology; Hermeneutics; Higher Education; *Justice; *Philosophy IDENTIFIERS *Derrida (Jacques); Poststructuralism ABSTRACT This paper is an analysis of the ongoing work of philosopher Jacques Derrida and the immense body of work associated with him. Derrida's copious work is difficult to categorize since Derrida challenges the very concept that meaning can be grasped in its original moment or that meaning can be represented in the form of some proper, self-identical concept. Derrida's "deconstruction" requires reading, writing, and translating Derrida, an impossibility the author maintains cannot be done because translation involves transformation and the originality of the original only comes into view after it has been translated. The sections of the paper include: (1) "Preface: Reading Derrida, Writing after Derrida"; (2) "Curriculum Vitae"; (3) "(No) Philosophy"; (4) "The Myth of the Origin"; (5) "The Presence of the Voice"; (6) "The Ubiquity of Writing"; (7) "Difference and 'Differance'"; (8) "Deconstruction and the Other"; (9) "Education"; (10) "Education beyond Representation: Gregory Ulmer's 'Post(e)-pedagogy"; and (11) "Afterword: Education as the Possibility of Justice." (EH) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ******************************************************************************** Education as the Possibility of Justice: Jacques Derrida.
    [Show full text]
  • * FINAL FINISHED Practice Mountain Nov 2019.Indd
    ^ ^ ^ ^ ^ ^ PRACTICE MOUNTAIN ^ ^ ^ ^ ^ ^ ^^ ^ ^^^^ ^^ ^^ ^^^^^^ ^^^^ ^^^^ ^^^^^^^^^ ^^^^^^^^^^ ^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ The emblem of the mountain has been returning continuously to ^ me recently, ever-enduring through a variety of aesthetics. My ^^^ ^^ mountains symbolise the eternal return, survival and demise held ^^^^^^^^ together by the pulse of recent recessions - the climb, the exertion ___________________________^^^^^^^^^^^^^_______^________ of labour leading to a fall. Is creativity a survival instinct? How do feelings and relationships come into play? How might recessions affect humans and their creative productivity? A productivity The early 1980s, recession. The sharp, regular jagged mountains which inherently has a different value within capitalism. on stock market screens began to descend. Manufacturing declined and the mines and miners stopped creating coal slag-heaps. The dust settled there. A descent without a fall, everyone just landed. ^ THWACK ^ Perhaps we could have entered a level playing field? Taxes go up. Government spending goes down, the birth of neoliberalism. I wasn’t born yet. But my Dad had been working with the stock markets. These experiences are traced as all pinstripe suits, late ^ nights and abandoned women, like in Hollywood movies. These ^^^ ^^ cinema stories a murmur of what was to come off the screen for ^^^^^^^^ me. Apparently my Dad designed software for Wall Street, creating _____________________________________________^^^^^^^^^^^ computer programmes to keep track of the economy’s heart rate, ^^___________________^______ an ever-fluxing beat. A mountainous landscape to practice living on, working out ways to succeed or fail. We never really did know each other. I still feel a sense of loss about that. A mountain can be both a peak of accomplishment or a point to fall from.
    [Show full text]
  • 145 a Derrida Bibliography Compiled by JOHN LEAVEY and DAVID B
    A Derrida Bibliography Compiled by JOHN LEAVEY and DAVID B. ALLISON A. FRENCH AND ENGLISH WORKS BY JACQUES DERRIDA I. Books by Derrida 1962: Translation and Introduction to Edmund Husserl, L'Origine de la géométrie. Paris: Presses Universitaires de France. 2nd ed., 1974. ET: Edmund Husserl's Origin of Geometry: An Introduction. Tr. John P. Leavey. New York: Nicolas Hays, 1977. 1967: De la Grammatologie. Paris: Minuit. ET: Of Grammatology. Tr. Gayatri Chakravorty Spivak. Baltimore: The Johns Hopkins University Press, 1976. Ch. 2 of the ET, "Linguistics and Grammatology," was published in Sub-Stance, No. 10 (1974), 127-81. La Voix et le phénomène: Introduction au problème du signe dans la phénoménologie de Husserl. Paris: PressesUniversitaires de France. 2nd ed., 1972. ET: Speech and Phenomena: And Other Fssays on Husserl's Theory of Signs. Tr. David B. Allison. Evanston: Northwestern Univer- sity Press, 1973. L'Ecriture et la différence. Paris: Seuil. ET by Alan Bass is forthcoming. 1972: La Dissémination. Paris: Seuil. Marges de la philosophie. Paris: Minuit. Positions. Paris: Minuit. 1974: Glas. Paris: Editions Galilée. 1976: L'Archéologie du frivole: Lire Condillac. Paris: Denoel/Gonthier. Rpt. of 1973 Introduction to Condillac's Essai sur l'origine des connaissances humaines (Paris: Editions Galilee). 145 Eperons: Les Styles de Nietzsche. Venice: Corbo e Fiore. Rpt. and tr. in- to English, Italian, and German of the 1972 "La Question du style." II. Articles by Derrida " 1959 : 'GenZseet structure' et la phénoménologie."Entretiens sur les notions de genèse et de structure. Ed. Maurice de Gandillac et al. Paris: Mouton, 1965, pp. 243-60.
    [Show full text]
  • Back in the Swing
    Ron run|Memorial marathon returns to Upton:Page 1page The Sundance3 Times 75¢ Thursday, August 22, 2019 Volume 134 • Issue No. 34 Thursday, August 22, 2019 Thewww.sundancetimes.com Sundance Times Back in the swing -H௺0REHUJSKRWR The playgrounds of Crook County are once again filled with laughter and young voices as the 2019 school year gets underway. The school year started early this year, accord- ing to Superintendent Mark Broderson, because almost every holiday falls in the middle of the week – both Christmas and New Year are on a Wednesday and “you can’t have school on Monday and not the rest of the week”. He assures parents that, next year, the schedule will again commence on the third week of August. Parents address suicide policy Birthday bash planned the policy that “students who experi- School board ence serious depression are unable “Not talking about for Old Stoney stands by suicide to benefit fully from the educational program of the school” and “pose a it isn’t the way to policy but promises danger both to self and possibly to others”. handle this” to seek out best Jess told the board that her son was Jess Donnell addresses the school practices diagnosed with depression in 2015 board but still benefited from his education. BY SARAH PRIDGEON Doug echoed this thought, pointing in Section 504, part of the Rehabili- Supported by a group of community out that a policy is intended to be tation Act of 1973 that prohibits dis- members, Jess and Doug Donnell ad- guidance on what the district should crimination based on disability and dressed the school board on Monday do; what, he asked, can be done with requires that the needs of a child with evening to encourage more communi- that policy? a limiting mental or physical impair- cation about the issue of teen suicide Doug asked what the policy would ment be met as adequately as the and a rethink on the district’s new require be done with a kid who fit the needs of non-disabled children.
    [Show full text]