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“Water Is the Master Verb Flooding the Limits of Thought: Language, Desire, and Aesthetic Experience A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements of the Degree of Doctor of Philosophy by María Fernanda Negrete January 2012 © 2012 María Fernanda Negrete Flooding the Limits of Thought: Language, Desire, and Aesthetic Experience María Fernanda Negrete Cornell University 2012 This dissertation examines works by Louise Bourgeois, Sophie Calle, Marguerite Duras, Roni Horn, Clarice Lispector, and Kiki Smith, to discuss the rethinking of reading, viewing, and dwelling that they incite. My selection of enigmatic pieces demonstrates how each one uniquely sets forth a fundamental claim: that the work of art consists in closing in on “l’insaisissable de la pensée,” a phrase coined by Hélène Cixous in describing Roni Horn’s reworking of a text by Clarice Lispector. I turn to discuss the reader’s role upon encountering this ungraspable of thought, since all of the pieces in play here explicitly call for a reader’s participation in the creative process constitutive of the work of art. I advance that they challenge the reader to an interpretation more concerned with a vibrancy that overflows signification than with retrieving meaning. The work of art creates spaces made up of oblique, non-interchangeable webs of signifiers, so as to construct, as process and site, what resists being understood in terms of an apprehensible object. Given the fleeting nature of water and flows, they materialize the work’s uncharted event—in sculptural installations combining water and transparent glass or in photographs and film sequences featuring surfaces of streams coursing through cities. My project details, furthermore, the way in which desire fuels this aesthetic experience in the sense, as manifest in the French ‘expérience,’ of an experiment: a constrained, perilous exposure to the unknown. Foregrounding figures of liquidity and flow, I show that desire’s excessive quality is here intrinsic to questions of sexual difference. My dissertation discusses femininity as a stance regarding desire that offers unique perspectives on language and knowledge, developing its privileged position to undertake reading that confronts the limits of thought, which is integral to the artistic procedure as articulated by these pieces. Intertextuality informs my approach to each of the works, finding novel bridges among them and pivotal references they bear to the French literary canon and Western philosophy. BIOGRAPHICAL SKETCH María Fernanda Negrete received her B.A. with honors in Philosophy in 2005, from Universdidad Iberoamericana, in Mexico City, Mexico, where she presented a thesis on the work of Gilles Deleuze. In 2005 she entered the French Literature graduate program of the Department of Romance Studies, at Cornell University. In addition to obtaining her M.A. there also in 2008, she travelled widely and intensely during these years: studying Portuguese in Lisbon, Portugal; teaching English at the Université de Paris 12, Val-de-Marne; conducting research in Paris, France, Stykkishólmur, Iceland, Rio de Janeiro and São Paulo, Brazil; and presenting her work in French at the University of Tokyo Center for Philosophy, in Japan, in 2010. She defended this dissertation before her special committee on September 9, 2011. iii a la memoria de Nenetú et mon eau m’arc-en-ciel iv ACKNOWLEDGMENTS I was fortunate to configure an excellent committee and work closely with each of its members. My chair and advisor since the beginning, the brilliant Tracy McNulty, has been a challenging and stimulating critic of my work in progress; she encouraged me to persist and guided me during the critical moments of this process. Anne Berger welcomed me into the French literature program and also in Paris; I aspire to read with as acute a poetic ear as hers. Bruno Bosteels is for me an example of original possibilities in teaching and research, and, with Simone Pinet, was always a supportive presence in my life at Cornell; he also made great bibliographic suggestions. Patty Keller offered thoughtful, timely feedback to my work and writing, and her artistic and literary suggestions demonstrated her remarkable intuition and superb taste. I am grateful to Kathleen Long for her support at the start of this project, and for contributing to the breadth of my research interests. Hélène Cixous, whose bionic ears for literature I admire and with whom I share a passion for Clarice, let me tell her about my dissertation project at its early stage one fine June morning, and gave me reassuring, stimulating words. The Graduate School at Cornell University and the Department of Romance Studies on several occasions offered financial support for research travel and conference presentations that were useful to this project. The Andrew C. Mellon dissertation writing seminar “Theories of the Subject,” led by Bruno Bosteels, was an excellent opportunity to share my work with outstanding peers in the summer of 2011, and I thank each and all of them for their valuable feedback at the finishing stage of my writing process. The Tinker Grant, from the Latin American Studies Program, made research at the Clarice Lispector Archive in Casa de Rui Barbosa possible in the v summer of 2010. The University of Tokyo Center for Philosophy kindly invited me to discuss my work in progress in March 2010, at the Workshop “L’horizon de la philosophie française.” The Psychoanalysis Reading Group was a great forum to develop my thoughts on psychoanalysis for this dissertation. This time was made more pleasant by its wonderful friendly presences: Shanna Carlson and Adeline Rother were truly collegial and understanding at the start of the graduate program; to Rebecca Colesworthy and Caroline Gates I owe Parisian memories of delightful conversation over wine; Juan Manuel Espinosa, Caroline Ferraris-Besso, Antonio de Ridder and Kathryn Vignone, Kaisa Kaakinen, Judy Park, Marcela Romero and Federico Sor, Juan Sierra, Carissa Sims, Audrey Wasser, Paloma Yannakakis, and Zac Zimmer went through this experience with me in diverse ways. Anarela Vargas, Omar Tapia, and Guillermo Albert are my indispensable interlocutors outside academia. I am endlessly grateful for the unconditional love and cheer shown by my parents, Jaime and Elsa, and my sisters, Daniela and Carla. Finally, this dissertation would not exist without the immense gentleness and loving support of Henry Berlin, my very closest companion since the beginning of this life period and hereafter. vi TABLE OF CONTENTS Biographical Sketch iii Dedication iv Acknowledgments v Table of Contents vii List of Figures viii Introduction: Reading the Work Offshore 1 1. For Now We See Through A Glass, Brightly: Água viva and Horn’s Waters 30 2. Fragments d’une femme amoureuse: Marguerite Duras on the Work of Writing 89 3. Precious Liquids, Vessels, and Transfusions: Bourgeois’ and Smith’ Installation Art 136 4. In Search of a New Telephone: Ethical Aesthetics in Douleur Exquise 183 Conclusion: An Exquisite, Aesthetic Body 225 Works Cited 229 vii LIST OF FIGURES 1. Kiki Smith, Pool of Tears 2 (After Lewis Carroll) (2000) 10 2. Roni Horn, So XII (1998) 14 3. Louise Bourgeois, Art is a Guaranty of Sanity (2000) 19 4. Roni Horn, Rings of Clarice Lispector (detail). (2004) Hauser & Wirth, Piccadilly 32 5. Roni Horn, Rings (Detail. “Now is the domain of Now…”) 33 6. Roni Horn, Still Water (The River Thames, For Example) (1999) 38 7. Roni Horn, Still Water (detail) 40 8. Roni Horn, Dictionary of Water (detail. “black water”) (2001) 70 9. Roni Horn, Through 4 (2007) 77 10. Roni Horn, Vatnasafn/Library of Water (view through glass column) (2007) 84 11. Roni Horn Vatnasafn/Library of Water (detail. “glettið” “gorgeous”) 87 12. Marguerite Duras, Still from Césarée (Maillol, Montagne, 1937) (1978) 98 13. Marguerite Duras, Still from Cesarée (Louis-Denis Caillouette, Bordeaux, 1835-38) 104 14. Marguerite Duras, Still from Césarée (Maillol, Rivière, c.1938-1943) 108 15. Marguerite Duras, from Césarée (Caillouette, Nantes, 1835-38) 111 16. Kiki Smith, The Cells—The Moon (1996) 140 17. Louise Bourgeois, Cell XXVI (2003) 144 18. Louise Bourgeois, Cell (Glass Spheres and Hands) (1990-93) 144 19. Louise Bourgeois, Red Room (Child) (1994) 144 viii 20. Louise Bourgeois, Articulated Lair (1986) 144 21. Louise Bourgeois, Precious Liquids (1992) 146 22. Louise Bourgeois, Precious Liquids (external view, closed doors) 149 23. Precious Liquids (Internal view from a side door) 150 24. Precious Liquids (detail. Lamp: Le trani episode, 1971) 152 25. Precious Liquids (detail. Bed and glass vessels) 155 26. Precious Liquids (detail. Hanging trench coat and spheres) 156 27. Precious Liquids (detail. Bird’s-eye view) 157 28. Kiki Smith, Untitled (1986) 160 29. Kiki Smith, Untitled (1987-90) 161 30. Master of Anne de Bretagne, Planetary Man (1500) 167 31. Kiki Smith, Train (1993) 171 32. Kiki Smith, Game Time (1986) 177 33. Adrien Piper, What Will Become of Me (1985- ) 178 34. Sophie Calle, Douleur exquise (Douleur installation) (2003) 189 35. Sophie Calle, Douleur exquise, (installation view. Paula Cooper Gallery, NY) 190 36. (DOULEUR J – 1 Airline message to Sophie) 193 37. Sophie Calle, Douleur exquise (Detail. Après la douleur. On left: “Il y a 91 jours…”) 203 38. Sophie Calle, Douleur exquise (Avant la douleur, DOULEUR J – 51) 205 39. Douleur Exquise (Avant la douleur DOULEUR J-3) 207 40. (Avant la douleur DOULEUR J-6) 207 41. Douleur exquise (Avant la douleur DOULEUR J-56) 210 42. (Avant la douleur DOULEUR J-8) 210 ix 43. (DOULEUR J – 55) 211 44. Douleur exquise (Après la douleur. “Il y a cinq jours…”) 217 45. (Après la douleur “Il y a 40 jours…”) 220 46. (“Il y a vingt et un jours…”) 221 47. (Avant la douleur DOULEUR J-57) 223 x INTRODUCTION Reading the Work Offshore Intertexte à l’eau “Water Is The Master Verb.” This proposition rings true in the writing, photographs, film, and installation pieces by Louise Bourgeois, Sophie Calle, Marguerite Duras, Roni Horn, Clarice Lispector, and Kiki Smith this dissertation examines, drawing a certain concept of aesthetic experience concerned with the limits of thought and language.
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