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The Pleasure in Drawing

Name: The Pleasure in Drawing
Author: Jean-Luc Nancy, Philip Armstrong

Jean-Luc Nancy,

Philip Armstrong,

128 pages
English
PDF
Available on iOS & Android

eBook - PDF

The Pleasure in Drawing

Jean-Luc Nancy,

Philip Armstrong,

Book details

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Table of contents

Citations

About This Book

Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form—of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions.Recalling that drawing and design were once used interchangeably, Nancy notes that drawing designates a design that remains without project, plan, or intention. His argument offers a way of rethinking a number of historical terms (sketch, draft, outline, plan, mark, notation), which includes rethinking drawing in its graphic, filmic, choreographic, poetic, melodic, and rhythmic senses.If drawing is not reducible to any form of closure, it never resolves a tension specific to itself. Rather, drawing allows the pleasure in and of drawing, the gesture of a desire that remains in excess of all knowledge, to come to appearance. Situating drawing in these terms, Nancy engages a number of texts in which Freud addresses the force of desire in the rapport between aesthetic and sexual pleasure, texts that also turn around questions concerning form in its formation, form as a formative force. Between the sections of the text, Nancy has placed a series of "sketchbooks" on drawing, composed of a broad range of quotations on art from different writers, artists, or philosophers.

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Information

Publisher

Fordham University Press

Year

2013

ISBN

9780823252329

Topic

Kunst

Subtopic

Kunsttheorie & -kritik

N

O

T

E

S

T

O

PAG

E

S

6

8

–

1

0

0

‘Communism’

to

the

Community

of

‘Existence,’ ’’

trans.

Tracy

B.

Strong,

Political

Theory

20,

no.

3

(1992):

371–98.—Trans.]

36.

Allow

me

to

refer

here

to

my

book,

L’ ‘‘il

y

a’’

du

rapport

sexuel

(Paris:

Galile

´e,

2001),

forthcoming

in

English

translation

by

Anne

O’Byrne

in

Jean-Luc

Nancy,

Corpus

II:

Writings

on

Sexuality

,

trans.

Anne

O’Byrne

(Fordham,

2013).

37.

Leonardo

da

Vinci,

The

Notebooks

,

ed.

Edward

MacCurdy

(Lon-

don:

Jonathan

Cape,

1938),

1:106.

38.

William

Blake,

‘‘The

Marriage

of

Heaven

and

Hell,’’

in

The

Poems

of

William

Blake

,

ed.

W.

H.

Stevenson

(New

York:

W.

W.

Nor-

ton

&

Co.,

1972),

110.

39.

It

is

not

possible

here

to

address

the

discussion

concerning

the

deﬁnition

and

limits

of

pornography.

40.

Giorgio

Vasari,

Lives

of

the

Most

Eminent

Painters,

Sculptors,

and

Architects

,

trans.

Gaston

du

C.

de

Vere

(London:

Macmillan

and

Co.

and

the

Medici

Society,

1912–14),

xlii.

41.

Ibid,

72.

42.

No

doubt

there

exist

any

number

of

Stoic

and

Christian

tradi-

tions,

followed

by

Tristan,

Hamlet

and

Romeo,

Racine’s

Phaedra,

etc.

43.

See

Jacques

Derrida,

‘‘Desistance,’’

in

Philippe

Lacoue-Labarthe,

Typography:

Mimesis,

Philosophy,

Politics

,

ed.

Christopher

Fynsk

(Cam-

bridge:

Harvard

University

Press,

1989;

rpt.

Stanford,

Calif.:

Stanford

University

Press,

1998),

1–42.

44.

[Drawing

from

the

Latin

apparere

—‘‘to

appear,

come

in

sight,

make

an

appearance’’—in

which

parere

is

‘‘to

come

forth,

be

visible,’’

I

have

translated

Nancy’s

variations

on

la

paraı

ˆtre

or

l’apparaıˆtre

as

‘‘be-

coming

visible.’’—Trans.]

45.

[The

verb

s’enlever

has

the

senses

of

both

‘‘to

rise

up’’

and

‘‘to

remove,’’

in

the

sense

of

taking

something

away

from,

as

well

as

‘‘to

detach

something

from

something

else.

‘‘—Trans.]

46.

[To

continue

sur

sa

lance

´e

implies

that

something

continues

to

forge

ahead

or

continues

in

the

same

vein.—Trans.]

47.

Here

one

should

explicate

the

role

of

the

album

or

sketchbook,

drawing’s

handheld

transcendental.

116

Cover
Contents
Translator’s Note
Preface to the English-Language Edition
Form
Idea
Formative Force
The Pleasure of Drawing
Forma Formans
From Self Toward Self
Consenting to Self
Gestural Pleasure
The Form-Pleasure
The Drawing/Design of the Arts
Mimesis
Pleasure of Relation
Death, Sex, Love of the Invisible
Ambiguous Pleasure
Purposiveness Without Purpose
The Line’s Desire
Notes