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Creation (Literary, artistic, etc.)

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Cette publication documente l’exposition du même titre et s’attache aux liens qu’entretient le philosophe Jean-Luc Nancy avec la création artistique contemporaine. Elle contient de nombreux inédits de Jean-Luc Nancy, dont plusieurs fragments de textes réalisés sur des dessins de François Martin et un cd audio témoignant d’une complicité entre le philosophe et le musicien Rodolphe Burger. Ce livre a été réalisé à la suite de l’exposition Trop. Jean-Luc Nancy présentée à la Galerie de l’UQAM, à Montréal, du 21 octobre au 26 novembre 2005

Philosophy --- Creation (Literary, artistic, etc.) --- Art, Modern

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L'" origine " serait une construction a posteriori, une découverte ou une création résultant d'un examen rétrospectif suivant l'acception freudienne de l' " après-coup ". Risquons l'hypothèse que ce processus concerne également la pratique artistique. Celle-ci, tout à la fois prospective et fondatrice d'elle-même. invente, en sa rythmique et son économie spécifiques, ce qui la génère. Les actes du colloque qui s'est tenu en novembre 2002 à l'université Rennes 2-Haute Bretagne reflètent la diversité des approches esthétiques et des questions plastiques qu'induit cette notion dans le travail artistique.

Creation (Literary, artistic, etc.) --- Création (Arts) --- Congresses --- Congrès --- Creation (Literary, artistic, etc) --- Artistic Creation --- Aesthetic Essays --- Création (Arts) --- Congrès --- Arts --- Creation (Literary, artistic, etc) - Congresses

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In his fascinating last book, Edward Said looks at a selection of essays, poems, novels, films, and operas to determine what late style may explain about the evolution of the creative life. He discusses how the approaching death of an artist can make its way & with anachronism and anomaly& into his work, as was the case in the late work of Thomas Mann, Richard Strauss, Jean Genet, Giuseppe Tomasi di Lampedusa, and C. P. Cavafy. Said examines Beethoven's 'Missa Solemnis,' Genet's 'Le captif amoureux' and 'Les paravents,' Mozart's 'Così fan tutte,' Visconti's film of Lampedusa's 'The Leopard,' Euripides' 'The Bacchae' and 'Iphigenia at Aulis,' and Thomas Mann's 'Death in Venice,' among other works. He points out that one can also find an & unearthly serenity,& in last works, for example, in Sophocles, Shakespeare, Rembrandt, Matisse, Bach, and Wagner, which, as Said puts it, & crown a lifetime of aesthetic endeavor.& But in 'On Late Style' he concentrates on artistic lateness as & intransigence, difficulty, and unresolved contradiction.& He also writes about Theodor Adorno and about Glenn Gould, who chose to stop performing, thereby creating his own form of lateness. Said makes clear that most of the works discussed are rife with deep conflict and an almost impenetrable complexity. In fact, he feels that lateness is often & a form of exile.& These works frequently stood in direct contrast to what was popular at the time, but they were forerunners of what was to come in each artist's particular discipline& works of true genius. Eloquent and impassioned, brilliantly reasoned and revelatory, 'On Late Style' is Edward Said's own great last work.

Artists --- Arts, Modern --- Creation (Literary, artistic, etc.). --- Psychology. --- Philosophy.

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Creation (Literary, artistic, etc.) --- Creation. --- Deleuze, Gilles, --- Creation (Literary, artistic, etc.). --- Creative ability in art --- Creative ability in literature --- Art --- Imagination --- Inspiration --- Literature --- Creative ability --- Originality --- Deleuze, Gilles.