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Les répliques de biens de consommation que les artistes zurichois Peter Fischli et David Weiss se sont mis à exécuter dès 1991 oscillent entre une superficialité, dont Fredric Jameson a fait un trait définitoire du postmodernisme, et un épaississement matériel propre aux choses. Ces images d’artefacts, dont on ne peut attendre aucun des services que rendent leurs modèles, nous ramènent pourtant constamment à la lente fréquentation d’objets dans l’usage quotidien qui informe notre vie. S’attachant à examiner la place qu’elles occupent dans l’histoire de l’art contemporain et à décrire notamment la relation qu’elles entretiennent avec les productions artistiques, littéraires, théoriques des années 1960, ce livre est aussi bien une réflexion sur le temps, tel que les œuvres le construisent.

Art --- Peter Fischli --- David Weiss --- superficialité --- chose --- Postmodernisme --- intérieur --- image --- valeur d’usage --- simulacre --- Surrogate --- polyuréthane --- Fredric Jameson --- Roland Barthes --- Guy Debord --- Jean Baudrillard --- Jean Bazin --- Paul Thek --- Robert Watts --- Gabriel Orozco --- Rachel Whiteread --- Heidi Bucher --- Peter Fischli David Weiss --- superficiality --- thing --- Postmodernism --- interior --- value of use --- simulacrum --- polyurethane --- Peter Fischli David Weiss --- Objet --- Choses --- Superficialité --- Image --- Intérieur --- Jean Baudrillard --- Guy Debord --- Fredric Jameson

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Can we communicate the incommunicable? Language is general, but the “depths of the soul” are unique, and only the experience lived in silence is authentic. Would it be possible to find a language that would appear to say something but that would communicate nothing but the incommunicable? The present volume analyses how, by developing the simulacrum of a language or “pure media”, Klossowski managed to move beyond the prevarications of Gide, so hesitant to speak or remain silent about his “Uranianism”, and the wrath of Bataille or Sade, equating destruction and purity, to finally arrive at the Nietzschean innocence that creates gods. Tenter de communiquer l’incommunicable, c’est se frotter à un paradoxe. Car si le langage est général, le « fond de l’âme » est singulier, et seule est authentique l’expérience vécue dans le silence. Vouloir la dire, c’est se livrer au code des signes quotidiens ; quant à la taire, comme disait Sartre, « ce n’est pas être muet, c’est refuser de parler, donc parler encore ». Si l’on ne sort pas du langage, ne pourrait-on en faire un usage différent, souverain, non assujetti aux normes de l’échange – trouver un langage qui ferait semblant de dire quelque chose mais qui ne communiquerait rien que de l’incommunicable ? Fondé sur de nombreux documents inédits, le présent ouvrage analyse comment, par l’élaboration d’un simulacre de langage ou « pur média », Klossowski parvient à dépasser les tergiversations de Gide, hésitant à dire ou à taire son uranisme, les fureurs de Bataille ou Sade, assimilant destruction et pureté, pour retrouver enfin l’innocence nietzschéenne créatrice de dieux.

Klossowski, Pierre --- Gide, André, --- Bataille, Georges, --- Nietzsche, Friedrich Wilhelm, --- Criticism and interpretation. --- Criticism and interpretation --- simulacre --- simulacrum --- community --- complicité --- translation --- personal identity --- fond de l'âme --- madness --- traduction --- autobiographie --- identité personnelle --- homosexualité --- folie --- homosexuality --- autobiography --- complicity --- communauté --- depth of the soul --- communication

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A boldly innovative study of nonverbal communication in the poetry and prose of Hellenic antiquityWhen a Gesture Was Expected encourages a deeper appreciation of ancient Greek poetry and prose by showing where a nod of the head or a wave of the hand can complete meaning in epic poetry and in tragedy, comedy, oratory, and in works of history and philosophy. All these works anticipated performing readers, and, as a result, they included prompts, places where a gesture could complete a sentence or amplify or comment on the written words. In this radical and highly accessible book, Alan Boegehold urges all readers to supplement the traditional avenues of classical philology with an awareness of the uses of nonverbal communication in Hellenic antiquity. This additional resource helps to explain some persistently confusing syntaxes and to make translations more accurate. It also imparts a living breath to these immortal texts.Where part of a work appears to be missing, or the syntax is irregular, or the words seem contradictory or perverse—without evidence of copyists' errors or physical damage—an ancient author may have been assuming that a performing reader would make the necessary clarifying gesture. Boegehold offers analyses of many such instances in selected passages ranging from Homer to Aeschylus to Plato. He also presents a review of sources of information about such gestures in antiquity as well as thirty illustrations, some documenting millennia-long continuities in nonverbal communication.

Greek literature --- Gesture in literature --- Nonverbal communication in literature. --- Body language in literature. --- Langage corporel dans la littérature --- Littérature grecque --- Gestes dans la littérature --- Langage du corps dans la littérature --- History and criticism. --- Histoire et critique --- Nonverbal communication in literature --- Body language in literature --- Gesture --- History and criticism --- History --- -Gesture in literature --- -Nonverbal communication in literature --- Balkan literature --- Byzantine literature --- Classical literature --- Classical philology --- Greek philology --- Mudra --- Acting --- Body language --- Elocution --- Movement (Acting) --- Oratory --- Sign language --- Nonverbal communication (Psychology) in literature --- Gesture in literature. --- History. --- Langage corporel dans la littérature --- Littérature grecque --- Gestes dans la littérature --- Langage du corps dans la littérature --- Greek literature - History and criticism --- Gesture - Greece - History --- Aeschylus. --- Agathon. --- Alcman. --- Allegory. --- Allusion. --- Andocides. --- Antithesis. --- Aorist. --- Aphorism. --- Aposiopesis. --- Aristophanes. --- Attempt. --- Author. --- Characterization. --- Concept. --- Conditional sentence. --- Consciousness. --- Consequent. --- Consideration. --- Contexts. --- Critias (dialogue). --- Critias. --- Decorum. --- Demonstrative. --- Demosthenes. --- Elaboration. --- Emblem. --- Epigram. --- Eudaimonia. --- Euripides. --- Euthyphro. --- Evocation. --- Explanation. --- Exposition (narrative). --- Facial expression. --- Fine art. --- Genre. --- Gesture. --- God. --- Gorgias. --- Haplography. --- Heliaia. --- Hermetica. --- Herodotus. --- Humour. --- Idealism. --- Illustration. --- Imagination. --- Inference. --- Irony. --- Laertes. --- Literal translation. --- Literature. --- Modal particle. --- Monadology. --- Narrative. --- Nicias. --- Nonverbal communication. --- Ontology. --- Ostanes. --- Parmenides. --- Parody. --- Philosophy. --- Phrase. --- Pindar. --- Plautus. --- Priam. --- Protagoras. --- Protasis. --- Publication. --- Punctuation. --- Quintilian. --- Quotation. --- Religion. --- Rhapsode. --- Rhetorical device. --- Sarpedon. --- Scholasticism. --- Scrutiny. --- Simulacrum. --- Sophist (dialogue). --- Sophist. --- Sophocles. --- Suggestion. --- Supplication. --- Sycophant. --- Tecmessa. --- Terence. --- Teucer. --- Theory of Forms. --- Thought. --- Thucydides. --- Timon of Phlius. --- Tiresias. --- To This Day. --- Treatise. --- Usage. --- Utterance. --- V. --- Verisimilitude.