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The Great Prehistoric Art Swindle: André Breton and Palaeolithic Cave Painting 史前艺术大骗局:安德列·布列塔尼和旧石器时代的洞穴绘画
IF 0.1 4区 文学
PARAGRAPH Pub Date : 2021-11-01 DOI: 10.3366/para.2021.0376
Douglas Smith
{"title":"The Great Prehistoric Art Swindle: André Breton and Palaeolithic Cave Painting","authors":"Douglas Smith","doi":"10.3366/para.2021.0376","DOIUrl":"https://doi.org/10.3366/para.2021.0376","url":null,"abstract":"At Pech Merle in 1952, André Breton provoked a controversial incident by damaging a Palaeolithic wall painting that he suspected to be a fake. This episode provides an insight into the contested status of prehistoric sites in post-war France and the theoretical and ideological implications of their cultural mobilization. Such sites allowed for a disavowal of wartime trauma and supported the reaffirmation of French national identity and its civilizing mission by locating the birthplace of human culture on French soil. Yet their extreme age also threw into relief the relative fragility of the recently invented nation-state. Breton's vandalism cast doubt on the models of cultural progress and pre-eminence that sought to instrumentalize prehistoric art but failed to appreciate the subversiveness of its ‘deep’ history. Ironically, however, Breton's scepticism ultimately enhanced the subversive dimension of archaeology by allowing it to demonstrate the authenticity and age of cave art.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48781044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Prehistoric Cave Art: From Image to Graphic Narration 史前洞穴艺术：从图像到图形叙事
IF 0.1 4区 文学
PARAGRAPH Pub Date : 2021-11-01 DOI: 10.3366/para.2021.0377
M. Azéma
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引用次数: 1
‘La Main négative’: Limit-Case and Primal Scene of Art “主否定”：极限案例与艺术的原始场景
IF 0.1 4区 文学
PARAGRAPH Pub Date : 2021-11-01 DOI: 10.3366/para.2021.0375
Johanna Malt
{"title":"‘La Main négative’: Limit-Case and Primal Scene of Art","authors":"Johanna Malt","doi":"10.3366/para.2021.0375","DOIUrl":"https://doi.org/10.3366/para.2021.0375","url":null,"abstract":"Negative handprints or hand-stencils, which occur in many prehistoric sites around the world, occupy a particular place in accounts of rock art. Although they frequently occur alongside paintings, their indexical status as imprints leads them to be treated separately from other types of representations that are more easily accepted as such. This article argues that the negative handprint operates as a kind of limit-case for definitions of art. I examine how it has given rise to imagined scenarios of making — what we might call primal scenes of art — by writers including Georges Bataille, Maurice Blanchot and Marguerite Duras. While its logic of presence invites us to think about it as a point of origin, a trace that connects us to our earliest human ancestors, I show how it can be read against that logic of presence through the lens of one particular ‘primal scene’, that imagined by Jean-Luc Nancy. In this reading, it is precisely the question of absence or distance that gives the handprint its status as a point of origin that undoes the very idea of origins.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47922025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Interview with Margaret Elphinstone 玛格丽特·埃尔芬斯通访谈录
IF 0.1 4区 文学
PARAGRAPH Pub Date : 2021-11-01 DOI: 10.3366/para.2021.0378
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引用次数: 0
The Grotte du Renne, Leroi-Gourhan and Flaubert's La Légende de Saint Julien l'Hospitalier (1877): The Question of ‘Préhistoire(s)’ to Delimit the Human 勒罗伊·古尔汉（Leroi Gourhan）和福楼拜（Flaubert）的《圣朱利安医院》（1877年）：人类精神错乱的“史前”问题
IF 0.1 4区 文学
PARAGRAPH Pub Date : 2021-09-21 DOI: 10.3366/para.2021.0374
M. Orr
{"title":"The Grotte du Renne, Leroi-Gourhan and Flaubert's La Légende de Saint Julien l'Hospitalier (1877): The Question of ‘Préhistoire(s)’ to Delimit the Human","authors":"M. Orr","doi":"10.3366/para.2021.0374","DOIUrl":"https://doi.org/10.3366/para.2021.0374","url":null,"abstract":"This article reconsiders the important work of Leroi-Gourhan through the lens of Christopher Johnson's ‘Leroi-Gourhan and the Limits of the Human’ (2011) by returning to the context of French prehistory of the 1860s that lies behind Leroi-Gourhan's discoveries and interpretations of hominid remains and artefacts in the Grotte du Renne. The Exposition universelle of 1867 and French publications of the period capture the importance of ‘préhistoire’ for Second Empire France materialized in Napoleon III's establishment at Saint-Germain-en-Laye of the first national Musée des Antiquités Nationales dedicated to their collections. The archaeological discoveries, and the debates they inspired, did not escape the encyclopaedic bricolage and designs of Flaubert. With delicious clins d'oeil to the question of ‘l'homme fossile’ and ‘l'homme futur’ that he had already debated with Louis Bouilhet, this article uncovers how Flaubert's Légende de Saint Julien details the ‘limits of the human’ in Johnson's reading of Leroi-Gourhan. By returning to ‘real’ counterparts for the legendary Stag in Flaubert's tale, its contextual, allegedly fantastical, ‘préhistoires’ can better be excavated. To find the non-legendary, extreme contemporary, sources for Flaubert's disturbing text crucially informs a critique of the dehistoricization of seeing in post-war French cultural studies and sciences of the human.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46228139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Palaeo or Neo? Bataille, Lévi-Strauss and the Rewriting of Prehistory 古还是新？巴塔耶、莱维·斯特劳斯与史前史的重写
IF 0.1 4区 文学
PARAGRAPH Pub Date : 2021-09-21 DOI: 10.3366/para.2021.0372
Michèle H. Richman
{"title":"Palaeo or Neo? Bataille, Lévi-Strauss and the Rewriting of Prehistory","authors":"Michèle H. Richman","doi":"10.3366/para.2021.0372","DOIUrl":"https://doi.org/10.3366/para.2021.0372","url":null,"abstract":"This article's polemical thrust begins with Georges Bataille's 1956 critique of Tristes Tropiques, where Lévi-Strauss omits the Palaeolithic while extolling the Neolithic advent of agriculture and sedentism. Whereas Lévi-Strauss describes his own thinking as Neolithic, he characterizes it in ways that resemble the behaviour of hunter-gatherers and nomads. I trace this contradiction to current scholarship willing to challenge the long-standing narrative bias that either ignores the Palaeolithic and/or derides it in favour of the Neolithic, now subject to refutations of its alleged advantages. Further theoretical backbone is provided by Ibn Khaldun and Bataille on the centrality of luxury. Thus, Palaeolithic cave art's social dimension as the expression of a privileged few is contrasted with the view of scholars who see it as the product of an egalitarian society indifferent to material gain. Bataille remains a key reference due to his exceptional commitment to prehistory, a relatively underexploited facet of his work.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47761860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Leroi-Gourhan and the Evolution of Forms Leroi-Gourhan和形式的进化
IF 0.1 4区 文学
PARAGRAPH Pub Date : 2021-09-21 DOI: 10.3366/para.2021.0373
Christopher Johnson
{"title":"Leroi-Gourhan and the Evolution of Forms","authors":"Christopher Johnson","doi":"10.3366/para.2021.0373","DOIUrl":"https://doi.org/10.3366/para.2021.0373","url":null,"abstract":"The prehistorian André Leroi-Gourhan envisages technological behaviour along a continuum of manual activity extending to artistic production. His work on Palaeolithic cave art, which dominates the final phase of his career, builds on parameters set out in the 1950s and 1960s, and indeed early works on figuration ( Bestiaire du bronze chinois (1936) and Documents pour l'art comparé (1943)) already use the methodology which characterizes his Préhistoire de l'art occidental (1965). Nevertheless, there is a qualitative shift in Leroi-Gourhan's post-war work in response to structuralism and in dialogue with his work on human evolution. Le Geste et la Parole (1964–5) represents an important point of mediation, describing the physiological foundations of aesthetic experience and the stages of development which precede figuration. Leroi-Gourhan argues for the normality of Palaeolithic art as an artistic tradition while insisting on its absolute otherness. The mind in the cave is capable of the most abstract and esoteric variations of form and content, but also represents an alternative world to our own.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42670145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Nathalie Sarraute on the Brink 娜塔莉·萨洛特在悬崖边
IF 0.1 4区 文学
PARAGRAPH Pub Date : 2021-07-01 DOI: 10.3366/PARA.2021.0368
Naomi Toth
{"title":"Nathalie Sarraute on the Brink","authors":"Naomi Toth","doi":"10.3366/PARA.2021.0368","DOIUrl":"https://doi.org/10.3366/PARA.2021.0368","url":null,"abstract":"","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46669355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Ordinary Contested, Laruelle contra Deleuze and Guattari 《平凡之争》，《德勒兹与瓜塔里》
IF 0.1 4区 文学
PARAGRAPH Pub Date : 2021-05-20 DOI: 10.3366/PARA.2021.0367
Andrew Sackin-Poll
{"title":"The Ordinary Contested, Laruelle contra Deleuze and Guattari","authors":"Andrew Sackin-Poll","doi":"10.3366/PARA.2021.0367","DOIUrl":"https://doi.org/10.3366/PARA.2021.0367","url":null,"abstract":"This article addresses the question of the relationship between corporeality and the ordinary in the works of François Laruelle. This is done through the formulation of the ‘ordinary body’ that draws from across Laruelle's work on the ordinary, corporeality and photography in order to outline Laruelle's radically immanent account of embodiment. The critical outline of Laruellean corporeality and the ordinary body is drawn out via a critical posing of Laruelle in contrast to Deleuze and Guattari. In doing so, the article indicates the singular difference between Laruelle, on one side, and Deleuze and Guattari, on the other, with respect to corporeal immanence and the usage of the everyday and ordinary. The article concludes with an argument that the relationship between the body and the ordinary in Laruelle's thought implies a novel non-philosophical or non-standard ‘poetics’ and usage of the ordinary.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45978915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Vertigos of Coining: ‘Michel Houellebecq’, Or, What Names Remain(s)? 创作的眩晕:“Michel Houellebecq”，还是，还剩下哪些名字?
IF 0.1 4区 文学
PARAGRAPH Pub Date : 2021-05-20 DOI: 10.3366/PARA.2021.0362
James Dutton
{"title":"The Vertigos of Coining: ‘Michel Houellebecq’, Or, What Names Remain(s)?","authors":"James Dutton","doi":"10.3366/PARA.2021.0362","DOIUrl":"https://doi.org/10.3366/PARA.2021.0362","url":null,"abstract":"Writing remains. One could argue that it is precisely because of this uncanny and unpredictable survival that inscription holds an inextricable influence on culture. Deconstructive theory posits this as the ‘biodegradability’ of writing — that culture consumes writing's intended meaning, employing it as fuel for its own survival. In this article, I argue for Michel Houellebecq's awareness of this survival, suggesting that his texts stage their — and their author's — own biodegradability to interweave truth and fiction. Particularly, he utilizes the ‘untranslatability’ of the proper name — its brief resistance to cultural biodegradability — to intercept and write into the future(s) inscription is tied to. This draws attention to the vital paradox of proper names, and suggests that their untranslatability forces every reader to conjure different, contradicting and often ‘out-of-sync’ histories. Houellebecq's names, which necessitate an interminable coining, gesture to the inevitable (re)translation of finitude.","PeriodicalId":44142,"journal":{"name":"PARAGRAPH","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47741162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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