{"title":"乱涂","authors":"C. Barber","doi":"10.1353/cgl.2010.0011","DOIUrl":null,"url":null,"abstract":"Consider the most trivial occurrence—that of an icon, an object of worship, before it is lost in “a work of art”: the visible surface of the wood there gives to be seen, surrounded by a face, two eyes; these two painted eyes, however, permit themselves to be intentionally pierced (thus under a mode that is irreal) by the invisible weight of a gaze; in short, in these two dots of basically black paint, I discern not only the visible image of a gaze that is (like all gazes) invisible but, provided that I acquiesce to it, this gaze in person, which, in fact, envisages me. Through the merely painted icon, I discover myself visible and seen by a gaze that, though present in the sensible, remains invisible to me.1 Jean-Luc Marion","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"80 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2012-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"45","resultStr":"{\"title\":\"Defacement\",\"authors\":\"C. Barber\",\"doi\":\"10.1353/cgl.2010.0011\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Consider the most trivial occurrence—that of an icon, an object of worship, before it is lost in “a work of art”: the visible surface of the wood there gives to be seen, surrounded by a face, two eyes; these two painted eyes, however, permit themselves to be intentionally pierced (thus under a mode that is irreal) by the invisible weight of a gaze; in short, in these two dots of basically black paint, I discern not only the visible image of a gaze that is (like all gazes) invisible but, provided that I acquiesce to it, this gaze in person, which, in fact, envisages me. Through the merely painted icon, I discover myself visible and seen by a gaze that, though present in the sensible, remains invisible to me.1 Jean-Luc Marion\",\"PeriodicalId\":342699,\"journal\":{\"name\":\"The Yearbook of Comparative Literature\",\"volume\":\"80 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2012-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"45\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Yearbook of Comparative Literature\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/cgl.2010.0011\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Yearbook of Comparative Literature","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/cgl.2010.0011","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Consider the most trivial occurrence—that of an icon, an object of worship, before it is lost in “a work of art”: the visible surface of the wood there gives to be seen, surrounded by a face, two eyes; these two painted eyes, however, permit themselves to be intentionally pierced (thus under a mode that is irreal) by the invisible weight of a gaze; in short, in these two dots of basically black paint, I discern not only the visible image of a gaze that is (like all gazes) invisible but, provided that I acquiesce to it, this gaze in person, which, in fact, envisages me. Through the merely painted icon, I discover myself visible and seen by a gaze that, though present in the sensible, remains invisible to me.1 Jean-Luc Marion
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