| 000 | 00000cam u2200205 a 4500 | |
| 001 | 000045969913 | |
| 005 | 20251202163738 | |
| 008 | 190208s2013 nyu b 000 0 eng d | |
| 010 | ▼a 2013014020 | |
| 020 | ▼a 9780823250936 (hardback) | |
| 020 | ▼a 9780823250943 (paperback) | |
| 035 | ▼a (KERIS)REF000017104778 | |
| 040 | ▼a DLC ▼b eng ▼c DLC ▼e rda ▼d DLC ▼d 211009 | |
| 041 | 1 | ▼a eng ▼h fre |
| 050 | 0 0 | ▼a NC17.F7 ▼b L96713 2013 |
| 082 | 0 0 | ▼a 741.01/17 ▼2 23 |
| 084 | ▼a 741.0117 ▼2 DDCK | |
| 090 | ▼a 741.0117 ▼b N176pE | |
| 100 | 1 | ▼a Nancy, Jean-Luc, ▼d 1940-2021 ▼0 AUTH(211009)76307. |
| 240 | 1 0 | ▼a Plaisir au dessin. ▼l English |
| 245 | 1 4 | ▼a The pleasure in drawing / ▼c Jean-Luc Nancy ; translated by Philip Armstrong. |
| 260 | ▼a New York : ▼b Fordham University Press, ▼c 2013. | |
| 300 | ▼a xiii, 116 p. ; ▼c 21 cm. | |
| 500 | ▼a Translation of: Plaisir au dessin. -- Paris : Hazan ; Lyon : Musée des beaux-arts de Lyon, c2007. -- 239 p. : ill. (some col.) ; 28 cm. | |
| 504 | ▼a Includes bibliographical references. | |
| 520 | ▼a "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 sense. If drawing is not reducible to any form of closure, it never resolves a tension specific to drawing but allows the pleasure of drawing to come into appearance, which is also the pleasure in drawing, the gesture of a desire that remains in excess of all knowledge. 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 the same 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"-- ▼c Provided by publisher. | |
| 520 | ▼a "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"-- ▼c Provided by publisher. | |
| 650 | 0 | ▼a Drawing ▼x Philosophy. |
| 700 | 1 | ▼a Armstrong, Philip, ▼d 1962-. |
| 945 | ▼a KLPA |
Holdings Information
| No. | Location | Call Number | Accession No. | Availability | Due Date | Make a Reservation | Service |
|---|---|---|---|---|---|---|---|
| No. 1 | Location Main Library/Western Books/ | Call Number 741.0117 N176pE | Accession No. 111804081 (2회 대출) | Availability Available | Due Date | Make a Reservation | Service |
Contents information
Book Introduction
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 sense.
If drawing is not reducible to any form of closure, it never resolves a tension specific to drawing but allows the pleasure of drawing to come into appearance, which is also the pleasure in drawing, the gesture of a desire that remains in excess of all knowledge. 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 the same 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.
Information Provided By: :
Author Introduction
장-뤽 낭시(지은이)
1940년 프랑스 코데랑 출생. 프랑스 스트라스부르 대학교 철학과에서 철학·미학 담당 교수로서 오랫동안 가르치다 은퇴했다. 낭시는 독일 낭만주의, 헤겔·니체·하이데거의 철학과 라캉의 사상을 재해석하는 동시에 독일 낭만주의, 니체와 하이데거의 철학 등 독일 사상으로부터 출발해 정치철학과 미학, 예술이론 분야에서 독창적인 사유를 전개했다. 특히 그는 교조주의적 맑스주의의 몰락 이후에 가능한 공산주의의 문제, 공동체의 문제를 다시 제기하는 것을 자신의 주요한 과제로 삼았다. 2021년 8월 타계 후 그에 대한 연구가 보다 더 활발하게 진행되고 있다. 주요 저서로 『문자의 지위』(필립 라쿠-라바르트와 공저), 『목소리의 나눔』, 『철학의 망각』, 『자유의 경험』, 『사유의 무게』, 『세계의 의미』, 『복수적 단수의 존재』, 『이미지 속 깊은 곳에서』 등이 있다.
Philip Armstrong(옮긴이)
Table of Contents
Translator''s Note p. vii
Preface to the English-Language Edition p. xi
Form p. 1
Sketchbooks 1 p. 3
Idea p. 5
Sketchbook 2 p. 7
Formative Force p. 10
Sketchbook 3 p. 13
The Pleasure of Drawing p. 15
Sketchbook 4 p. 18
Forma Formans p. 20
Sketchbook 5 p. 22
From Self Toward Self p. 25
Sketchbook 6 p. 28
Consenting to Self p. 31
Sketchbook 7 p. 34
Gestural Pleasure p. 37
Sketchbook 8 p. 42
The Form-Pleasure p. 44
Sketchbook 9 p. 52
The Drawing/Design of the Arts p. 54
Sketchbook 10 p. 57
Mimesis p. 59
Sketchbooks 11 p. 64
Pleasure of Relation p. 66
Sketchbook 12 p. 71
Death, Sex, Love of the Invisible p. 73
Sketchbook 13 p. 78
Ambiguous Pleasure p. 81
Sketchbook 14 p. 88
Purposiveness Without Purpose p. 90
Sketchbook 15 p. 96
The Line''s Desire p. 98
Sketchbook 16 p. 106
Notes p. 109