This thesis wrestles with the normativity of language, its usage and its practices while questioning the signifié-signifiant reality. A structural reading of language designs its translational practices within the source-target framework, thereby essentialising its relationship en passant: everything has meaning as long as we accept the hidden framework of a universal language. Therefore, language outlined as a system of signs is a product of transcendental considerations and consequently it renders practice into a hermeticrealm in which the distinction between eidos and (...) eidolon, right and wrong, familiar and unfamiliar, grammar and gibberish makes perfect sense and in which the translation from A to B is simply a matter of transferring identities. Linguistic power neutralises through its transcendental conditioning ephemera in life and world. We will discover that a phenomenological reading of language is open to layers which questions the dialectic setting of linguistic knowledge production. Phenomenology proposes to study life-world relationships by reducing the power of dialectical denomination to the power of gazing or to the lenses of ambiguity. Theorising language and translational practices within the phenomenological realm follows the concept of being oriented towards body-life-world while laying bare the phenomenon language. This revealing method supersedes empirical considerations since phenomenological methodology questions permanently our very own positioning. Hence, the transfer from A to B will be challenged by possibilities which are temporary: it is about a transfer zone featuring A as A’ to B or A’ in B / C. However, the phenomenological possibility reveals that the price for ephemera is tamed by the condition of its possibilities: indeed, the aporia of linguistic identity in polyvalence requires not only phenomenological brackets but also a transcendental backup. Chapter I and II study the translational practice of language and phenomenology by explaining its analysis via dynamised transcendental conditions. The disillusion of the phenomenological inquiry will be yield by radicalising phenomenological reading of language towards a phenomenographical practice of language. Chapter III goes to the extremes in exposing a language without content. The introduction of the trickster figure Narcissistgrotesque Face will be the anti-metaphor in which the grotesque line up forces us to learn bearing A with B and in which the non-content materiality of linguistic practices resemble le bas matérialisme. Not explanation, understanding and rendering things plausible is the movens for language but it is all about the spur of its enactment, its style and its story telling that renders translational practice visible. Chapter III is a performative practice in which we turn the text into texture. Translation happens then when your are perplex and the translational void enacts you and me. (shrink)

This essay considers the beginnings of the journal October's critical practice and the significance of a work by Michel Foucault: “Ceci n'est pas une pipe”.1 The theoretical issues/problematics raised by this essay became key to future debates in and around October; the essay becoming something of an emblematic means by which October might be distinguishing from other visual art critical practices. The importance of Foucault's text in relation to October was revealed during correspondences with Rosalind Krauss in August 2001. Foucault's (...) self-referential essay can be seen as crucial not only to Rosalind Krauss's intellectual development, but also to the continuing debate on the nature of text and image in which the journal would be involved. The spiralling interplay of Foucault's narrative, combined with Magritte's picture, might be interpreted as a metaphor for the mediations of post-structural visual criticism itself as its practitioners sought to institute language into the visual sign, a project that attempted to produce a theoretical rationale – and perhaps a justification – for images being treated as if they were texts; thus, paraphrasing Foucault, introducing into the plenitude of the image a certain disorder. Such a weaving together of representation and discourse is interpreted as the formation of a destabilizing dialectic, a dialectic that can be linked to the writings of October as it shifts its rhetorical locations in an attempt to break down the normative pictorial and discursive frames of reference; becoming in essence a dedisciplinary and de-formative critical practice. This essay provides an outline of the determining conditions that led to the development of this “linguistic turn” and an associated reflection on Foucault's text that seeks to direct attention specifically towards its semiotic and discursive implications in relation to the developing oeuvre of criticism exemplified by the magazine. The essay is supported by interviews with Rosalind Krauss and Douglas Crimp conducted by the author in March 2002. (shrink)

In this essay, I start from Foucault's last text, his "Life: Experience and Science." Speaking of Canguilhem, Foucault makes a distinction between "le vécu" (lived-experience) and "le vivant" (the living). I then examine this difference between "le vécu" (lived-experience) and "le vivant" (the living); that is, I examine the different logics, we might say, of immanence that each concept implies. To do this, I reconstruct the "critique" that Foucault presents of the concept of vécu in the ninth chapter of The (...) Order of Things (Les Mots et les choses): "Man and His Doubles." I try to show how this critique applies to the early Merleau-Ponty, the Merleau-Ponty of the Phenomenology of Perception. Then, I construct the positive logic of Foucault's relation of immanence by means of another text, which is contemporaneous with Les Mots et les choses: This is not a Pipe. The critique of the concept of vécu is based on the fact that the relationship in vécu is a mixture (un mélange) that closes "un écart infime." Conversely, Foucault's conception of the relationship in "le vivant" is one that dissociates and keeps "l'écart infime" open. At the end, I suggest, through three "landmarks," how Foucault's critique might be applied to the later Merleau-Ponty. This essay is Part I of a trilogy on Merleau-Ponty and Foucault. Part II concerns Merleau-Ponty's "mixturism," while Part III concerns "the blind spot" in Foucault. These three texts complete the work necessary to open the problem of memory and life. (shrink)

We explore briefly Foucault's ideas about the care of the self, creating ourselves and what he meant by ethics. We then examine the work of five artists–Mark Rothko, Cindy Sherman, Helena Hietanen, Samuel Beckett, and Betty Goodwin–to help us begin to think very differently about illness and human suffering. Taking our lead from Beckett, we regard reason as being given too much responsibility for the work of a caring knowledge, and that it is through the arts that new ideas about (...) bioethics can emerge. (shrink)

The majority of translation theories remerging from the works of contemporary philosophers suffer from a lack of well-organized textual/semiotic analysis tools. Although such theories are specifically important because of their postulates, their incoherent methods normally make them difficult to be used or even sufficiently understood. Hermeneutic theories, however, have been re-visiting and re-constructing their principles, showing a remarkable tendency toward methodological and empirical investigation guided by their philosophy. Translational hermeneutics, as a major movement, has suggested six fundamental principles. Although this (...) contribution systemizes and simplifies hermeneutic conceptions, it still needs to construct a lingual analytic system for practical translation. Seeking to address this problem, this study views the six principles in the light of narratology and suggests a unified organization based on Ricoeur’s narrative theory by breaking the principles into a cognitive-existential dimension and a lingual/semiotic dimension. This framework processes both minimal and maximal language variables and addresses practical and pedagogical considerations. (shrink)

Izhodišče eseja je slika Renéja Magritta »Izdajstvo podob«. Avtor prouči vlogo, ki jo zatajitev igra v estetskem izkustvu vizualnih reprezentacij. Avtor trdi, da je estetska zatajitev ozko povezana s spolno zatajitvijo, kot jo razlagata Freud in Mannonijeva v svojih besedilih o fetišizmu. Ta razlaga estetske zatajitve je nato povezana s poststrukturalističnimi teorijami reprezentacije kot jih najdemo pri Lacanu, Barthesu in Derridaju, kar rezultira v nadrealistični »dekonstrukciji« psihoanalitičnih in post-strukturalističnih teorij reprezentacije.