Lyotard Reframed: Interpreting Key Thinkers for the Arts (Contemporary Thinkers Reframed)

Lyotard Reframed: Interpreting Key Thinkers for the Arts (Contemporary Thinkers Reframed)

Language: English

Pages: 208

ISBN: 1845116801

Format: PDF / Kindle (mobi) / ePub

Lyotard's thoughts on the postmodern have often been misunderstood or misrepresented. Lyotard Reframed provides a clear and original introduction to Lyotard's work on the postmodern and his philosophy more generally, demonstrating its on-going relevance to creative endeavor and debates concerning the value and significance of the visual arts. It also situates Lyotard's discussion of the postmodern in the context of his other key concepts: the Figural, the Libidinal, and the Sublime. Written for students, teachers and those interested in the arts more generally, Lyotard Reframed employs numerous examples drawn from painting, cinema, and comic books, to illustrate the significance of these ideas and to explore their links with phenomenology, Marxism, structuralism, psychoanalysis and deconstruction. It also presents a glossary of relevant concepts and a useful guide to further reading.

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in the form of slips of the tongue, peculiar physical symptoms, memory lapses, dreams, etc. In particular, Freud’s investigation of dreams led to the formulation of his first account of psychic functioning, the so-called ‘topographical model’. In this model Freud distinguishes between, on the one hand, ‘consciousness’ (moment-to-moment awareness which is closely tied to the perceptual system) together with the ‘preconscious’ (wherein certain memories and ideas are stored but can be recalled

‘Several Silences’, Libidinal Economy and (subject to certain revisions) his 1977 article ‘The Unconscious as Mise en Scène’. In ‘Painting as a Libidinal Set-up’ (1973) Lyotard presents the schematic of a typical theatre or performance venue consisting of divisions or boundaries that delimit or separate, whilst simultaneously relating, several different ‘spaces’. First, there is the building or enclosure (see boundary 1 in Figure 4) that separates the internal spaces from the world or supposed

something that refers to a meaning external to what is seen, applies and operates in otherwise seemingly disparate domains. In ‘Painting as a Libidinal Set-up’ the focus is on painting as a form of representation that reflects the general structure of the theatrical model – in this case via the physical and literal frame (boundary 2), the support in the form of paint, canvas, brush technique, stretcher, primer, linear perspective, etc. (boundary 3), and the exhibiting space or gallery (boundary

and masterful interventions – it is a perspective in which existence is nihilistically stripped of meaning. It constitutes a world, he argues, in which although the physical and communicational ‘distances’ between people may seem smaller and more easily surmountable than in the past, it is also an environment in which (in respect of being and community) they have never been so far removed from one another. In his writings on art Heidegger attempts to address these issues and provide a different

marked public debate, as artistic reputations and academic careers were made and unmade. The second feature, which I have already touched on, involves viewing postmodernism as explicitly denoting a periodisation – a movement from one period or era or stage to another (i.e. as chronologically or causally following modernism or modernity as either continuation or repudiation). Indeed, this was one of the most persistent and vexing problems that beset the reception of The Postmodern Condition: the

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