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• W344549504 abstract "I observe that visible figures represent tangible figures, much after same manner that written words do sound.(1) George Berkeley (78). In Phaedrus, Plato records Socrates's claims that the productions of painting look like living beings, but if you ask them question they maintain The same holds true of written 97).(2) The of writing is criticized by Socrates for substituting authenticity and authority of speaking voice with lifeless, speechless signs and inscriptions. The basis for critique, however, is questioned by Jacques Derrida through his exposure of contradictions in argument (after all, by Socrates is rendered to us by Plato in writing) and in his interrogation of sharply opposed meanings within individual words in Platonic lexicon. While the of pictorial or sculptural space is normal, according to Derrida, this is no longer case in scriptural order, since writing gives itself as of speech (Plato's Pharmacy 137). The written image, grain of voice, is an emphatic example of problematic collusion writing and painting and provides us with an opportunity to examine complexity of solemn silence of painting and writing. Socrates's claim is, of course, tied to notion of painting and writing as representational. That is, he sees writing and painting as mimetic devises re-presenting living models. But what happens when painting is subsumed under and represented through writing? While accentuating meaning of text, visual imagery (such as written painted portrait) might also, simultaneously and inevitably, spread noise that erodes meaning and thus disturbs solemn silence. Hence, written painting can emerge as an overpowering opacity full of enigmatic implications, difficult to decipher, often--or perhaps always--escaping interpretation. Although representation is most frequently seen as situated within visual field, I will attempt to show how visual images in writing can elude (or at least complicate) representation and hence become textual blind spots. The intricate reciprocity written and pictorial representative, if viewed through prism of Derrida's thoughts on pictorialization of writing and grammatization of image (Brunette 100), raises series of questions that enable us to examine given text outside binary logic. Constructing series of key words that in various ways point out contradictions, not only within whole text, but within single words as well, Derrida examines what he calls undecidables or between inherent in terms such as pharmakon and hymen.(3) The Derridian lexicon, however, is highly gendered, as pointed out by feminist critics. His practices and use of sexually coded vocabulary (for example hymen, invagination) as part of his critical lexicon does not, however, necessarily become stumbling block or a site of colonization over female (Benstock xvii-xvii). Nor does it inevitably place woman and her parts into discursive circulation merely to titillate male reader.(4) In essay I will show how Derrida's terminology invites reading of textual body and that reveals complexity of gender inscriptions. The gendered implications in analytical terminology creates response from texts themselves and thus might be said to concoct dialogue between theory and praxis. The construct of undecidables or between is implicitly addressed by one of Sweden's foremost nineteenth century authors, Carl Jonas Love Almqvist (1793-1866) in his use of word mellanting. Mellanting depicts not only poly-voice of his writing but also individual characters in his fiction--specifically in relation to characters' gender identities. Almqvist is well known for his use of multiple discourses, renditions of romantic Gesamtkunstwerk, that are full of masquerades, double identities, incestuous relationships, and androgynous characters. …" @default.
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• W344549504 date "1993-03-22" @default.
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• W344549504 title "Signatures; Spelling the Father's and Erasing T E Mother's in C.J.L. Almqvist's 'Ramido Marinesco' and H.C. Andersen's 'O.T.' (Hans Christian Andersen, Carl Jonas Love Almqvist)" @default.
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