![]() Un tel rôle instrumental de langue est évident aussi dans son utilisation du marron chromatique que je fais l'interprète comme faisant marcher plus comme une référence insignifiante au monde réel et exprimant des tropes de fusion et de pourriture que la réalisation d'un esthétique, compositional ou d'un rôle structurel. Pendant la plupart de sa période adulte, Duchamp a produit le travail dans lesquels les noms d'images et d'objets il a utilisé, aussi bien que les figures de rhétorique flexionnelles dans les titres, a constitué une partie définissante dans l'évocation de sens et de l'articulation de concepts. En considérant l'oeuvre de l'artiste dans son ensemble, pourtant, il devient clair que son usage chromatique était bien plus révolutionnaire et conceptuel que ce de ses contemporains, étant plus spécialement de l'ordre du parlêtre (l'être parlant). Bien que l'artiste français/Américain Marcel Duchamp (1887 – 1968) jamais thematised ou n'ait théorisé peignent en n'importe quelle voie formelle, une orientation métaphorique pour rougir est découverte dans son travail qui doit avoir fait partie de général Zeitgeist juste après le tour du deuxième millénaire quand artmaking était sous l'influence d'une révolution émergeant du point de vue de la réflexion scientifique, la physique quantique et la géométrie non-Euclidian. ![]() Il ne peut plus être question d'un Beau plastique Marcel Duchamp (Hulten 1993:29). They are proposed as additions to the existing constellation of understanding of Duchamp’s oeuvre, rather than as foreclosures upon other ways of reading Duchamp’s body of work. ![]() These resonances should be understood as open readings, rather than exclusive readings. Furthermore, an examination of Duchamp’s body of work demonstrates a number of strategic and thematic resonances between artist and author that reinforce what the archival evidence suggests. This relationship seems to have begun by as early as 1912, well in advance of the Surrealists’ discovery of the author, and it lasted throughout Duchamp’s life. Historical documents as well as statements by the artist himself and those closest to him suggest a stronger engagement by Duchamp with the works of Lautréamont than has been previously proposed. This thesis proposes otherwise, making the case that Lautréamont was more fundamentally important to Duchamp than yet realized. Other historians, generally working under the premise that Lautréamont only came to Duchamp’s attention by way of the Surrealists, have explicitly rejected the possibility that the Uruguayan-French poet had any meaningful position in Duchamp’s library prior to the Surrealist championing of the author. Among the few who have proposed such a connection, none have yet offered a broadly documented or sustained argument. The work of Lautréamont, however, has received proportionally little attention, despite several indications of its importance for the artist. Their work has elucidated the roles of Raymond Roussel, Alfred Jarry, Stéphane Mallarmé, Jules Laforgue, and Jean-Pierre Brisset, among others, for Duchamp. Scholars have done an extraordinary job of documenting and analyzing a number of Duchamp’s literary sources and inspirations. This thesis explores the relationship between Marcel Duchamp’s oeuvre and the texts of the Comte de Lautréamont, arguing that the author’s works comprise an overlooked and undervalued source of interest and ideas for the artist. Moreover, it is seen as equivalent to the down-scaling of dimensionality observed in the Large Glass, where transparency in one go eliminates the representation of spatial circumstances and opens up the objects toward the ever-changing physical surroundings, thereby exposing more of those 4-dimensional projections, which are normally suppressed in our reduced 3-dimensional perception of the world. Mapping Giorgio Agamben's interpretation of Herman Melville's short story Bartleby, the Scrivener (1856) onto the readymades, this shrink-to-expand strategy is understood as a skeptical suspension of judgment, epoché, comparable to Bartleby's polite refusal to work. their actualization, in order to regain potentiality. More precisely, the readymades are seen as mass-produced utensils that have been stripped bare of their usual function, i.e. ![]() Departing from Duchamp's advice in 1961 of finding the "common factor" between the non-representative and the representative, translated here into modernism and avant-garde, this article seeks to understand the readymades as objects that have passed metaphorically through Duchamp's magnum opus, the unfinished Large Glass (1915-23).
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