By Martin Jay
Lengthy thought of "the noblest of the senses," imaginative and prescient has more and more come below serious scrutiny by means of a variety of thinkers who query its dominance in Western tradition. those critics of imaginative and prescient, particularly favorite in twentieth-century France, have challenged its allegedly stronger skill to supply entry to the realm. they've got additionally criticized its meant complicity with political and social oppression throughout the promulgation of spectacle and surveillance.
Martin Jay turns to this discourse surrounding imaginative and prescient and explores its frequently contradictory implications within the paintings of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, man Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay starts with a dialogue of the idea of imaginative and prescient from Plato to Descartes, then considers its function within the French Enlightenment prior to turning to its prestige within the tradition of modernity. From attention of French Impressionism to research of Georges Bataille and the Surrealists, Roland Barthes's writings on images, and the movie thought of Christian Metz, Jay presents lucid and fair-minded bills of thinkers and ideas well known for his or her difficulty.
His publication examines the myriad hyperlinks among the interrogation of imaginative and prescient and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of a lot fresh French inspiration. Refusing, even though, to shield the dominant visible order, he calls in its place for a plurality of "scopic regimes." bound to generate controversy and dialogue through the humanities and social sciences, Downcast Eyes will consolidate Jay's attractiveness as one in every of today's preferable cultural and highbrow historians.
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Extra info for Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought
After traveling by boat down the swollen Mogami River: The rains are gathered in a single flow And in torrents to the ocean go. After visiting a picturesque lagoon: Shallows at Shiogoshi, cool and wide Cranes hop and ponder in the tide. After viewing Lord Sanemori’s battle helmet, on display at a shrine: Sanemori, dreaded in his day— A cricket in his helmet chirps away. ” Fame Basho was at the height of his fame now—and homeless. In them he worked on Nar row Road to the Deep North and other projects; “thought about right and wrong, by lamplight at night”; and enter tained guests.
Tea would be sipped, poetry discussed. Or he would walk into town, to visit Kigin or some other friend. Even the leaking roof was part of its charm: In my banana tree, the wind’s refrain And in a bucket, the pattering of rain. A poem published in 1680 has been seen as inaugurating that style: Perched upon the withered branch, a crow. In the west, a glow. …Lounging under it, I savor the wind and rain beating on its leaves. * Whimsical pseudonyms are not unknown among writers— Mark Twain, Shalom Aleichem, Boz.
For nearly a century he knelt at his bench, turn ing out an estimated 30,000 drawings. He was the most prolific of artists—a fountain of images—a kind of mirror of the world. But his drawing abili ty was recognized; and at the age of eighteen (in 1778) he was apprenticed to Shunsho, one of Edo’s leading artists. He also married and had three children. This independence of his— along with a forceful personality—led to tensions at the stu dio; and finally he was expelled. ) Thus, Hokusai—dubbed Shunro—found himself working alongside Shunko, Shunjo, and Shunei!
Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought by Martin Jay