دگردیسنده‌های مارسل دوشان

by Jean-François Lyotard, شهرام رستمی (Translator)

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چاپ ۱۳۹۳

Genres: Art, Essays, Theory

160 pages, Paperback

Published April 1, 2014

About the author

Jean-François Lyotard (DrE, Literature, University of Paris X, 1971) was a French philosopher and literary theorist. He is well-known for his articulation of postmodernism after the late 1970s and for his analysis of the impact of postmodernity on the human condition.

He went to primary school at the Paris Lycées Buffon and Louis-le-Grand and later began studying philosophy at the Sorbonne. After graduation, in 1950, he took a position teaching philosophy in Constantine in French East Algeria. He married twice: in 1948 to Andrée May, with whom he had two daughters, and for a second time in 1993 to the mother of his son, who was born in 1986.

Reviews

[Luke · Rating 4 out of 5]

For Lyotard, Duchamp is the end of metanarrative in relation to art. What was the metanarrative of art? Its claim to be an image of the divine. Nature itself was endowed with this divinity; the world was God's art and in representing it the artist was giving expression to the same form. The development of geometrically-based perspective was deeply implicated in this story. It was the foundation of a claim to a universal and naturalistic form of representation. Perspective, though, is really only just one way of painting or otherwise representing a subject, however powerful and useful and influential it is as a technique. It is not a genuinely universal view. Modern art is a reaction against the dominance of perspective and its claim to realism, and conceptual art is a self-conscious critique of it. It is also the critique of the ideas of art and the artist associated with it. Lyotard wants to show how the Large Glass and Given are both workings out of these ideas.

[Cyprien Saito · Rating 2 out of 5]

Dismissal !