amélia ☆’s Reviews > Desire in Language: A Semiotic Approach to Literature and Art > Status Update

No language can sing unless it confronts the Phallic Mother. For all that it must not leave her untouched, outside, opposite, against the lav, the absolute esoteric code. Rather, it must swallow her, eat her, dissolve her, set her up like a boundary of the process where "I" with
"she" - "the other," "the mother" — becomes lost. Who is capable of this? "I alone am nourished by the great mother," writes Lao Tzu. In the past, this was called "the sacred." In any case, within the experiencing of the phallic, maternal mirage, within this consummated incest, sexuality no longer has the gratifying appeal of a return to the promised land. Know the mother, first take her place, thoroughly investigate her jouissance and, without releasing her, go beyond her.
The language that serves as a witness to this course is iridescent with a sexuality of which it does not "speak"; it turns it into rhythm-it is rhythm. What we take for a mother, and all the sexuality that the maternal image commands, is nothing but the place where rhythm stops and identity is constituted. Who knows? Who says so? Only thythm, the de-signating and dissolving gesture, scans it.

It seems as if the narrative signified of Christian painting were upheld by an ability to point to its own dissolution; the unfolding narrative (of transcendence) must be broken in order for what is both extra- and anti-narrative to appear: nonlinear space of historical men, Law, and fantasy.
The representation of Hell would be the representation of narrative dissolution as well as the collapse of architecture and the disappearance of color. Even at this full stop in epic sequence, representation still rules as the only vestige of a transcendental norm, and of a signified in Christian art. Deprived of narrative, representation alone, as signifying device, operates as guarantee for the mythic and here, Christian) community; it appears as symptomatic of this pictorial work's adherence to an ideology; but it also represents the opposite side of the norm, the antinorm, the forbidden, the anomalous, the excessive, and the repressed: Hell.

discurso determinista da arte imposta ao artista (aqui Matisse) muito irritante, não mais que o discurso piroso que diz que todo e qualquer aspecto da obra é um reflexo dos "sentimentos" do artista ao pintar... como é que temos professores universitários tão presos a este facebook way of thinking

blablabla