Search Results

You are looking at 1 - 4 of 4 items for

  • Author or Editor: Bertrand Westphal x
  • Search level: All x
Clear All

Abstract

This chapter argues that literature and contemporary art can and do play an important decentering role in accounts of our culture and of how the world works. It challenges conventional attachments to single cultures and the notion of belonging as increasingly understood as belonging globally, contrasting the notion of the “global” with that of the “planetary”. It suggests that planetarity, as outlined in works such as The Planetary Turn by Elias and Moraru, is a desired way forward in order to achieve a balanced belonging rooted in environmental, decentered ethics and in aesthetics. Citing contemporary art-work such as the installations of Rirkrit Tiravanija, the “atlas” works of Brigitte Williams and the performance art of Guillermo Gómez Peña, the paper advocates an approach that favours the periphery rather than an all-invading Western-dominated centre. Such an approach serves to emphasize the contours of the world to the point where we can think the world as a single, immense periphery, thereby enabling us to see the “Other” as someone we can genuinely get to know.

In: Spaces of Longing and Belonging

Abstract

This chapter argues that literature and contemporary art can and do play an important decentering role in accounts of our culture and of how the world works. It challenges conventional attachments to single cultures and the notion of belonging as increasingly understood as belonging globally, contrasting the notion of the “global” with that of the “planetary”. It suggests that planetarity, as outlined in works such as The Planetary Turn by Elias and Moraru, is a desired way forward in order to achieve a balanced belonging rooted in environmental, decentered ethics and in aesthetics. Citing contemporary art-work such as the installations of Rirkrit Tiravanija, the “atlas” works of Brigitte Williams and the performance art of Guillermo Gómez Peña, the paper advocates an approach that favours the periphery rather than an all-invading Western-dominated centre. Such an approach serves to emphasize the contours of the world to the point where we can think the world as a single, immense periphery, thereby enabling us to see the “Other” as someone we can genuinely get to know.

In: Spaces of Longing and Belonging

Abstract

Sorti sur les grands écrans en 1996, The Pillow Book de Peter Grenaway est un film bien connu qui associe la peau à l’écriture, voire, en l’occurrence, à la calligraphie. Tout au long de son œuvre, le réalisateur nous montre que la peau est un seuil destiné à être franchi, la promesse d’un jaillissement, un volcan qui dort et se réveille par intermittence. En termes géocritiques, on dira qu’elle relève de ces dispositifs qui, loin de constituer un limes opaque (limite), sont un limen poreux (un seuil, justement). Le vocabulaire dermatologique est lui-même extraordinairement spatialisé, avec ses ouvertures, ses stratifications, son obsession de la surface. Tout au long du film, il inspire une série d’illustrations insolites. Le film oscille entre un Kyoto traditionnel et un Hong-Kong postmoderne, entre un pagus (pays) déroutant et une pagina (page) qui se remplit au fil des péripéties et des rencontres entre les protagonistes, à fleur de peau.

In: Imaginaires cinématographiques de la peau
Théorie littéraire et fragilité du divers
L’infini culturel est autour de nous, mais, comme l’horizon, il tend à fuir sous nos yeux. Il est sur les murs investis par le street art ; ou dans les toiles d’araignée auxquelles Tomás Saraceno a rendu homage ; ou dans les timbres-poste qui, comme savaient Walter Benjamin et Italo Calvino, sont des fenêtres ouvertes sur le monde.
Quelle que soient ses manifestations, l’infini nous engage à considérer l’extraordinaire diversité de la planète.
Face à lui, que faire, en littérature ?
Rester humble, par exemple, et formuler des hypothèses adéquates. Tenter de déjouer les asymétries qui empêchent les uns et les autres de s’exprimer partout dans de bonnes conditions. Revoir les fondements de la world literature et se mettre en résonance avec une culture authentiquement planétaire.

Cultural infinity is around us, but, like the horizon, it tends to flee before our eyes. It is on the walls invested by street art; or in the cobwebs to which Tomás Saraceno paid homage; or in postage stamps which, as Walter Benjamin and Italo Calvino knew, are windows to the world.
Whatever its manifestations, the infinite challenges us to consider the extraordinary diversity of the planet.
Facing him, what to do, in literature?
Remain humble, for example, and formulate adequate hypotheses. Try to thwart the asymmetries that prevent each other from expressing themselves everywhere in good conditions. Review the foundations of world literature and resonate with an authentically planetary culture.