Bayley, S. (2022). The academic manifesto: Urgency and reflective thought. The Comparative Literature Undergraduate Journal.
Added by: Mark Grimshaw-Aagaard 12/02/2023, 18:21
Dack, J. (2017). Pierre Schaeffer’s treatise on musical objects and music theory. In An Essay across Disciplines. (pp. xxix–xxxiv). Berkeley: University of California Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 13/07/2024, 12:17
Fried, M. (1980). Absorption and theatricality: Painting and beholder in the age of Diderot. Berkeley: University of California Press.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/09/2018, 17:21
Discussing a painting by Jean-Baptiste Le Prince, Diderot states that it "puts you in the scene" but, rather than merely being an observer of the pastoral setting and musical absorption depicted in the painting, Diderot feels compelled to take part in and extend the action: "I shall go and sit next to the boy; and when night draws near, all three of us together will accompany the good old man to his hut". (Translation by Fried.)
Of paintings by Claude-Joseph Vernet, where Diderot imagines himself wandering through and extending the depicted landscape and activities: "Who knows how long I spent in that state of enchantment?" (translated by Fried).
According to Diderot, one forgets one's presence in front of the painting: one is in the painting and "that is the strongest magic of art" (translated by Fried).
Diderot's views call for an obliteration of the beholder's presence in front of the painting and the transportation of "the beholder's physical presence" to within the painting. Beholder and painting become "a closed and self-sufficient system".
Spadoni, R. (2007). Uncanny bodies: The coming of sound film and the origins of the horror genre. Berkeley: University of California Press.
