Renaissance Florence: 特写一览

Detroit Science Center - Wikipedia, the free encyclopedia
Renaissance Center • Comerica Tower at Detroit Center • Penobscot Building • Cadillac Tower • Guardian Building • Book Tower • David Stott Building • David Broderick Tower • Millender Center Apartments • Westin Book-Cadillac Hotel • Sheraton Detroit Riverside Hotel • Buhl Building • Riverfront Tower 300 • Riverfront Tower 200 • Washington Square • One Woodward Avenue • 211 West Fort Street • Patrick V. McNamara Federal Building • 150 West Jefferson • Detroit Edison Plaza • First National Building • 1001 Woodward • Riverfront Tower 100 • Sheraton Detroit Riverside Hotel
Category: Renaissance Center Detroit

光阴如莲· 乍暖還寒春天的故事: Dali Labelled
June 08 Dali Labelled Salvador Dali Keywords: surrealist     surnaturality     moustache       snail      clock      elephant      unicorn                  religion   Note from Dali   What do you think as beauty?                          Order.                         What do you think as ugliness?                      Disorder.                        What's the secret of your success?                      Make the right art for the right people at the right time in the right  place.   Â
Category: Salvador Dali Unicorn

THE DEATH OF THE AUTHOR /...
THE DEATH OF THE AUTHOR / ROLAND BARTHES 　　 　　 　　 　　In his story Sarrasine, Balzac, speaking of a castrato disguised as a woman, writes this sentence: "It was Woman, with her sudden fears, her irrational whims, her instinctive fears, her unprovoked bravado, her daring and her delicious delicacy of feeling" Who is speaking in this way? Is it the story's hero, concerned to ignore the castrato concealed beneath the woman? Is it the man Balzac, endowed by his personal experience with a philosophy of Woman? Is it the author Balzac, professing certain "literary" ideas of femininity? Is it universal wisdom? or romantic psychology? It will always be impossible to know, for the good reason that all writing is itself this special voice, consisting of several indiscernible voices, and that literature is precisely the invention of this voice, to which we cannot assign a specific origin: literature is that neuter, that composite, that oblique into which every subject escapes, the trap where all identity is lost, beginning with the very identity of the body that writes. · · · 　　 　　Probably this has always been the case: once an action is recounted, for intransitive ends, and no longer in order to act directly upon reality — that is, finally external to any function but the very exercise of the symbol — this disjunction occurs, the voice loses its origin, the author enters his own death, writing begins. " 　　 　　· · · 　　 　　Though the Author's empire is still very powerful (recent criticism has often merely consolidated it), it is evident that for a long time now certain writers have attempted to topple it. In France, Mallarme was doubtless the first to see and foresee in its full extent the necessity of substituting language itself for the man who hitherto was supposed to own it; for Mallarme, as for us, it is language which speaks, not the author: to write is to reach, through a preexisting impersonality — never to be confused with the castrating objectivity of the realistic novelist — that point where language alone acts, "performs," and not "oneself": Mallarme's entire poetics consists in suppressing the author for the sake of the writing (which is, as we shall see, to restore the status of the reader.) Valery, encumbered with a psychology of the Self, greatly edulcorated Mallarme's theory, but, turning in a preference for classicism to the lessons of rhetoric, he unceasingly questioned and mocked the Author, emphasized the linguistic and almost "chance" nature of his activity, and throughout his prose works championed the essentially verbal condition of literature, in the face of which any recourse to the writer's inferiority seemed to him pure superstition. It is clear that Proust himself, despite the apparent psychological character of what is called his analyses, undertook the responsibility of inexorably blurring, by an extreme subtilization, the relation of the writer and his characters: by making the narrator not the person who has seen or felt, nor even the person who writes, but the person who will write (the young man of the novel — but, in fact, how old is he, and who is he?
Category: Absence Myth Surrealism Writings