By Lisa Jeschke, Adrian May
Matters of Time presents an unorthodox array of views on materialist inspiration and illustration in twentieth-century French highbrow tradition. Time is figured because the fundamental innovative proposal, via key historic moments from Jean Jaurès’ orientation of the socialists on the flip of the century to the inter-generational clash and politicization of way of life in may perhaps ’68. Essays on dialectics and theories of teleological growth are put facet by means of aspect with debts of the existential flip in Marxist concept in France. Contributions on Heidegger and Sartre inject meditations on human mortality into concerns of a brand new politics of finitude. the amount additionally emphasizes the inseparability of aesthetic and political idea for the French avant-gardes: chapters on Sade, Artaud and Jarry position Marx’s theories of creation and commodity fetishism into touch with physically abjection. The manipulation of time in cinema and subject in portray are tested as a testomony to the 20th century as a interval of constant experimental pressure among shape and signification. Generational futurity is explored via Genet’s spatial representations of filiation and Verlaine’s proto-ecological attunement to nature. the quantity as an entire constructs a inevitably fragmented timeline of the breaks, tensions and antagonisms in twentieth-century French proposal, tradition and politics, with specific specialize in questions of overdue capitalism and political, highbrow and aesthetic growth and regress
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19 Ibid. lxiv. 20 Jaurès, Études socialistes, 14. 21 Ibid. 32. 22 Jaurès, ‘Question de méthode’, ibid. xii. 23 Rebérioux, ‘Présentation’, ibid. [unnumbered pages]. 24 Jaurès, ‘Question de méthode’, ibid. xii. A Period of Transition: Political Time in the Work of Jean Jaurès 35 develop gradually out of the present as a result of diligent work, rather than appearing or landing suddenly. It is interesting, at this point, to reconsider the extent to which Jaurès thought that history could be shaped by individuals or composites of individuals.
Weil employs Proteus as an allegorical figure representing the way imagination can mould the outside world into constantly changing shapes 15 First published in Livres Propos 5 (1929). Weil’s Œuvres complètes will henceforth be referred to as OC, and volume and page numbers will be given in the text. For a similar analogy, see Antonin Artaud’s conception of an ‘athlétisme affectif ’ in Le théâtre et son double (Paris: Editions Flammarion, 1973). 48 Lisa Jeschke according to whatever one’s own state of thought at any particular point might be.
533. Ibid. 31. To Refuse to Imagine: Simone Weil’s Materialism 45 Pris comme Conscience-de-soi, en-tant-que-telle, l’Esclave se rapporte lui-aussi à la chose d’une-manière-négative-ou-négatrice, et il la supprime [dialectiquement]. 10 The slave, by means of his labour, prepares the object for consumption, dialectically transforming it, but not annihilating it. A cause de cela, il ne peut pas, par son acte-de-nier, venir à bout de la chose jusqu’à l’anéantissement [complet de la chose, comme le fait le Maître qui la ‘consomme’].