In:
Oxford Literary Review, Edinburgh University Press, Vol. 36, No. 1 ( 2014-07), p. 37-47
Abstract:
Messianicity is not. Art is. Derrida, however, was not into pictures; his relationship with art remained in the quasi-transcendental mode of frames. Romeo Castellucci's use of a painting by Antonello da Messina exposes the Derridean non-messianism through art's power to illustrate – a mode abandoned by Derrida in the Heidegger-Schapiro debate on Van Gogh. In Castellucci, on the contrary, art illustrates what ‘messianicity’ is unable to illustrate and thus is bound to deny even in the negative.
Type of Medium:
Online Resource
ISSN:
0305-1498
,
1757-1634
DOI:
10.3366/olr.2014.0085
Language:
English
Publisher:
Edinburgh University Press
Publication Date:
2014
detail.hit.zdb_id:
2607223-3
SSG:
7,12
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