This book joins together Shakespeare and Proust as the great writers of love to show that love is always anachronistic, and never more so when it is homosexual. Drawing on Nietzsche, Freud, Heidegger, Derrida, Blanchot and Levinas and Deleuze, difficult but essential theorists of the subject of ‘being and time’ and ‘time and the other’, it examines why speculation on time has become so crucial within modernity. Through the related term ‘anachronism’, the book considers how discussion of time always turns into discussion of space, and how this, too, can never be quite defined. It speculates on chance and thinks of ways in which a quality of difference within time—heterogeneity, anachronicity—is essential to think of what is meant by ‘the other’. The book examines how contemporary theory considers the future and its relation to the past as that which is inescapable in the form of trauma. It considers what is meant by ‘the event’, that which is the theme of all post-Nietzschean theory and which breaks in two conceptions of time as chronological.
the double paradox of the symptom: it produces both a visual and temporal disturbance. He writes, ‘Mais s’arrêter devant le pan , ce n’est pas seulement interroger l’objet de nos regards. C’est aussi s’arrêter devant le temps .’ 2 (‘But stopping before the pan not only means asking questions of what we are looking at, it also means stopping before time .’) The symptom is an anachronism, a displacement in time. An anachronistic understanding of history draws attention to the deeper, temporal assumptions about art and its history.
In Devant le temps , Didi
References to anachronism in Proust
(1871–1922) spread over four of the seven books of À la
recherche dn temps perdu . Marking their occurrence is equivalent
to introducing Proust, though, ironically, doing so chronologically. The
novel was begun after 1907, the first volume appearing in 1913, the
last, posthumously, in 1927. We start with Du côté de chez
The tendency in most writing on the temporal properties of film music has been to
note music‘s ability to establish, quickly and efficiently, a films historical
setting. Although acknowledging this important function, this paper seeks to explore
a wider range of temporal properties fulfilled by film music. Three aspects of musics
temporality are discussed: anachronism (whereby choices of anachronistic music can
provide the spectator with ways of making sense of a films subtext or its characters’
state of mind), navigation (the ability of music to help the spectator understand
where and when they are in a films narrative) and expansion (musics ability to expand
our experience of film time). The paper focuses on Bernard Herrmann, and his score
for Taxi Driver (1976), and argues that Herrmann was particularly sensitive to the
temporal possibilities of film music.
Artists’ Printed Portraits and Manuscript Biographies in Rylands English MS 60
Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art.
Being made to feel anachronistic may
be equivalent to feeling dumped, but it gives opportunities, and allows
for irony. Thinking about ‘anachronism’ means considering
what is out of time, what resists chronology. Some people try ensuring
punctuality by setting their watches a few minutes fast, so they are
mentally aware of two readings of time at once: watch-time and real
Following Proust’s fourth
instance of anachronism, it seems that the conditions of love,
especially where that is homoerotic, condemn the lover towards
anachronous behaviour. That seems true of Thomas Mann’s Death
in Venice (1912), with the fifty-three-year-old Gustav von
Aschenbach, but I shall take instances from Michelangelo’s, then
Didi-Huberman and the image is an introduction to French art historian and philosopher Georges Didi-Huberman. With an enormous body of work spanning four decades, Didi-Huberman is considered one of the most innovative and influential critical thinkers writing in France today. In this monograph art historian Chari Larsson presents the first extensive English-language study of Didi-Huberman’s research on images. Placing Didi-Huberman’s project in relation to major historical and philosophical frameworks, this book shows not only how Didi-Huberman modifies dominant traditions, but also how the study of images is central to a new way of thinking about poststructuralist-inspired art history. This book explores the origins of Didi-Huberman’s project, arguing he has sought renewal by turning the discipline of art history on its axis, wresting it away from its founding ‘fathers’ such as Giorgio Vasari and Erwin Panofsky and instead reorganising it along the poststructuralist lines of Michel Foucault, Jacques Derrida and Gilles Deleuze. An image is a form of representation, but what is the philosophical framework supporting it? Didi-Huberman takes up this question repeatedly over the course of his career.
with toxic passion or heal with human compassion, depending on the object and the situation.
Part of the challenge of deploying the concept of positive emotions to talk about early modern literature, moreover, may emerge from the inherent imprecision, if not the implicit anachronism, of the term ‘emotion’. It is certainly significant that all the early modern entries for the word ‘emotion’ are negative in the Oxford English Dictionary . It is a word whose first uses include ‘political agitation
textual sources, information which might itself then become part of the
The remainder of this chapter examines the contrasting
uses, or non-uses, of medieval art objects in two medieval films and
assesses how they contribute to the films’ overall authenticity-effects.
Both films are based on twentieth-century novels which share a knowing
approach to the past, patching overt anachronism with real