000			03727nam a22004217a 4500
001			sulb-eb0010606
003			BD-SySUS
005			20160404144326.0
008			130405s2013 nyu o 00 0 eng d
020			_a9780823250950
020			_z9780823250936 (hardback)
020			_z9780823250943 (paperback)
020			_z0823250938
040			_aMdBmJHUP _cMdBmJHUP
041	1		_aeng _hfre
050	0	0	_aNC17.F7 _bL96713 2013
082	0	0	_a741.01/17 _223
100	1		_aNancy, Jean-Luc.
240	1	0	_aPlaisir au dessin. _lEnglish
245	1	4	_aThe pleasure in drawing _h[electronic resource] / _cJean-Luc Nancy ; translated by Philip Armstrong.
250			_aFirst edition.
260			_aNew York : _bFordham University Press, _c2013. _e(Baltimore, Md. : _fProject MUSE, _g2015)
300			_a1 online resource (xiii, 116 pages )
500			_aTranslation of: Plaisir au dessin. -- Paris : Hazan ; Lyon : Musee des beaux-arts de Lyon, c2007. -- 239 p. : ill. (some col.) ; 28 cm.
504			_aIncludes bibliographical references.
520			_a"Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form--of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions"-- _cProvided by publisher.
520			_a"Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form--of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions. Recalling that drawing and design were once used interchangeably, Nancy notes that "drawing" designates a design that remains without project, plan, or intention. His argument offers a way of rethinking a number of historical terms (sketch, draft, outline, plan, mark, notation), which includes rethinking drawing in its graphic, filmic, choreographic, poetic, melodic, and rhythmic sense. If drawing is not reducible to any form of closure, it never resolves a tension specific to drawing but allows the pleasure of drawing to come into appearance, which is also the pleasure in drawing, the gesture of a desire that remains in excess of all knowledge. Situating drawing in these terms, Nancy engages a number of texts in which Freud addresses the force of desire in the rapport between aesthetic and sexual pleasure, texts that also turn around the same questions concerning form in its formation, form as a formative force. Between the sections of the text, Nancy has placed a series of "sketchbooks" on drawing, composed of a broad range of quotations on art from different writers, artists, or philosophers"-- _cProvided by publisher.
588			_aDescription based on print version record.
650		7	_aART / Techniques / Drawing. _2bisacsh
650		7	_aPHILOSOPHY / Aesthetics. _2bisacsh
650		7	_aART / Criticism & Theory. _2bisacsh
650		0	_aDrawing _xPhilosophy.
655		7	_aElectronic books. _2local
700	1		_aArmstrong, Philip, _d1962- _etranslator.
710	2		_aProject Muse.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/books/9780823250950/
942			_2Dewey Decimal Classification _ceBooks
999			_c31897 _d31897