J. Martin

In this paper I focus on the limits of narrative by asking what kinds of things narratives do, and what kinds of texts do related things in other ways. In particular I focus on how narrative genres organise time in relation to value, drawing on functional linguistic models of temporality and evaluation. From a linguistic perspective, the various narrative genres negotiate different kinds of solidarity with listeners, and so the limits of narrative materialise various possibilities for communing in a culture, alongside the potentialities for construing community through related and other genres of discourse—since in general, the limits/possibilities of our language (and attendant modalities of communication) are the limits/possibilities of our social world.

Cécile Wick's work, oscillating among photography, painting, and drawing, is one of the most important oeuvres in contemporary Swiss art. Solo exhibitions in various galleries and a large retrospective at the Museum of Fine Art in Berne have recently showcased her prints and etchings to great acclaim. Cécile Wick. Colored Waters offers readers the first glimpse of the artist's more recent photographs and, in particular, drawings. Watercolors, ink drawings, inkjet prints and photographs are presented in series, putting media and motifs in a dialogue and revealing new aspects of Wick's work. Around 160 color reproductions of artworks are complemented with essays by Martin Jaeggi and Nadine Olonetzky on subjects such as light, traces, signs, buildings, nature, and rhythm in Wick's oeuvre.

Razširjeno sumničenje nadvlade vida v moderni kulturi, ki so ga v tem stoletju izrazili številni francoski intelektualci, je vplivalo na prakso in samorazumevanje nedavne ameriške umetnosti. S sledenjem vpliva mislecev, kakršni so Bataille, Foucault in Derrida ter umetnikov, kot je Duchamp, skuša članek razložiti zavračanje visokomodernističnega vrednotenja čiste optičnosti, ki sta ga v dobi neposredno po drugi svetovni vojni zagovarjala Clement Greenberg ter Michael Fried. Čeprav so pogosto komentirali premestitev težišča modernistične umetnosti iz Pariza v New York po letu 1945, to ne velja za kasnejše »maščevanje« francoske teorije, ki so ga v angloameriški kulturni prostor prenesli kritiki, kakršna sta Rosalind Krauss in Norman Bryson. Vpliv te teorije je pomagal spodkopati vrednost abstraktnega ekspresionizma v korist drugih gibanj, kakršna so neodada, konceptualna umetnost in minimalizem, kijih lahko delno razumemo kot zavračanje prvenstvenosti vizualnih vrednot.

La notion de «populaire» est saisie différemment en Amérique latine et en Europe, puisque là, le populaire est une forme d'hybridation des cultures indiennes, des programmes médiatiques et de la civilisation urbaine. Il s'agit d'abord de penser masse et populaire de manière autonome, en se gardant de tout discours de dénonciation, pour saisir en quoi les telenovelas, par exemple, produisent une oralité seconde porteuse d'une nouvelle dynamique culturelle pour le plus grand nombre. La culture populaire est ainsi un lieu de réappropriation, dans un artisanat indien remodelé par le design mondialisé, autre exemple, où l'hétérogénéité des productions n'empêche pas une reconstruction identitaire qui retisse des liens avec un passé qu'il est indispensable de réinterpréter.The concept of "popular" is seized differently in Latin America and Europe, since there, the popular one is a form of hybridization of the Indian cultures, programs media and urban civilization. It is initially a question of thinking mass and popular in an autonomous way, while keeping itself of any speech of denunciation, to seize in what the telenovelas, for example, produce a second orality carrying a new cultural dynamics for the greatest number. The popular culture is thus a place of reappropriation, in an Indian craft industry reorganized by the mondialized design, another example, where the heterogeneity of the productions does not prevent an identity rebuilding which weaves new links with a past which it is essential to reinterpret

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En un reciente y sumamente interesante Congreso organizado por Nordic Society of Phenomenology y la Lithuanian Society of Phenomenology expuse, en una de las seis sesiones plenarias, lo fundamental y básico de la fenomenología husserliana de la razón a la hora de fundar las ciencias humanas. Los dos elementos fundamentales de esa fenomenología de la razón, son, por un lado, la descripción husserliana que procede de las Ideas de 1913, de que en la donación que se da en la percepción hay una fundación de la razón, porque la percepción nos da las cosas en persona, por tanto, en lo que podríamos llamar con todo derecho, en sí mismas, en lo que Ortega intetpretará correctamente, como en su ejecutividad, lo que no obsta a que, siendo lector profundo de William James, Husserl enraíce en esa percepción de la Urdoxa, la creencia originaria, porque toda percepción y todo juicio de realidad que se base en una percepción implican una creencia en que estamos en lo cierto, que lo percibido y afirmado se seguirá comportando de ese modo. [Fragmento]