Rebecca Longtin

This paper explores Cézanne’s art through the lens of disability gain. Disability gain defies the ability-disability binary, which defines disability as a lack of ability, by emphasizing what is gained through different disabilities. Central to my discussion are (1) Tobin Siebers’s description of modern art as vitally and thematically disabled and (2) Rosemarie Garland-Thomson’s concept of misfitting, which allows for a phenomenological account of disability that emphasizes the depth of awareness and creative world-making possibilities that are gained through disability. By bringing Siebers’s approach to disability aesthetics and Garland-Thomson’s concept of misfitting into conversation with Merleau-Ponty’s “Cézanne’s Doubt” and “Eye and Mind,” I will explain how Cézanne’s unique way of perceiving the world and capturing it in paint helps Merleau-Ponty to dismantle abstract, disembodied concepts of visual perception and trace the nuanced contours of lived perspective. In other words, what is gained through Cézanne’s disabilities is a revolutionary optics that overcomes the limitations of Cartesian optics.

This paper applies Karl Jaspers’ and Martin Heidegger’s accounts of transcendence to their descriptions of Van Gogh’s art. I will contrast Jaspers’ more vertical account of immanent transcendence to Heidegger’s horizontal one. This difference between their separate understandings of transcendence manifests itself in their estimations of the significance of Van Gogh’s art. Using phenomenology to understand Van Gogh’s art in light of immanent transcendence, moreover, illuminates a new understanding of transcendence as the ‘beyond’ that is always already here in the immanent and reveals the ability of an object to point beyond itself. Both of these concepts are at work in Van Gogh’s art as well as modern art in general as the expansion of reality through new sight. Immanent transcendence and Van Gogh’s art are different but interconnected ways of rethinking experience beyond the limits of positivism and the myth of the given. Van Gogh’s art thus embodies a sensible world transformed. In particular, Van Gogh’s landscapes and still life series suggest the inexhaustibility of the things we so often overlook in our everyday experience.

This paper interprets von Trier’s Dogville as a suspension of belief that provokes a re-evaluation of contemporary moral values. Reading Dogville through the Stoic concept of phantasms and Nietzsche’s perspectivism, I analyze the plot and visual techniques as revealing how we form, evaluate, and re-evaluate our beliefs based on changing impressions and shifting perspectives. The philosophy of the Stoics and Nietzsche and the visual techniques of Dogville demonstrate that the recognition of the artificiality of appearances serves a moral purpose by forcing us to examine our beliefs more deeply. In this way, von Trier presents film as a powerful art form for suspending and evaluating how we see and understand the world.

Scholars have thoroughly discussed the visual aspects of Foucault’s archaeological and genealogical methods, as well as his own emphasis on how sight functions and what contexts and conditions shape how we see and what we can see. Yet while some of the images and visual devices he uses are frequently discussed, like Las Meninas and the panopticon, his diagrams in The Order of Things have received little attention. Why does Foucault diagram historical ways of thinking? What are we supposed to see and understand through these diagrams? To examine the role of the diagram in Foucault’s archaeological method, this paper provides a close reading of how the classical quadrilateral visualizes the structure, function, content, principles, and underlying assumptions of language and thought. In analyzing the diagram as a way for visualizing history, this paper demonstrates how Foucault enacts a new visual language that emphasizes the contingency of thought.

Heidegger’s engagement with the poet Friedrich Hölderlin often dwells on the issue of temporality. For Heidegger, Hölderlin is the most futural thinker (zukünftigster Denker) whose poetry is necessary for us now and must be wrested from being buried in the past. Heidegger frames his reading of Hölderlin in terms of past, present, and future and, more importantly, describes him as being able to poetize time. This paper examines what it means to poetize time and why Hölderlin’s poetry in particular allows us to understand temporality as the interplay of presence and non-presence.