When All That Takes Place Is the Place Itself': Tracing the Word/Image Parallax from Godot to Gatsby
In his 1994 work Picture Theory, W.J.T. Mitchell outlined a revised notion of Iconology that was seen to mark a paradigmatic shift in the direction of text/image scholarship. Offering “theoretical justification for broadening the scope of visual studies” (Bartmanski, 2012 10), Mitchell appeared to r...
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2018
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| Online Access: | http://hdl.handle.net/20.500.12458/261 |
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| _version_ | 1857415064851578880 |
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| author | Kilroy, Robert |
| author_facet | Kilroy, Robert |
| author_role | author |
| dc.creator.none.fl_str_mv | Kilroy, Robert |
| dc.date.none.fl_str_mv | 2018 2019-01-27T09:51:55Z 2019-01-27T09:51:55Z |
| dc.identifier.none.fl_str_mv | http://hdl.handle.net/20.500.12458/261 |
| dc.language.none.fl_str_mv | en |
| dc.relation.none.fl_str_mv | L’avoir lieu/Taking place’ Colloque international organisé par l’équipe d’accueil Voix Anglophones, Littérature et Esthétique, VALE (EA 4085) |
| dc.title.none.fl_str_mv | When All That Takes Place Is the Place Itself': Tracing the Word/Image Parallax from Godot to Gatsby |
| dc.type.none.fl_str_mv | Controlled Vocabulary for Resource Type Genres::text::conference object::conference proceedings |
| description | In his 1994 work Picture Theory, W.J.T. Mitchell outlined a revised notion of Iconology that was seen to mark a paradigmatic shift in the direction of text/image scholarship. Offering “theoretical justification for broadening the scope of visual studies” (Bartmanski, 2012 10), Mitchell appeared to resolve what had long been regarded as a central site of epistemological struggle, what he himself termed the word/image problematic. In recent years, however, inconsistencies in Mitchell's position have started to appear: despite his stated intentions, there remains a tendency in his work to reconstruct the very ontological divide he seeks to overcome. What this continued persistence of the word/image dualism bears witness to is the critical urgency of a revised theoretical intervention. A new avenue of investigation presents itself in the form of Slavoj {\v{Z}}i{\v{z}}ek's concept of the “parallax”. When faced with an irreducible gap between two opposing poles, {\v{Z}}i{\v{z}}ek argues, one must resist the temptation to reconcile the categories in question; instead, approaching the deadlock in purely formal terms, one should strive to reach below the dualism to the inherent tension or (“parallax”) gap that generates it. Through such a radical perspectival shift – from problematic (“gap between”) to parallax (“gap within”) – the insurmountable limit is perceived not as an obstacle to be overcome but as a solution in itself. |
| id | sorbonner_08c08430a80e4290f65c776c19bccadd |
| language_invalid_str_mv | en |
| network_acronym_str | sorbonner |
| network_name_str | Sorbonne University Abu Dhabi repository |
| oai_identifier_str | oai:depot.sorbonne.ae:20.500.12458/261 |
| publishDate | 2018 |
| repository.mail.fl_str_mv | |
| repository.name.fl_str_mv | |
| repository_id_str | |
| spelling | When All That Takes Place Is the Place Itself': Tracing the Word/Image Parallax from Godot to GatsbyKilroy, RobertIn his 1994 work Picture Theory, W.J.T. Mitchell outlined a revised notion of Iconology that was seen to mark a paradigmatic shift in the direction of text/image scholarship. Offering “theoretical justification for broadening the scope of visual studies” (Bartmanski, 2012 10), Mitchell appeared to resolve what had long been regarded as a central site of epistemological struggle, what he himself termed the word/image problematic. In recent years, however, inconsistencies in Mitchell's position have started to appear: despite his stated intentions, there remains a tendency in his work to reconstruct the very ontological divide he seeks to overcome. What this continued persistence of the word/image dualism bears witness to is the critical urgency of a revised theoretical intervention. A new avenue of investigation presents itself in the form of Slavoj {\v{Z}}i{\v{z}}ek's concept of the “parallax”. When faced with an irreducible gap between two opposing poles, {\v{Z}}i{\v{z}}ek argues, one must resist the temptation to reconcile the categories in question; instead, approaching the deadlock in purely formal terms, one should strive to reach below the dualism to the inherent tension or (“parallax”) gap that generates it. Through such a radical perspectival shift – from problematic (“gap between”) to parallax (“gap within”) – the insurmountable limit is perceived not as an obstacle to be overcome but as a solution in itself.2019-01-27T09:51:55Z2019-01-27T09:51:55Z2018Controlled Vocabulary for Resource Type Genres::text::conference object::conference proceedingshttp://hdl.handle.net/20.500.12458/261enL’avoir lieu/Taking place’ Colloque international organisé par l’équipe d’accueil Voix Anglophones, Littérature et Esthétique, VALE (EA 4085)oai:depot.sorbonne.ae:20.500.12458/2612023-12-06T09:30:12Z |
| spellingShingle | When All That Takes Place Is the Place Itself': Tracing the Word/Image Parallax from Godot to Gatsby Kilroy, Robert |
| title | When All That Takes Place Is the Place Itself': Tracing the Word/Image Parallax from Godot to Gatsby |
| title_full | When All That Takes Place Is the Place Itself': Tracing the Word/Image Parallax from Godot to Gatsby |
| title_fullStr | When All That Takes Place Is the Place Itself': Tracing the Word/Image Parallax from Godot to Gatsby |
| title_full_unstemmed | When All That Takes Place Is the Place Itself': Tracing the Word/Image Parallax from Godot to Gatsby |
| title_short | When All That Takes Place Is the Place Itself': Tracing the Word/Image Parallax from Godot to Gatsby |
| title_sort | When All That Takes Place Is the Place Itself': Tracing the Word/Image Parallax from Godot to Gatsby |
| url | http://hdl.handle.net/20.500.12458/261 |