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"novelist" that normally escapes the notice of his readers. At the end of the essay Sebald reproduces Tripp's large painting "Declaration de guerre," and declares it of a visual complexity not to be described in words, an exemplum, then of the incommensurability between language and objects of sight. The joke is, in an essay as riddled with jokes as it is with puzzles, that the answers to the riddles he poses materialize only when the large canvas, "Declaration de guerre," is cited by Tripp in another painting. The essay on Jan Peter Tripp gathers together in something of a jumble, a dizzying series of questions on the work of art: as preserving life, as recording history, as a reminder of its own materiality, and yet again as a bit of a prank, all under the guise of commentary. This is one of the most profoundly literary performances in Sebald's works, despite its pretentions to be something else, and one of the most subtle theoretically.
Carol Jacobs
Tripp v londonski Narodni galeriji
Ključne besede: W.G. Sebald, Jan Peter Tripp, Jan van Eyck, podoba, pripoved, čas
»Tripp v londonski Narodni galeriji« povzema delo W. G. Sebalda »Kot noč in dan: k slikah Jana Petra Trippa« iz leta 1993 - delo izjemno priljubljenega »romanopisca«, ki pa ponavadi med bralci ostaja neopaženo. Na koncu eseja Sebald reproducira Trippo-vo veliko sliko »Declaration de guerre« [Vojna napoved], in ji pripiše vizualno kompleksnost, ki ne more biti opisana z besedami in služi kot primer nezdružljivosti jezika in vizualnih objektov. Vic eseja, prepletenega tako s vici kot ugankami, je v tem, da se ponujeni odgovor na podane uganke pokaže, šele ko Tripp veliko platno »Declaration de gurre« »citira« na drugi sliki. Esej o Janu Petru Trippu zbere skupaj nekakšno zmešnjavo vrtoglavih serij vprašanj, ki zadevajo umetniško delo: kot ohranjanje življenja, kot beleženje zgodovine, kot opomnik lastne materialnosti, in ponovno kot nekakšen vic, vse to v obliki komentarja. Tak postopek je navkljub pretenzijam, da bi bilo nekaj drugega, eno najbolj izrazito literarnih in iz teoretske perspektive najbolj subtilnih izvedb v Sabaldovih delih.
Alan Cholodenko
The Spectre In The Screen
Key words: cinema, animation, uncanny, Jacques Derrida, Jean Baudrillard, Jacques Lacan
In accord with the author's larger project to bring to the fore the crucial nature of animation for the thinking of not only all forms but all aspects of film, this paper seeks to elaborate a theory of spectatorship "proper to" animation, which is to say, to cinema, to film, to film "as such," as a form of animation - film animation. Drawing upon what
the author calls the Cryptic Complex of film animation - informed by his treatment of Maxim Gorky's characterization of cinema as "Kingdom of Shadows" and composed for him of the uncanny, the return of death as spectre, endless mourning and melancholia and cryptic incorporation - the essay extends his notion of spectatorship as spec-treship, as at once haunting and being haunted, at once cryptically incorporating and being cryptically incorporated. To wit, to this animatic, Derridean-indebted theory of film animation as of the order of the spectre, the hauntological, and the author's call for not merely a psycho- but a psuche-analysis of film animation - an analysis of the spectres (Homeric) at play in and of film animation - the essay brings the work of Jacques Lacan. It not only incorporates the animatic work of Lacan in film animation, and vice versa, it discovers that work as already so in play there - there in that haunted house, that crypt, where Derrida and Lacan animatically haunt, encrypt, each other, even as another such spectre, Jean Baudrillard, shadows them, animatically so.
Alan Cholodenko Prikazen na platnu
Ključne besede: film, animacija, unheimlich, Jacques Derrida, Jean Baudrillard, Jacques Lacan
V skladu z avtorjevim širšim projektom prikazati ključno vlogo animacije za mišljenje ne le vseh oblik, pač pa tudi vseh vidikov filma, skuša prispevek razdelati teorijo gle-dalstva »lastno« animaciji, se pravi, kinu, filmu, filmu »kot takemu«, kot obliki animacije - filmske animacije. Prispevek se opira na to, kar avtor imenuje »skrivna zgradba filmske animacije«, izhajajoč pri tem iz avtorjeve obravnave Gorkijeve označitve kina
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kot »kraljestva senc«, ki ga tvorijo nedomačnost, vrnitev smrti kot prikazni, neskončno ^^ žalovanje, melanholija in skrivna inkorporacija. Prispevek razširja njegov pojem gle-dalstva [spectatorship] v prikaznost [spectreship]. To prikaznost razume kot nekaj kar ^^ hkrati preganja in je preganjano, skrivnostna inkorporacija in skrivnostno inkorporira-no. Prispevek tako povezuje delo Jacquesa Lacana s to animatično derridajevsko teorijo filmske animacije kot vrste prikazni, prikaznološkosti [hauntologcal], in avtorjev poziv 329 ne le k psihoanalizi, pač pa tudi k analizi psihe filmske animacije - analizi (homerične) prikazni, ki nastopa v filmski animaciji in kot filmska animacija. Tako prispevek ne povezuje le Lacanovega animatičnega dela s področjem filmske animacije, in narobe, temveč kaže, da je to delo vselej že prisotno, tu v tisti hiši prikazni, tisti grobnici, kjer Derrida in Lacan drug drugega animatično, šifrirano preganjata, četudi jima druga takšna prikazen, Jean Baudrillard, animatično sledi kot senca.