By E. M. Cioran
E. M. Cioran lived at the margins of the fashionable global. Like his acquaintances Beckett and Ionesco, he stood except all of the professional trappings of his selected medium of philosophy. now not on the grounds that Nietzsche has a philosopher printed himself so vastly. All Gall is split is a breviary of estrangement that rejoices within the contradictions and confusions of human destiny. As his translator Richard Howard comments, “You fraternize with Emil Cioran at your peril, however it is the type of chance that retains you alive."
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Additional resources for All Gall is Divided: The Aphorisms of a Legendary Iconoclast
We would have to offer something that Deleuze does not provide, namely an account of why sensations arising from colour modulation in painting should have any significance over those arising from intense perceptions of colour per se. Surely if they do have extra significance, the relevant extra intensity can be explained only because they are recognized as colour worked by artifice in a specific way, that is, as colour integrated within an individual style. There is the additional problem of explaining why it is that not every painting with a strong colouristic emphasis is able to engage us in terms of modulations of colour and concomitant sensations.
However, a rejection of this kind is no more than an appeal to Releasing Style from Sensation 31 the fashionable as dogmatic authority. If hierarchical and essentialist positions are to be criticized, then the critique must be a logical one that addresses the grounds which might justify such beliefs rather than the having of the beliefs as such. In due course, I will subject Deleuze’s entire strategy to a critical revision. Before that, however, we must address the remaining highly distinctive and complex feature of his analysis of Bacon and modern painting.
This, in itself, tends to privilege modern painting – which lacks ‘finish’, and where the material structure from which Figure is generated, is more immediately apparent. But one can equally well reverse Deleuze’s logic and argue that if an ‘organic’ painter’s work is good, it makes us consider how it was generated – what sort of diagram it emerges from, even if that diagram is concealed by the finish. Indeed, if a work can refer us to diagram that is hidden – which is not constantly ‘reinjected’ into the whole – perhaps this makes it all the more remarkable as a realization of Figure!
All Gall is Divided: The Aphorisms of a Legendary Iconoclast by E. M. Cioran