Jacques Derrida, The Truth in Painting trans. Geoff Bennington and Ian Mcleod, (Chicago and London: University of Chicago Press, 1987), p. 27.
This essay was first published in Rivista di estetica (1982), n. 12 p. 36-43 with the title "Ornamento e monumento" and then reprinted in the collection La fine della modernità (Milan: Garzanti, 1985), p. 87-97, as "Ornamento monumento." It is now available in English as "Ornament/Monument" in Gianni Vattimo, The End of Modernity: Nihilism and Hermeneutics in Post-modern Culture trans. Jon R. Synder (Oxford: Polity Press, 1988), p. 79-89. For "il pensiero debole" see Il pensiero debole eds. Pier Aldo Rovatti and Gianni Vattimo, (Milan: Feltrinelli, 1983).
Barbara Johnson, "Taking Fidelity Philosophically," Difference in Translation ed. Joseph F. Graham, (Ithaca: Cornell University Press, 1985), p. 146. See also Jacques Derrida, "Letter to a Japanese Friend," Derrida and Differance ed. David Wood, (Coventry: Parousia Press, 1985), p. 1-8, where he states "I do not believe that translation is a secondary and derived event in relation to an original language or text."
Jacques Derrida, "Plato's Pharmacy," in his Dissemination trans. Barbara Johnson, (London: Althone Press, 1981), p. 61-156.
For Derrida's notion of supplement see Christopher Norris, Derrida (London: Fontana Modern Masters, 1987), p. 108-113, 118-121.
Derrida, The Truth in Painting p. 15-147.
Adolf Loos, "Ornament and Crime," Yehudra Safran and Wilfred Wing, The Architecture of Loos: An Arts Council Exhibition Catalogue (London: Arts Council of Great Britain, 1985), p. 100-103.
Derrida, The Truth in Painting p. 63.
Martin Heidegger, Die Kunst und der Raum (St Galen: Erker Verlag, 1969). A not entirely reliable English translation of this essay by Charles H. Seibert exists as "Art and Space," Man and World (1973), n. 6, p. 3-8.
An English translation of this essay is contained in Martin Heidegger, Poetry, Language, Thought trans. Albert Hofstadter, (New York: Harper and Row, 1971).
Vattimo, The End of Modernity p. 85.
Sigmund Freud, "The Moses of Michelangelo (1914)," The Pelican Freud Library, Volume 14, Art and Literature trans. James Strachey, ed. Albert Dickson, (Harmondsworth: Penguin, 1985). On Freud's essay see: Hubert Damisch, "Le gardien de l'interprétation," Tel Quel (1971), n. 44, p. 70-84, and (1972), n. 45, p. 82-96; Gerald L. Bruns, "Freud, Structuralism, and 'The Moses of Michelangelo'," The Journal of Aesthetics and Art Criticism (1974), n. 33, p. 8-13; Rudy Bremer, "Freud and Michelangelo's Moses," American Imago (1976), n. 33, p. 60-75; Claude le Guen, "Un discours de la méthode psychanalytique: Le 'Moïse de Michel-ange' de Sigmund Freud," Revue Francaise de Psychanalyse (1977), n. 41, p. 489-502; Peter Fuller, "Moses, Mechanism, and Michelangelo," in his Art and Psychoanalysis (London: Writers and Readers, 1980), p. 26-70; Sarah Kofman, The Childhood of Art: An Interpretation of Freud's Aesthetics trans. Winifred Woodhull, (New York: Columbia University Press, 1988), p. 8-13, 92-94; and Laurie Schneider Adams, "Michelangelo's Moses and Other Michelangelo Problems," in her Art and Psychoanalysis (New York: Harper Collins, 1993), p. 155-175.
Freud, "The Moses of Michelangelo," p. 253.
Jane Gallop, "Pyschoanalytic Criticism: Some Intimate Questions," Art in America (1984), p. 13. Now reprinted in a slightly different form as "A Good Lay" in her Thinking Through the Body (New York: Columbia University Press, 1988), p. 135-149.
Gallop, "Pyschoanalytic Criticism," p. 13.
Kofman, The Childhood of Art p. 9.
Freud, "The Moses of Michelangelo," p. 265.
Freud, "The Moses of Michelangelo," p. 265.
For biographical details of Morelli's life see Sir A. H. Layard's introduction to vol. 1 of Giovanni Morelli, Italian Painters: Critical Studies of their Works; The Borghese and Doria-Pamphili Galleries in Rome trans. C. J. Foulkes (London: J. Murray, 1892). This was also most probably the source of Freud's biographical information. On Morelli's ideas see Edgar Wind, "Critique of Connoisseurship," in his Art and Anarchy (London: Faber and Faber, 1963), p. 32-51; Arnold Hauser, The Philosophy of Art History (Cleveland: A. A. Knopf, 1959), p. 109-110; Richard Wollheim, "Giovanni Morelli and the Origins of Scientific Connoisseurship" in his On Art and the Mind, Essays and Lectures (London: 1973); Hubert Damisch, "La partie et le tout," Revue d'Esthetique (1970), n. 23, p. 168-88; Jack Spector, "The Method of Morelli and its Relation to Freudian Psychoanalysis," Diogenes (1969), n. 66, p. 63-69; Henri Zerner, "Giovanni Morelli et la science de l'art," Revue de l'art (1978), n. 40, p. 209-15; Giovanni Previtali, "A propos de Morelli," Revue de l'art (1978), n. 42, p. 27-31; Jaynie Anderson, "Giovanni Morelli et sa définition de la 'scienza dell'arte'," Revue de l'art (1987), n. 75, p. 49-55; and Jack Spector, "The State of Psychoanalytic Research in Art History," The Art Bulletin (1988), n. 70, p. 49-76.
Kofman, The Childhood of Art p. 10.
"cette méthode se ressent nettement des tendances du temps, son caractère scientifique est indéniable mais, d'autre part, elle semble suivre un méthode parallèle à celle des enquetes policières de Sir Arthur Conan Doyle" Enrico Castelnuovo, "Attribution," Encyclopaedia universalis II (Paris, 1971), p. 782; see also Carlo Ginzburg, "Morelli, Freud and Sherlock Holmes: Clues and Scientific Method," History Workshop (1980), n. 9, p. 5-36. Ginzburg gives some evidence to suggest that the parallel was possibly more than mere coincidence: An uncle of Conan Doyle's was director of the Dublin Art Gallery and met Morelli in 1887 and apparently used his method in compiling the catalogue of the gallery in 1890. The first English translation of Morelli appeared in 1883 and the first Holmes story was published in 1887. Recently the connections between Freud's methods and those of Sherlock Holmes have been suggested and elaborated upon by Peter Brooks, Reading for the Plot: Design and Intention in Narrative (New York: Vintage Books, 1985), p. 269, who notes comments in the Wolf Man's memoirs that specifically attest to Freud's knowledge and interest in Sherlock Holmes.
A. Conan Doyle, "The Cardboard Box," Sherlock Holmes: The Complete Short Stories (London: E. Murray, 1928), p. 932, 937 (for another striking example of congruence of method see "The Boscombe Valley Mystery," in the same volume). A footnote by Ginzburg "Morelli, Freud and Sherlock Holmes," p. 30, offers a further tantalising complication: "'The Cardboard Box' first appeared in The Strand Magazine V, Jan - June 1893. From The Annotated Sherlock Holmes, ed. W.S. Baring-Gould, 1968, we learn (p. 208) that The Strand several months later published an unsigned article on the varieties of the human ear ("Ears: a chapter on," The Strand Magazine VI, July-Dec. 1893). Baring-Gould thinks the author likely to have been Conan Doyle, publishing Holmes's anthropological treatise on ears."
Freud, "The Moses of Michelangelo," p. 258.
Heinrich Wölfflin, Classic Art (London: Dover, 1952), p. 72.
Freud, "The Moses of Michelangelo," p. 263.
Freud, "The Moses of Michelangelo," p. 267.
Recently Peter Armour has argued that Freud's "proposed reconstruction of Moses' pose is unecessary, for a simple experiment will prove that the figure could not possibly stand up from this position as can be verified by anyone who cares to reproduce the pose ... As Freud's theory implies, if Moses did spring to his feet, he would break the Tablets by accident, even carelessly, for they would simply topple over and fall to the ground." Peter Armour, "Michelangelo's Moses: A Text in Stone," Italian Studies (1993), v. XLVII, p. 31.
Freud, "The Moses of Michelangelo," p. 273.
For good accounts of the details of the composition and chronology of Michelangelo's work on the tomb of Pope Julius II see Giulio Carlo Argan and Bruno Contardi, Michelangelo architetto (Milan: Electa, 1990) "Tomba di Giulio II - Primo progetto, 1505-06," p. 49-54, and "Tomba di Giulio II - Progetti successivi, 1513-42," p. 67-77; Martin Weinberger, Michelangelo the Sculptor (London: Routledge and Kegan Paul, 1967), v. 1, p. 129-234, 253-280; Charles de Tolnay, Michelangelo (Princeton, New Jersey: Princeton University Press, 1943-60), Vol. IV: The tomb of Julius II (1954); Erwin Panofsky, "The First Two Projects of Michelangelo's Tomb of Julius II," The Art Bulletin (1937), n. 19, p. 561-79; and Enrico Guidoni, Il Mosé di Michelangelo (Bari: Editori Laterza, 1982).
"On the corners of the first cornice were to go four large figures, representing the Active and the Contemplative Life." Giorgio Vasari, Lives of the Artists trans. George Bull, (Harmondsworth: Penguin Books, 1965), p. 344.
"These represented the liberal arts, such as painting, sculpture and architecture, each with its attributes so that it could easily be recognised for what it was, signifying thereby that all the artistic virtues were prisoners of death together with Pope Julius, as they would never find another to favour and foster them as he did." Ascanio Condivi, The Life of Michelangelo trans. Alice Sidgwick Wohl, ed. Hellmut Wohl, (Baton Rouge: Louisiana State University Press, 1976), p. 33.
Anton Springer cited, Earl E. Rosenthal, "Michelangelo's Moses, dal di sotto in sù," The Art Bulletin (1964), n. 46, p. 544-550.
"Moses, the leader and captain of the Jews, who is seated in the attitude of a wise and pensive man, holding the tables of the law under his right arm and supporting his chin with his left hand like a person who is weary and full of cares." Condivi, The Life of Michelangelo p. 77-79.
James Ackerman, The Architecture of Michelangelo (Chicago: The University of Chicago Press, 1986), p. 74 ff. Ackerman also points to Michelangelo's practice of making clay models of his architectural projects and concludes "his buildings ... are concieved as if the masses of a structure were organic forms capable of being moulded and carved ... like a statue." For the sculptural qualities of Michelangelo's architecture see also Pietro C. Marani, "Michelangelo's Architecture as Monumental Sculpture," The Genius of the Sculptor in Michelangelo's Work ed. Denise L. Bissonette (Montreal: The Montreal Museum of Fine Arts, 1992), p. 449-467. Paolo Portoghesi, Michelangelo architetto eds. Paolo Portoghesi and Bruno Zevi (Turin, 1964), p. 14-17, in contrast argues against this sculptural reading of Michelangelo's architecture.
On 'gigantismo' in Michelangelo see Guidoni, Il Mosè di Michelangelo p. 18-24.
Sigmund Freud, "From the History of an Infantile Neurosis," The Pelican Freud Library, Volume 9, Case Histories II: 'Rat Man,' Schreber, 'Wolf Man,' Female Homosexuality trans. James Strachey, ed. Angela Richards, (Harmondsworth: Penguin Books, 1979).
Freud, "From the History of an Infantile Neurosis," p. 235.
Freud, "From the History of an Infantile Neurosis," p. 259.
Freud, "From the History of an Infantile Neurosis," p. 267.
See Jean Laplanche "Notes on Afterwardsness," in his Seduction, Translation, Drives ed. John Fletcher and Martin Stanton, (London: Institute of Contemporary Arts, 1992), p. 217-223, and passim, for a discussion of the concept of Nachträglichkeit.
Embedded in this "subject supposed to know" there is of course another connoisseur: 'connoisseur' from the French connaitre, connoting a certain kind of knowledge, knowledge which you cannot learn by rote, and knowledge which gives its possessor, the connoisseur, a certain aura.
Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis ed. Jacques-Alain Miller, trans. Alan Sheridan, (London: Hogarth Press and Institute of Psychoanalysis, 1977), p. 231.
Jacques Lacan, "Intervention on Transference," trans. Jacqueline Rose, In Dora's Case: Freud, Hysteria, Feminism ed. Charles Bernheimer and Clare Kahane, (London: Virago Press, 1985), p. 93.
Peter Brooks, Reading for the Plot p. 280.