По той бік інтерпретації (моменти мовчання)
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Date
2018
Authors
Брюховецька, Ольга
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Abstract
Питання цього дослідження виникло від зіткнення з повторюваним протиставленням у сучасній
гуманітаристиці, що перебуває під впливом перформативного, візуального і афективного поворотів, між значенням та інтерпретацією, з одного боку, та роботою і присутністю, з другого.
У статті відстежено інтелектуальні джерела цієї опозиції та розкрито її політичні ставки.
Стверджується, що два види виробництва – присутності і значення, не слід протиставляти, і річ
у тому, щоб балансувати між ними. Проаналізовано приклади із фільмів "Мовчання" Інгмара Бергмана і "Тіні забутих предків" Сергія Параджанова, в яких мовчання використано в продуктивний
спосіб як одночасно опір інтерпретації і її провокування. Мовчання і присутність не обов’язково
скасовують значення, вони можуть збагачувати інтерпретацію.
The question which drives this enquiry emerged due to the curious recurrence of an opposition between meaning and interpretation on the one side and doing or presence on the other. This opposition emphasized in the current academic humanities within performative, visual and affective turns, is traced back to the ground-breaking work by Gilles Deleuze and Felix Guattari Anti-Oedipus (1972), and even further to the short seminal essay Against Interpretation (1964) by Susan Sontag. The two programmatic texts – each in its own way and with its own vocabulary – perform somewhat self-contradictory intellectual gesture of cancelling the quest for meaning, or, in terms of Hans-Ulrich Gumbrecht, producing presence. This valorization of presence and silence is seen as a resistance not so much to interpretation per se, but to a certain kind of interpretation based on Marxism and psychoanalysis developed by Louis Althusser and Fredric Jameson (symptomatic reading). Yet, the article argues that these two types of production, the production of presence and the production of meaning, should not be opposed so boldly to each other; it is much more productive to see this opposition as a matter of balancing. The author analyzes the examples from films, which use silence as a productive device of presence and meaning, of both resisting to interpretation and instigating it (such as Silence (1963) by Ingmar Bergman and The Shadows of Forgotten Ancestors (1964) by Serhii Paradzhanov). While the real stakes of this debate are left silent somewhere in the political unconscious, the underlying agreement of a rather heated and militant debate between those who defend interpretation and those who prefer to talk about silence is that presence and silence do not necessarily have to cancel meaning; they can become moments that enrich an interpretation.
The question which drives this enquiry emerged due to the curious recurrence of an opposition between meaning and interpretation on the one side and doing or presence on the other. This opposition emphasized in the current academic humanities within performative, visual and affective turns, is traced back to the ground-breaking work by Gilles Deleuze and Felix Guattari Anti-Oedipus (1972), and even further to the short seminal essay Against Interpretation (1964) by Susan Sontag. The two programmatic texts – each in its own way and with its own vocabulary – perform somewhat self-contradictory intellectual gesture of cancelling the quest for meaning, or, in terms of Hans-Ulrich Gumbrecht, producing presence. This valorization of presence and silence is seen as a resistance not so much to interpretation per se, but to a certain kind of interpretation based on Marxism and psychoanalysis developed by Louis Althusser and Fredric Jameson (symptomatic reading). Yet, the article argues that these two types of production, the production of presence and the production of meaning, should not be opposed so boldly to each other; it is much more productive to see this opposition as a matter of balancing. The author analyzes the examples from films, which use silence as a productive device of presence and meaning, of both resisting to interpretation and instigating it (such as Silence (1963) by Ingmar Bergman and The Shadows of Forgotten Ancestors (1964) by Serhii Paradzhanov). While the real stakes of this debate are left silent somewhere in the political unconscious, the underlying agreement of a rather heated and militant debate between those who defend interpretation and those who prefer to talk about silence is that presence and silence do not necessarily have to cancel meaning; they can become moments that enrich an interpretation.
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Keywords
інтерпретація, мовчання, політичне несвідоме, марксизм, структуралізм, симптоматичне читання, перформативний поворот, візуальний поворот, афективний поворот, виробництво присутності, виробництво значення, стаття, interpretation, silence, political unconscious, Marxism, structuralism, symptomatic reading, performative turn, visual turn, affective turn, production of presence, production of meaning
Citation
Брюховецька О. В. По той бік інтерпретації (моменти мовчання) / Брюховецька О. В. // Магістеріум. Культурологія. - 2018. - Вип. 71. - С. 4-12.