Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of formāof form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions.
Recalling that drawing and design were once used interchangeably, Nancy notes that drawing designates a design that remains without project, plan, or intention. His argument offers a way of rethinking a number of historical terms (sketch, draft, outline, plan, mark, notation), which includes rethinking drawing in its graphic,filmic, choreographic, poetic, melodic, and rhythmic senses.
If drawing is not reducible to any form of closure, it never resolves a tension specific to itself. Rather, drawing allows the pleasure in and of drawing, the gesture of a desire that remains in excess of all knowledge, to come to appearance. Situating drawing in these terms, Nancy engages a number of texts in which Freud addresses the force of desire in the rapport between aesthetic and sexual pleasure, texts that also turn around questions concerning form in its formation, form as a formative force. Between the sections of the text, Nancy has placed a series of "sketchbooks" on drawing, composed of a broad range of quotations on art from different writers, artists, or philosophers.
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The Pleasure in Drawing
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Information
Publisher
Fordham University PressYear
2013Print ISBN
9780823250943
9780823250936
eBook ISBN
9780823252329
Topic
ArtSubtopic
Art Techniques
N
O
T
E
S
T
O
PAG
E
S
6
8
ā
1
0
0
āCommunismā
to
the
Community
of
āExistence,āĀ āā
trans.
Tracy
B.
Strong,
Political
Theory
20,
no.
3
(1992):
371ā98.āTrans.]
36.
Allow
me
to
refer
here
to
my
book,
LāĀ āāil
y
aāā
du
rapport
sexuel
(Paris:
Galile
Ā“e,
2001),
forthcoming
in
English
translation
by
Anne
OāByrne
in
Jean-Luc
Nancy,
Corpus
II:
Writings
on
Sexuality
,
trans.
Anne
OāByrne
(Fordham,
2013).
37.
Leonardo
da
Vinci,
The
Notebooks
,
ed.
Edward
MacCurdy
(Lon-
don:
Jonathan
Cape,
1938),
1:106.
38.
William
Blake,
āāThe
Marriage
of
Heaven
and
Hell,āā
in
The
Poems
of
William
Blake
,
ed.
W.
H.
Stevenson
(New
York:
W.
W.
Nor-
ton
&
Co.,
1972),
110.
39.
It
is
not
possible
here
to
address
the
discussion
concerning
the
deļ¬nition
and
limits
of
pornography.
40.
Giorgio
Vasari,
Lives
of
the
Most
Eminent
Painters,
Sculptors,
and
Architects
,
trans.
Gaston
du
C.
de
Vere
(London:
Macmillan
and
Co.
and
the
Medici
Society,
1912ā14),
xlii.
41.
Ibid,
72.
42.
No
doubt
there
exist
any
number
of
Stoic
and
Christian
tradi-
tions,
followed
by
Tristan,
Hamlet
and
Romeo,
Racineās
Phaedra,
etc.
43.
See
Jacques
Derrida,
āāDesistance,āā
in
Philippe
Lacoue-Labarthe,
Typography:
Mimesis,
Philosophy,
Politics
,
ed.
Christopher
Fynsk
(Cam-
bridge:
Harvard
University
Press,
1989;
rpt.
Stanford,
Calif.:
Stanford
University
Press,
1998),
1ā42.
44.
[Drawing
from
the
Latin
apparere
āāāto
appear,
come
in
sight,
make
an
appearanceāāāin
which
parere
is
āāto
come
forth,
be
visible,āā
I
have
translated
Nancyās
variations
on
la
paraı
Ėtre
or
lāapparaıĖtre
as
āābe-
coming
visible.āāāTrans.]
45.
[The
verb
sāenlever
has
the
senses
of
both
āāto
rise
upāā
and
āāto
remove,āā
in
the
sense
of
taking
something
away
from,
as
well
as
āāto
detach
something
from
something
else.
āāāTrans.]
46.
[To
continue
sur
sa
lance
Ā“e
implies
that
something
continues
to
forge
ahead
or
continues
in
the
same
vein.āTrans.]
47.
Here
one
should
explicate
the
role
of
the
album
or
sketchbook,
drawingās
handheld
transcendental.
116
Table of contents
- Cover
- Contents
- Translatorās Note
- Preface to the English-Language Edition
- Form
- Idea
- Formative Force
- The Pleasure of Drawing
- Forma Formans
- From Self Toward Self
- Consenting to Self
- Gestural Pleasure
- The Form-Pleasure
- The Drawing/Design of the Arts
- Mimesis
- Pleasure of Relation
- Death, Sex, Love of the Invisible
- Ambiguous Pleasure
- Purposiveness Without Purpose
- The Lineās Desire
- Notes
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