Spinoza and Rembrandt were contemporaries and in fact they were neighbours in Amsterdam. Even though there is no record that they ever met, it is hard to imagine that they never crossed paths. This article seeks to explore common ideas that we can find in the philosopher and the painter. This contributes both to a philosophical examination of Rembrandt and examines the possibility of an aesthetics in Spinoza.

The American Museum of Natural History is monumental not only in its architecture and design but also in its size, scope, and content. This monumental quality suggests in and of itself the primary meaning of the museum inherited from its history: comprehensive collecting as a form of domination.8 In this respect museums belong to an era of scientific and colonial ambition, from the Renaissance through the early twentieth century, with its climactic moment in the second half of the nineteenth century. (...) It belongs in the category of nineteenth-century endeavors such as experimental medicine , evolutionary biology , and the naturalistic novel , all of which claimed to present a comprehensive social study. Such projects have been definitively compromised by postromantic critique, postcolonial protest, and postmodern disillusionment.9But in spite of its appearance, that prefix post- doesn’t make things any easier. Any museum of this size and ambition is today saddled with a double status; it is necessarily also a museum of the museum, a preserve not for endangered species but for an endangered self, a “metamuseum”: the museal preservation of a project ruthlessly dated and belonging to an age long gone whose ideological goals have been subjected to extensive critique.10 Willy-nilly, such a museum solicits reflections on and of its own ideological positions and history. It speaks to its own complicity with practices of domination while it continues to pursue an educational project that, having emerged out of those practices, has been adjusted to new conceptions and pedagogical needs. Indeed, the use of the museum in research and education is insisted on in its self-representations, including the Guide. 9. For an example of the postmodern critique, see Michael M. J. Fischer, “Ethnicity and the Postmodern Arts of Memory,” in Writing Culture: The Poetics and Politics of Ethnography, ed. Clifford and George E. Marcus , pp. 194-233.10. The metamuseal function of a museum like the American Museum is analyzed in Ames, Museums, the Public, and Anthropology. Mieke Bal is professor of the theory of literature at the University of Amsterdam and retains a visiting professorship in the comparative arts program at the University of Rochester. Her most recent book is Reading “Rembrandt”: Beyond the Word-Image Opposition. (shrink)

The essays in this volume demonstrate how the performance of sincerity is culturally specific and is enacted in different ways in different media and disciplines, including law and the arts.

Attempting to explain, in a short film, a theoretical concept that underlies our the feature film Madame B (Bal & Williams Gamaker, 2014), I discovered that narrativity and description, always in tension, merge into more clarity as the film gets shorter.

In this essay I will explore a mode of reading I call “reading for the text.” A text is what we make of a work when reading it: roughly, a meaningful, well-structured whole with a beginning and an end. But as a mode of reading, textuality allows for constant activity, a continual shaping nd reshaping of sign-events. I will argue that reading for a sense of textuality, and for the wholeness this simple textuality entails, does not necessarily preclude awareness of (...) a fundamental lack of unity, while reading for the effect of the real, in spite of the promotion of the “realistic detail,” tends to do so. The two modes of reading are fundamentally different; yet the conflict between them is not necessarily obvious, nor should such conflict be avoided, ignored, or smoothed out.The goal of this confrontation is not to promote textual reading at the expense of realistic reading. It is the conflict between them I wish to promote. The two modes of reading can be brought to bear on the same work, although they are incompatible. As a result, activating both modes is in itself a critical endeavor: their very combination helps one to avoid the unifying fallacy. Textual and realist readings are a problematic and thereby productive combination. Mieke Bal is professor of comparative literature and Susan B. Anthony Professor of women’s studies at the University of Rochester. The author of Death and Dissymmetry: The Politics of Coherence in the Book of Judges, her forthcoming book is Reading “Rembrandt”: Beyond the Word-Image Opposition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Looking at Love an Ethics of VisionMieke Bal (bio)Kaja Silverman. The Threshold Of The Visible World. New York: Routledge, 1996.“The eye can confer the active gift of love upon bodies which have long been accustomed to neglect and disdain,” writes Kaja Silverman in her most recent book, The Threshold of the Visible World. The sentence neatly summarizes her project. “The active gift of love” is the central concept of (...) this book and indicative of the utopian dimension of the theory of love she develops.With Lacan as her primary interlocutor, she sets out to answer a question of one of her students: “does psychoanalysis have a theory of love?” Strange as it might seem, psychoanalysis, so often associated with an excessive interest in sexuality, has not seemed to believe in love. Within the rigorous framework of a discipline that has no use for love and theorizes a bleak view of human nature, Silverman sets out to think through the questions that every parent is at a loss, yet needs, to address: what is love, how can choices in love be culturally encouraged, reoriented, or discouraged? Lacan’s texts on the imaginary order and the visual field, and the imaginary’s stubborn presence within the symbolic order, remain a key resource for those who, like Silverman, wish to understand and analyze, critique and refocus contemporary culture with an eye open to contradictions and complexities. 1The ground for love, the ability to love, is idealization, Silverman claims. Without idealization life would be unbearable, but idealizing is influenced by cultural norms and values that we internalize from early childhood on. Silverman’s project—”to articulate the psychic and aesthetic conditions under which we might be carried away from both ideality and the self, and situated in an identificatory relation to [culturally] despised bodies” [2]—is an attempt to put pressure on two elements of this interaction, “idealization” and “self,” but as she does so she acknowledges the force of the transhistorical, heavy, thick structure of the psyche that is hard, if not impossible, to change.This project, the development of an “ethics of vision,” forms a key part within the larger framework of Silverman’s work. In her first book, The Subject of Semiotics, she argues for and explains the semiotic status of psychoanalysis and the indispensable contribution of psychoanalysis to semiotics. The book remains a valuable handbook for an understanding of the importance of such divergent theorists as De Saussure and Benveniste, Kristeva and Peirce, Freud and Lacan, and the theorists of suture for a coherent and comprehensive theory of culture. One example that will speak to many a cultural analyst is the way Silverman disentangles, and then connects again, the often conflated conceptual pairs of metaphor and metonymy, condensation and displacement, and paradigm and syntagma, showing that the first pair is situated on the level of interactions between the signifier and [End Page 59] the signified, the second on the level of the signified, and the third on the level of the structuration of the signifier. 2With this book, then, Silverman lays the foundation for a psychoanalytical semiotic that is nevertheless radically cultural in orientation: no conflation or confusion of psyche and culture, no flattening of the one through the other, but an integration that demonstrates convincingly that what happens within a psyche is irrevocably cultural and that every cultural expression entertains a relationship with one or more psyches. The structural similarities and interactions between the two then seem self-evident. But how these interactions work is explained in a manner that renders them analyzable.Silverman is in the habit of raising questions that remain unanswered, and devoting her next book to them. The Subject devoted much attention and analytical energy to filmic images, notably through suture theory, in which the technique of “shot-reverse shot” is central. This technique consists of successive images: first of a character looking at something, and then of what that character presumably sees. This would be the cinematic equivalent of what narratology calls transitions of focalization, likewise a technique used to “suture” image to diegetic character in order to stimulate identification. As in narratology, the question then arises: what exactly... (shrink)

Abstract:The three short pieces below are the third set of vignettes in an alphabetically ordered series of entries, which, together, will constitute a non-subject-centered autobiography. Professional memories are merged with personal ones. I call them “vignettes” to underline the fragmentary nature of memory.

The three short pieces below are the third set of vignettes in an alphabetically ordered series of entries, which, together, will constitute a non-subject-centered autobiography. Professional memories are merged with personal ones. I call them “vignettes” to underline the fragmentary nature of memory.

The three short pieces below are part of an alphabetically ordered series of entries, which, together, will constitute a non-subject-centered autobiography. Professional memories are merged with personal ones. To underline the fragmentary nature of memory, I call them “vignettes.”.

The three short pieces below are part of an alphabetically ordered series of entries, which, together, will constitute a non-subject-centered autobiography. Professional memories are merged with personal ones. To underline the fragmentary nature of memory, I call them "vignettes.".

This set of volumes sketches the history, breadth, and applicability of narrative theory, thus demonstrating its value as an analytical instrument. The collection includes articles from the leading names of narrative theory, such as Roland Barthes, Mikhail Bakhtin, Tzvetan Todorov and Jean-Françoise Lyotard, as well as lesser-known, though equally important, contributions. Titles already available in this series include _Deconstruction_ and _Modernism_. Forthcoming titles include _Romanticism_ and _Structuralism_.

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.1 (2000) 2-24 [Access article in PDF] Three-Way Misreading Mieke Bal Gayatri Chakravorty Spivak. A Critique of Postcolonial Reason: Toward a History of the Vanishing Present. Cambridge: Harvard UP, 1999. [CPR] Introduction: Reading Other-Wise This openly declared interest makes my reading the kind of "mistake" without which no practice can enable itself. 1 --Gayatri Chakravorty Spivak, Critique of Postcolonial ReasonAs many readers of this journal familiar with her (...) earlier work will surmise, Gayatri Chakravorty Spivak's Critique of Postcolonial Reason (CPR) is not easy to read. Yet reading is what the book is about, what it does, and what it teaches. The book, on more levels than one but beginning with its own accessibility, teaches how to read, other-wise. Indeed, this book is perhaps overreadable, if such a notion makes sense. I mean a form of readerliness based on multiplicity, both of (academic) levels and of lines of argumentation, subjects, and discourses. It can be read in a number of ways, none of which is adequate, all of which are enriching and useful for whatever area of specialization one is working in, as long as one is engaged in (thinking through) culture and the activity of analysis."My aim, to begin with, was...": beginning in the past tense and ending on the word "undone," this is a book with no beginning and no end, just like its subject matter, which can be briefly summarized as a passage from its title to a program of developing "transnational literacy." To pretend that either book or subject matter does have an end is to closet it. 2 But both book and subject matter have many openings that beckon you in yet leave the doors open so you can leave when and how you wish. Thus, it sets itself up to be appropriated, and in full awareness of how that makes me complicitous with much that the author at times rants about, I feel compelled to do just that: to productively misread it. Feeling invited to take the book "home"--to divert it from its many-branched course but confirming its multiple readership--I will offer here three readings of CPR. All three are willful misreadings, for misreading, always inevitable, is particularly indispensable in this encounter. 3 Instead of a review, I offer a pedagogical supplement. I will follow or spin three threads, to which the book is in no way reducible, and which [End Page 2] [Begin Page 4] are even insufficiently complex to account for the part-issue on which they focus. My goal is simply to convey one sense in which this book can be read with enormous productivity. I have selected three issues that appear as misreadings even at first sight, to the extent that they foreground aspects of the book's reasoning and analysis that are paradoxical here. In a study explicitly allied to postcolonial theory and politics, I will discuss aesthetics; in a practice of deconstruction, referentiality; and in a book of intricate and self-reflective writing, orality. These three elements are meant to underscore and remedy the profound misreadings to which those who mistrust, misinterpret, or misjudge the author's triple allegiance to transnational culture studies, deconstructive critique, and teaching have subjected her work.CPR contains four long chapters, simply titled "Philosophy," "Literature," "History," "Culture." Simply, or overambitiously? Neither. Whenever the book appears to spread out, it narrows down in the same move. The enumeration embodies a tight program. The sequence of the chapters is clear and significant. It is justified forwards and backwards as an itinerary and guideline for an interdisciplinary culture study that is responsible to each of its components as well as to the objects that can be confined to none. Moving forwards, "Philosophy" examines the arguments, "Literature" the figurations, "History" the archival material in which arguments and figurations collaborate to determine, and retrospectively leave traces of, what happened. 4 "History" also changes the practice of history by interpolating between positive research and philosophy the need to read and a way to do it, borrowed largely from literature. "Culture" opens up to the politics of a world in... (shrink)

After Rachel E. Burke briefly introduces the essays presented with a focus on our contemporary relationship to modern subjectivity, Mieke Bal will make the case for the sense of presentness on an affective and sensuous level in Munch’s paintings and Flaubert’s writing by selecting a few topics and cases from the book Emma and Edvard Looking Sideways: Loneliness and the Cinematic, published by the Munch Museum in conjunction with the exhibition Emma & Edvard. It is this foregrounded presentness that not (...) only produces the ongoing thematic relevance of these works, but more importantly, the sense-based conceptualism that declares art and life tightly bound together. If neither artist eliminated figuration in favour of abstraction, they had a good reason for that. Art is not a representation of life, but belongs to it, illuminates it and helps us cope with it by sharpening our senses. As an example, a few paintings will clarify what I mean by the noun-qualifier “cinematic” and how that aesthetic explains the production of loneliness. (shrink)

This article presents a few issues in the making of our film A Long History of Madness that pertain to the ‘Babylonic’. Spoken in 12 languages, ranging across six centuries, and shot in five countries, the film possesses an inherent Babylonism. It makes a case for a multilingual mode of communicating. Yet, beyond the obvious need for verbal communication, for which subtitles are necessary but insufficient, the film presents other reasons for extending the concept of translation. The knot of potential (...) confusion and the need for ‘translation’ are the ontological uncertainties surrounding ‘madness’ itself. The key questions are: are people mad? Do they perform madness, or do others perceive them as mad because they are too dissimilar from them to be accepted as ‘normal’? This fundamental uncertainty affects all forms of alterity. Translation becomes, then, a tool to negotiate alterity under the terms of the acceptance of this ontological uncertainty. (shrink)

These three short pieces are the second offerings in an alphabetically ordered series of entries that together will constitute a non-subject-centered autobiography. Professional memoires are merged with personal ones. To underline the fragmentary nature of memory, I call these pieces “vignettes.”.