# R. Barthes (1974). *Diderot, Brecht, Eisenstein*. : . Type:: [[&]] Title:: Diderot, Brecht, Eisenstein Author(s): [[Roland Barthes]] Year:: 1974 Tags:: DOI:: 10.1093/screen/15.2.33 Citekey:: barthes_diderot_1974 ZoteroURI:: [Open in Zotero: Diderot, Brecht, Eisenstein](zotero://select/items/@barthes_diderot_1974) ReviewedDate:: [[2022-06-17 13:10]] --- ## Citation ```latex [@barthes_diderot_1974] ``` ## Summary - ## Other Comments - 그리스 ^bc083b - 지위와 역사의 관계와 비슷한 수학과 음향학의 연결 - 억압된 피타고라스의 공간 - 확립된 다른 관계 → 기하학과 연극의 관계 → 예술의 역사에서 선두의 관계 - 연극 → 사물의 위치를 계산 as they are observed → effect and play on the illusion - against music (against the text) → representation 이러한 representation은 직접적으로 imitation과 연결되어있지 않다. real, vraisemblable, copy를 뺀다고 해도 subject를 향하는 시선 gaze가 있다면 forming the apex가 있다면 representation이 있을 것이다. Organon of Representation - sovereignty of the act of cutting out ([[découpage]]) - unity of the subject of the action ![[1200px-Organon-Modell_Workaround.svg.png]] [[Roland Barthes|Barthes]]에게 있어서 [[Cinema]]와 [[theatre]]는 둘다 [[expressions of geometry]]이다 = to depict the tableau one has in one’s mind (33) 이건 다른 모든 시각적 아트와 Literature 가 공유하는 것으로 music만이 dioptric (광굴적) arts이다. 가장 중요한 인물로 [[Denis Diderot]] (1713–84) > as many real tableaux as there are in the action moments favourable to the painter (34) tableau (pictorial, theatrical, literary) = pure cut-out segment with clearly defined edges, irreversible and incorruptible = intellectual → outside banishes = nothingness 그리고 [[Roland Barthes|Barthes]]가 보기에 [[Bertolt Brecht]]과 [[Sergei Eisenstein]]는 perfect answer for the dramatic unity by [[Denis Diderot|Diderot]] - [?] 그렇다면 [[tableau]] 는 fetish-object 인가? 그에게 있어서 composition이 바로 이러한 fetish를 분리한다 = halt and set back effect of the [[découpage]] > ' A well-composed picture [[tableau]] is a whole contained under a single point of view, in which the parts work together to one end and form by their mutual correspondence a unity as real as that of the members of the body of an animal; ==so that a piece of painting made up of a large number of figures thrown at random onto the canvas, with neither proportion, intelligence nor unity, no more deserves to be called a true composition than scattered studies of legs, nose and eyes on the same cartoon deserve to be called a portrait or even a human figure.==’ ^[‘Diderot, ‘Composition in painting’, Encyclopedia vol. III (1753), as quoted by Roland Barthes in his essay, ‘Diderot, Brecht, Eisenstein’, in _Image Music Text_, trans. Stephen Heath, London, 1977, 71. For a translation of Diderot's full essay, see Beatrix L. Tollemache, _Diderot_'_s Thoughts on Art and Style_, New York, 1893/1971, 25–34.] cohesion by the magnetic force of the segmentation = figure → sublime substitute of meaning → fetishised meaning [[Bertolt Brecht]]: no final meaning, but a series of segmentations possesses a sufficient demonstrative power. (35) [[Sergei Eisenstein]]: *no image is boring* It is a question not of a dialectic, but of a continuous jubilation of perfect instants. - [?] 이 흐름은 바로 전 글 [[@barthes_third_1987]]에서 이어지는 혹은 그 글의 "왜 영화에서 한 장면을 골라서 해석하는가"라는 질문에 답하는 느낌이 든다. 그러므로 그 둘 [[Bertolt Brecht|Brecht]]과 [[Sergei Eisenstein|Eisenstein]]의 작업은 series of [[pregnant moments]] ([[Gotthold Ephraim Lessing]]), social gestut ([[Bertolt Brecht|Brecht]], gesture or set of gesture but never a gesticulation including body gesture and language, rhetorical forms([[Sergei Eisenstein|Eisenstein]]), because form, [[aesthetics|aesthetic]], rhetoric can be socially responsible if they are handled with deliberation (= cut-out represents.) > The pregnant moment is just this presence of all the absences (memories, lessons, promises) to whose rhythm History becomes both intelligible and desirable. (36) [[tableau]]에는 subject가 아니라 meaning 이 있다. ("begins with the social gestus" (37) - [?] 혹은 sensation? - [?] 바로 이 [[pregnant moments]]때문에 [[Roland Barthes|Barthes]]가 [[Haiku]]에 대해서 집중한것 같다. > "the geometrical foundation of representation: a fetishist subject is required to cut out the tableau. (38)" 여기서 meaning 은 언제나 Law, law of society, law of struggle, law of meaning 이다. In other words, in a period of ascendency every physics of art (Chardin) must be crowned with a metaphysics (Greuze). ### Annotation ### Related ![[202206180651]] ```dataview LIST FROM [[@barthes_diderot_1974]] and -"Plans" and -"resources" ```