# Ryan Bishop (2020) *A Circle of Fragments: Barthes, Burgin, and the Interruption of Rhetoric*. : SAGE Publications Ltd. > [!INFO] > Type:: [[]] > Title:: A Circle of Fragments: Barthes, Burgin, and the Interruption of Rhetoric > Author(s): [[Ryan Bishop]] > Year:: 2020 > Tags:: > DOI:: 10.1177/0263276420911436 > Citekey:: bishop_circle_2020 > ZoteroURI:: [Open in Zotero: A Circle of Fragments: Barthes, Burgin, and the Interruption of Rhetoric](zotero://select/items/@bishop_circle_2020) > ReviewedDate:: [[2024-04-28]] > Related Note: 202405051232 ## Citation ```latex [@bishop_circle_2020] ``` ## Summary: 글쓴이는 Barthes/Burgin 전시의 큐레이터 중 한명으로 그 둘의 연결점을 이 글로 풀어나가고 있다. 그가 중점적으로 이야기 한 것은 [[@barthes_neutral_2005|Roland Barthes (2005) The Neutral]] 중에서도 [[fragment]] 에 대해서이며 수사학적인 사용을 통해 그 둘의 연결 관계를 해석하고 있다. 하지만 중요한 목적은 둘 다 [[doxa]]에서 탈출하기 위한 [[post-structuralism]] 혹은 [[post-historical]]의 관점이라고 해석하고 있으며 이러한 관계를 2016년의 작업인 Belledonne, 바르트가 10년 가까이 그의 병을 치료하기 위해 있었던 장소를 통해 이야기 한다. 바르트의 평생의 걸친 목표였던 “Roland Barthes’ entire career pursued a dream of being freed from the tyranny of ossified, institutionalized, rote language use, as articulated from his first massively influential work on ‘writing degree zero’ in 1953.” ([Bishop, 2020, p. 135](zotero://open-pdf/library/items/89M3YV93?page=1&annotation=2RRTCEBH)) 이 과연 가능한 것인가 하는 문제는 분명 이야기되어야 할 것이다. #comment 이것은 마치 꼬리를 문 뱀 처럼 그 안을 돌고 도는 형태로 진행된다. ### Notes: > ...series (sequence) of fragments, each of which is given a title ¼ the figures of the Neutral. Figure: rhetorical allusion (¼ a circled piece of discourse, identifiable since titleable) + face that has an ‘air’, an ‘expression’: fragment not on the Neutral but in which, more vaguely, there is some Neutral, a little like those rebus drawings in which one must look for the silhouette of the hunter, of the rabbit, etc. ([[@barthes_neutral_2005]], 10) [[Victor Burgin]]의 중요 작업은 [[visual rhetorical practice]] 이며 [[Roland Barthes|Barthes]]에게 많은 영향을 받았다. > “The artist and theorist [[Victor Burgin]] has been profoundly influenced by Barthes’ writings and his attempts to escape the ideological constraints of language, institutions and images.” ([Bishop, 2020, p. 135](zotero://open-pdf/library/items/89M3YV93?page=1&annotation=7X3VL3EU)) 그의 loop작업은 그것이 전시되는 공간을 “Their basic building block is also the [[fragment]], and the loop constitutes another circle of fragments.” ([Bishop, 2020, p. 135](zotero://open-pdf/library/items/89M3YV93?page=1&annotation=GRM9EEKK)) 뉴트럴은 스스로 본인의 모습을 드러낸다. “fragment as form” ([Bishop, 2020, p. 136](zotero://open-pdf/library/items/89M3YV93?page=2&annotation=2WVH9ASC)) (이 지점은 **니체와** 연결된다고 하는데 니체, 들뢰즈의 니체일 가능성이 크다) 이러한 뉴트럴을 위한 테크닉으로 [[Roland Barthes|Barthes]]는 여러가지 테크닉을 사용하는데 "such as using alphabetical ordering, random ‘lottery’ numbers, statistical tables as a cipher, etc.” (Bishop, 2020, p. 136) ‘but no one realizes what a problem it is to decide in what order to put them’ ([[@barthes_neutral_2005]], p. 12). 비숍의 'interruption of rhetoric'의 한 형태로 전개하는 이 글의 'exploration of the fragment'는 주로 전자 (테크닉)의 관심사라고 할 수 있으며, 우리에게 바르트의 이론적인 독해를 주지만, 그럼에도 불구하고 실제로 단편적인 글을 만들어내는 복잡성에 맞춰져 있으며 “언어의 이데올로기적 제약을 능가하려는 시도를 펼친다.” ([Bishop, 2020, p. 136](zotero://open-pdf/library/items/89M3YV93?page=2&annotation=FSJSSEP4)) [[@burgin_nagori_2020|Victor Burgin (2020) Nagori]] ![[Screenshot 2022-06-11 at 15.40.57.png]] [[Roland Barthes|Barthes]]가 세계 2차 대전 때 결핵 치료를 위해 머물렀던 장소가 바로 Belledonne. 그리고 이 장소를 통해 [[Roland Barthes|Barthes]]의 이야기를 풀어가는 [[Victor Burgin]]. [[Roland Barthes|Barthes]]가 그 안에서의 경험을 생생하게 그려낸 글은 'Sketch of a Sanatorium Society' ([[@barthes_album_2018]], 128 of 582) [[Roland Barthes]]는 [[fragment|fragmentation]], disruption of narrative and linear or automatic readings를 즐겼다. 이러한 그의 모습은 특히 [[@barthes_roland_1977|Roland Barthes (1977) Roland Barthes]]에서 볼 수 있으며 그는 이 작업을 'the absence of every sign' ([[[[@barthes_roland_1977]], 87) 이라고 정의했다. 그러므로 [[Roland Barthes|Barthes]]에게서 [[fragment]]는 "privileged role in the escape from the tyranny of meaning imposed by doxa and received wisdom, sometimes called literature (Bishop and Manghani, 2019: 24).” ([Bishop, 2020, p. 141](zotero://open-pdf/library/items/89M3YV93?page=7&annotation=EFLPJ2IN)) > “To write by fragments: the fragments are then so many stones on the perimeter of a circle: I spread myself around: my whole little universe in crumbs; at the center, what? [@barthes_roland_1977, 92-3] 여기서 주로 이야기 하는 것은 - [[@barthes_writing_1967|Roland Barthes (1967) Writing Degree Zero]][[@barthes_writing_1967]] - [[@barthes_neutral_2005|Roland Barthes (2005) The Neutral]] - [[@barthes_how_2013|Roland Barthes (2013) How to Live Together_Novelistic Simulations of Some Everyday Spaces]] 이 세개가 있다. 가장 특징적인 것은 [[Roland Barthes|Barthes]]가 공간으로 이러한 fragmented and neutral, twinkling 을 읽어낸다는 것인데, 이러한 Utopian place, space or ideological position을 desirable in and of itself로 여긴다. 이러한 fragments를 이용한 테크닉 들은 “self-reflexively a list of his favourite concepts of [[fragment|fragmentation]] as something like ‘a parlour game’ that includes ‘fragment, circle, Gide, wrestling match, asyndeton, painting, discourse, Zen, intermezzo’,” ([Bishop, 2020, p. 9](zotero://open-pdf/library/items/89M3YV93?page=9&annotation=K994Z6BA)) ^f1c57a 마치 [[diagram|diagram]]처럼 [[Neutral]]은 직접적으로 그 모습을 드러내지 않는다. > “The law of the neutral, he writes, would be to find a way ‘to disseminate intelligent stuff, as though between the lines (cf. the monochrome) of a flat, dumb (verbal) fabric’ ([[@barthes_neutral_2005]], 85). [[Neutral]]은 [[fragment|Fragment]]와 마찬가지로 담론의 족쇄와 역사의 역병을 글쓰기에서 풀어주어, 권리와 주체를 형성하는 조건의 결정권자로서 초월적 주체를 구성하는 데 있어서 역사를 능가하는 지친 자기 망상으로부터 우리를 막는다. The neutral, as with fragments, releases the shackles of discourse and the plague of history from writing, preventing us from the tired selfdelusion that abets history in constituting the transcendental subject as the arbiter of the conditions that formulate rights and subjecthood. rhetorician, self-reflexive fragment. “Like time, discourse is the stuff of thought: preceding it, exceeding it, causing it, revealing it.” ([Bishop, 2020, p. 146](zotero://open-pdf/library/items/89M3YV93?page=12&annotation=2D38WDKH)) > “The fragment offers a momentary respite in which the illusion of evasion liberates the thinking subject/ writer/painter to imagine a world shed of the tyranny of meaning – only to be reminded that the flow of language, like that of time, flows within individuals’ thoughts and without them.” ([Bishop, 2020, p. 146](zotero://open-pdf/library/items/89M3YV93?page=12&annotation=37ZT6ZHZ)) > 이 단편은 회피의 환상이 생각의 주체/작가/화가를 해방시켜 의미의 횡포에서 벗어난 세계를 상상하게 하는 순간적인 휴식을 제공합니다 - 단지 시간의 흐름과 마찬가지로 언어의 흐름이 개인의 생각 안에서 그리고 그것 없이 흐른다는 것을 상기시킨다. 글은 이러한 탈출을 위한 테크닉으로 [[Asyndeton]] (접속사 생략)과 Anacolution (파격 구문의 문장)을 예시로 든다. 이 둘은 [[Roland Barthes|Barthes]]가 [[fragment]]의 관계로 좋아했던 두가지로 - ==Asyndeton== means ‘unconnected’ in Greek and denotes bursts of lan- guage, accelerated by the eschewal of traditional punctuation and syntax, as in Sophocles’ line: ‘without looking, without talking, without making a sound’ (Oedipus at Colonus).” - 아신데톤은 그리스어로 '연결되지 않은'을 의미하며, 소포클레스의 대사처럼 전통적인 구두점과 구문의 회피에 의해 가속화되는 언어의 폭발을 나타냅니다: '보지도 않고, 말도 하지 않고, 소리도 내지 않고'(콜로노스의 오이디푸스). - 하지만 [[Roland Barthes|Barthes]]는 그럼에도 불구하고 이러한 폭발은 구문적 규범에 대한 flaunting을 통해 연결되어 있다. - “Without the norms, we would not be able to identify asyndeton as asyndeton” ([Bishop, 2020, p. 13](zotero://select/library/items/K5MU2MIJ)) ([pdf](zotero://open-pdf/library/items/89M3YV93?page=13&annotation=MJFGKH69)) - “Similarly, ==anacoluthon== is the Greek grammatical equivalent of the non sequitur, meaning ‘it does not follow’. - "비슷하게, acoluthon은 그리스 문법적으로 non squiture와 동등하며, '따라오지 않는다'는 의미이다. - 하지만 이 테크닉은 따라올 문장이 어떤 것인지 확실히 알아야 이것이 순서가 깨졌다고 판단할 수 있다. 따라서 패러디나 풍자, 그리고 그들이 반대 elude 하거나 도전 elide 하는 것으로 추정되는 로고와의 관계처럼 순서(또는 로고)가 재확인된다. 그러므로 그러한 [[fragment]]에서조차 병렬 parataxis가 지배한다. 바르트도 이것을 모른 것은 아니었다. ([[@barthes_roland_1977]], 93) > the fragment as illusion ([[@barthes_roland_1977]], 95) 만약 이것을 더 끌고 간다면 > the fragment *is* an illusion. ([Bishop, 2020, p. 148](zotero://open-pdf/library/items/89M3YV93?page=14&annotation=8X7QQTVX)) 이 중 어느 것도 우리가 수영하는 헤라클레스의 언어와 이미지의 흐름에서 조각이나 중립에 대한 유혹과 욕망을 배제하지 않는다. 그가 세미나 시작 ([[@barthes_neutral_2005]], 10)에서 언급한 바와 같이, 중성선에 대한 그의 'sequence of [[fragment]]'이 실현되기를 바랐던 지속적인 흐름입니다. 이 다음에 나오는 질문이야말로 지속적으로 의문시된 질문이다. > “what can we take from this exploration of the desire for the fragment’s doomed operation?” ([Bishop, 2020, p. 149](zotero://open-pdf/library/items/89M3YV93?page=15&annotation=REJWDQR7)) > 파편의 파멸적인 작전에 대한 욕망의 탐구를 통해 우리는 무엇을 얻을 수 있을까?" 대답중 하나는 바르트가 [[fragment]]를 [[thought-sentence]] ([[@barthes_roland_1977]], 94)와 연결시켰을 때이다. [[Roland Barthes|Barthes]]’s [[thought-sentence]] = [[Victor Burgin|Burgin]]’s [[sequence-image]] ^5a2d74 [[sequence-image]]는 [[moving image]] 의 특정한 시퀀스의 형태로 기억과 경험 안에 있는 공간적 unit이다. 그러므로 이것은 일반적 cinematic and photographic thoery에서 벗어난다. [@burgin_remembered_2004, 27-8] ^daa9da - [I] #comment 이러한 개념과 [[time-image]]와 무엇이 다를까? [[202206121106]] 대답중 다른 하나는 musical 이 있을 수 있다. 이러한 연결은 attentive spectatorship과 연결되며 both reliant upon the nature of reception and hence the aleatory(우연적) - [I] #comment 이것 또한 [[Sergei Eisenstein|Eisenstein]]의 [[ambulatory viewer]]와 이어지지 않는가? 그리고 마지막으로 또 다른 대답은 ==fragment as a strke== 일 경우의 anthropological 인류학이 있을 수 있다. 그리고 이 경우 *torin* 혹은 broken opening of Buddhism 혹은 ‘what once would have been called a “turn” [[[@barthes_roland_1977]], 94]과 연결된다. > “with Greek drama, in which the movement of the chorus is the turn, counter-turn and return (or strophe, anti-strophe, epode) that marks a kind of dialectic argument of the citizens on stage: theatre and/as theory found in movement.” ([Bishop, 2020, p. 150](zotero://open-pdf/library/items/89M3YV93?page=16&annotation=TG6CJ9KG)) > 타격이나 타격으로서 그 파편이 불교의 토린이나 깨진 개방과 연결될 때, 또는 '''돌기''' (1977:94)일 것이다. 여기서 바르테스는 쉼표 없이 불교 사상이 그리스 연극과 융합되는데, 합창의 움직임은 무대 위의 시민들의 변증법적 주장인 연극에서 발견된 이론의/그리고 표시인 회전, 역회전, 복귀(또는 스트로피 strophe, 반스트로피 anti-strophe, 에피소드 epode)이다. 이러한 turn [[Victor Burgin|Burgin]]의 CGI 카메라와 연결된다. 그리고 이것은 다시 한번 Gide와 연결된다. > the work therefore perpetually loops, with no particular ‘beginning, middle and end.’ In all, the conditions of spectatorship are similar to those of painting, where the relation to the work is one of repetition, or more accurately reprise, and where the ideal viewer is one who accumulates her or his knowledge of the work, as it were, in ‘layers’ – much as a painting is created. Burgin, Victor (2008) Components of a Practice. Milan: Skira, p. 90-1 Zero degree of perspective [@bishop_seeing_2019, 11-25] = [[Victor Burgin|Burgin]]은 “calls ‘a theoretical vision’ (Burgin, Victor (2008) Components of a Practice. Milan: Skira, p. 92)” = ==‘disembodied eye turning upon a mathematical point of zero dimensions’== ==‘0차원의 수학적 지점에서 눈을 돌리는 실체 없는 눈’== (p. 92) -> ‘stitches together images and dissolves the frame’ (p. 92) ### 생략 [[apostrophe]] The pre-Socratics 는 poststructuralist thinkers에게 많은 영향을 끼쳤다 “prior to the proper codification of discourse (the old rhetoric) that has so constituted the West as the West [@barthes_semiotic_1994, p. 12–16].” > “Derrida and many of the poststructuralist thinkers in France found the pre-Socratics of much use for rethinking the Western intellectual tradition as inherited from Plato and Aristotle.” (Bishop, 2020, p. 24) - [?] Did Deleuze, too? 그리고 [[Roland Barthes|Barthes]]의 초기 목표중 하나가 바로 20세기 후반 '대중문화'와 대중소통의 선험적인 기본 수사학과 논리가 된 아리스토텔레스의 '분석적 그리드'의 지배력을 깨려는 시도였다." >“Primary amongst his goals was an attempt to break the grip of the Aristotelian ‘analytic grid’ that had become the a priori default rhetoric and logic of ‘mass culture’ and mass communications in the latter part of the 20th century.” ([Bishop, 2020, p. 158](zotero://open-pdf/library/items/89M3YV93?page=24&annotation=KUWY5PRB)) i.e. western cultural based on the Greek Aristoteles pre-Socratic thought = an ‘other’ West in potentia = The pre-Socratic works, as physical entities, as texts, embodied Text (in Barthes terms) and did so as apostrophes: as holes and marks of absence” ([Bishop, 2020, p. 25](zotero://open-pdf/library/items/89M3YV93?page=25&annotation=VDIRXWXX)) 그리고 글쓴이는[[@barthes_roland_1977|Roland Barthes (1977) Roland Barthes]]와 [[Victor Burgin|Burgin]]의 *Belledonne* 가 바로 [[apostrophe]]라고 주장한다. 수사학적으로는 누군가 또는 다른 것을 언급하기 위해 청중을 외면하는 것이고, 시에서는 시에서 부재하는 누군가 또는 사물, 죽은 존재이거나 무생물(예: 바다나 달) 또는 추상적 존재(예: 개념)에 대한 호칭이며, 구두점으로는 소유를 나타낼 뿐만 아니라 축약어에서 글자의 부재, 즉 맞춤법에 따라 여전히 인식 가능한 단어의 단편적인 조합을 초래하는 글자를 제거하는 것을 의미합니다. > The prefix ‘apo-’ denotes spatially the ideas of ‘away, off, apart’, amongst other usages. (160) 아포스트로피는 추상성을 유지하되 일종의 감성이나 인지, 심지어 주체성을 부여함으로써 화자/작가가 특히 권력이나 통제 측면에서 주체와 객체 관계에 의문을 제기할 수 있는 여지를 허용합니다. 고대 수사학의 새로운 역사를 요구하는 바르트의 요구는 '수사적 코드'를 '기술'이나 '[[aesthetics|미학]]' 또는 심지어 '수사적 윤리학'을 통해서가 아니라 '수사적 코드'를 이해하라는 요구였다. [@barthes_semiotic_1994, 92] 따라서 문헌이 그 존재와 운영의 조건을 밝히는 데 실패한 경우가 많았기 때문에 역사가 거의 유일한 선택지가 되었습니다. 롤랑 바르트의 *Roland Barthes* [-@barthes_roland_1977] 는 그가 주장한 수사학의 한 종류이며, 거의 알파벳 순서에 가까운 단편과 엔트리를 사용했음에도 불구하고 담론의 요구에 있어서는 피하고 싶었던 것이다. 그러나 그것은 또한 현대 수사학의 관행과 교육에서 볼 수 있는 무의미한 형식화의 먼지투성이 미사여구로부터 특정한 '에로틱한 수사학'을 구출하려는 열망으로 읽힐 수도 있습니다. 이 에로틱한 수사학은 소피스트들의 소크라테스 이전의 영향들을 피했지만, 플라톤에서 분명하게 표현되는데, 플라톤은 진정한 수사학을 소크라테스 이전의 수사 도구상자의 일부였던 '''[[psychagogy]]' [-@barthes_roland_1977, 19]이라고 불렀다 → 혹은 [[maieutic]] > 에로틱한 수사는 고착화된 형식에 활기를 불어넣고 새로운 형식의 탄생을 노래합니다. > > The eroticized rhetoric reinvigorates staid forms and sings new ones into being. (161) > “That is its [[Gesture and Thought|gesture]], a turn to alternatives we have always had. This is the turn of Roland Barthes by Roland Barthes, the journal as autobiographic novel of rhetorical possibilities: the turn as Text.” [@bishop_circle_2020, 161] ### epode 고대 서정시형, 그리스 합창가와 서정가의 strophe, antistrophe에 계속되는 마지막 절 The rhetorical turn and the turn of the gyre: torin – turn away, speak absently into the absence, to turn and turn away – apostrophe, tropes and turns that address the absent and the dead – apostrophe marks absence, holes and possession – the topos of possibility, the topos of play to stay the delusions of progress and narrative as they are routed back and away – ‘poli’ means backward, in opposition, in Greek – and yields paliilogia, a rhetorical device of repetition – the metempsychosis of the move manifests itself as parable and parabola: the squashed, closed circle of the Text/projection – parables provide the reverse of synecdoche, the whole resides in every part, thus we eliminate progress – while no part or attribute can stand for the whole, no whole can stand for the whole either ... 수사적 방향 전환과 회향: 토린 - 돌아서서, 부재에 대해 멍하니 말하고, 부재에 대해 말하고, 부재와 망자에 대해 언급하는 아포스트로피, 트로피, 턴 - 아포스트로피 - 부재, 구멍, 소유 - 가능성의 토포스와 진보와 서술의 망상을 그대로 간직하기 위한 놀이의 토포스가 있다. 백 앤드 어웨이(back and away) – 'poli(poli)'는 그리스어로 역방향, 반대 방향, 그리고 반복의 수사적 장치인 팔릴로지아(palilogia)를 산출한다 – 움직임의 메타정신병증(metempsicosis)은 스스로 비유와 포물로서 나타난다: 텍스트/투영의 뭉그러진 닫힌 원(text/droposition) – 비유는 모든 부분에 존재하며, 따라서 우리는 프로그램을 제거한다.ess – 어떤 부분이나 속성도 전체를 대표할 수 없지만, 어떤 전체도 전체를 대표할 수 없습니다... ## Annotation <h1>Annotations (11/06/2022, 14:39:20)</h1> “Roland Barthes' entire career pursued a dream of being freed from the tyranny of ossified, institutionalized, rote language use, as articulated from his first massively influential work on `writing degree zero' in 1953.” (Bishop, 2020, p. 1) “The artist and theorist Victor Burgin has been profoundly influenced by Barthes' writings and his attempts to escape the ideological constraints of language, institutions and images.” (Bishop, 2020, p. 1) “Their basic building block is also the fragment, and the loop constitutes another circle of fragments.” (Bishop, 2020, p. 1) “`A Circle of Fragments',” (Bishop, 2020, p. 2) “reveal itself,” (Bishop, 2020, p. 2) “[[fragment]] as form” (Bishop, 2020, p. 2) “Barthes remarks upon various techniques, such as using alphabetical ordering, random `lottery' numbers, statistical tables as a cipher, etc.” (Bishop, 2020, p. 2) “writes Barthes, `but no one realizes what a problem it is to decide in what order to put them' (p. 12).” (Bishop, 2020, p. 2) “develops as a form of `interruption of rhetoric” (Bishop, 2020, p. 2) “yet, nonetheless, it is attuned to the complexities of actually producing fragmentary writing.” (Bishop, 2020, p. 2) “Bishop positions his reading of Barthes through a parallel reading of Belledonne (2016), a contemporary artwork by Victor Burgin.” (Bishop, 2020, p. 2) “unfold- ing attempt to outplay the ideological constraints of language” (Bishop, 2020, p. 2) “Roland Barthes relished fragmentation, a disruption of narrative and linear or automatic readings” (Bishop, 2020, p. 6) “Fragments, therefore, played a privileged role in the escape from the tyranny of meaning imposed by doxa and received wisdom, sometimes called literature (Bishop and Manghani, 2019: 24).” (Bishop, 2020, p. 7) “To write by fragments: the fragments are then so many stones on the perimeter of a circle: I spread myself around: my whole little universe in crumbs; at the center, what? (Barthes, 1977: 92–3)” (Bishop, 2020, p. 7) Barthes, Roland (1977) Roland Barthes by Roland Barthes, trans. Howard, Richard. London: Macmillan. “Literature (pp. 26–8) that offered an explicit site of applied resistance. Though accompanied by other tropes, techniques and concepts, the fragment played a special dis- cursive role in both agendas: inherent good and applicable good.” (Bishop, 2020, p. 8) “he offers self-reflexively a list of his favourite concepts of fragmentation as something like `a parlour game' that includes `fragment, circle, Gide, wrestling match, asyndeton, painting, discourse, Zen, intermezzo',” (Bishop, 2020, p. 9) “The law of the neutral, he writes, would be to find a way `to disseminate intelligent stuff, as though between the lines (cf. the monochrome) of a flat, dumb (verbal) fabric' (2005: 85).” (Bishop, 2020, p. 11) “Like time, discourse is the stuff of thought: preceding it, exceeding it, causing it, revealing it.” (Bishop, 2020, p. 12) “The fragment offers a momentary respite in which the illusion of evasion liberates the thinking subject/ writer/painter to imagine a world shed of the tyranny of meaning – only to be reminded that the flow of language, like that of time, flows within individuals' thoughts and without them.” (Bishop, 2020, p. 12) “`figures of interruption and short-circuit- ing' (1977: 93)” (Bishop, 2020, p. 13) “Asyndeton means `unconnected' in Greek and denotes bursts of lan- guage, accelerated by the eschewal of traditional punctuation and syntax, as in Sophocles' line: `without looking, without talking, without making a sound' (Oedipus at Colonus).” (Bishop, 2020, p. 13) “these bursts remain connected nonetheless through their flaunting of syntactic norms.” (Bishop, 2020, p. 13) “Without the norms, we would not be able to identify asyndeton as asyndeton” (Bishop, 2020, p. 13) “Similarly, anacolu- thon is the Greek grammatical equivalent of the non sequitur, meaning `it does not follow'. Y” (Bishop, 2020, p. 13) “to atomistic or stochastic rhetorical and syntactic tricks only serves to affirm the power one wishes to elude or elide” (Bishop, 2020, p. 14) “We could take this thought a step further to say that the fragment is an illusion” (Bishop, 2020, p. 14) “This is the continuous flux his `sequence of fragments' on the Neutral hoped to realize, as he notes at the start of his seminar (2005: 10).” (Bishop, 2020, p. 14) “what can we take from this exploration of the desire for the fragment's doomed operation?” (Bishop, 2020, p. 15) “likens the fragment to the `thought-sentence' (1977: 94)” (Bishop, 2020, p. 15) “s `sequence-image',” (Bishop, 2020, p. 15) “which a specific sequence of moving images forms a kind of spatial unit in memory and experience” (Bishop, 2020, p. 15) “enfolds the synchronic and the diachronic within a single frame and thus falls outside of standard cinematic and photographic theory (Burgin, 2004: 27–8)” (Bishop, 2020, p. 15) “with Greek drama, in which the movement of the chorus is the turn, counter-turn and return (or strophe, anti-strophe, epode) that marks a kind of dialectic argument of the citizens on stage: theatre and/as theory found in movement.” (Bishop, 2020, p. 16) “calls `a theoretical vision' (Burgin, 2008: 92)” (Bishop, 2020, p. 19) “turning upon a mathematical point of zero dimensions' (p. 92).” (Bishop, 2020, p. 20) “stitches together images and dissolves the frame,” (Bishop, 2020, p. 20) “How long is a projection loop? It has a `running time' but that is not its length. As with a painting, the work's temporality deepens with, and depends on, extended observation” (Bishop, 2020, p. 22) “the pre-Socratic thinkers had sustained influence on poststructuralist thin- kers.” (Bishop, 2020, p. 23) “prior to the proper codification of discourse (the old rhetoric) that has so constituted the West as the West (Barthes, 1988: 12–16).” (Bishop, 2020, p. 23) “Primary amongst his goals was an attempt to break the grip of the Aristotelian `analytic grid' that had become the a priori default rhetoric and logic of `mass culture' and mass communications in the latter part of the 20th century.” (Bishop, 2020, p. 24) i.e. western cultural based on the Greek Aristoteles “pre-Socratics” (Bishop, 2020, p. 24) It's also weird to say that pre-Sorcratics as pre-history “Derrida and many of the poststructuralist thinkers in France found the pre-Socratics of much use for rethinking the Western intellectual tradition as inherited from Plato and Aristotle.” (Bishop, 2020, p. 24) Did Deleuze too? “pre-Socratic thought” (Bishop, 2020, p. 25) “an `other' West in potentia.” (Bishop, 2020, p. 25) “The pre-Socratic works, as physical entities, as texts, embodied Text (in Barthes terms) and did so as apostrophes: as holes and marks of absence” (Bishop, 2020, p. 25) “rhetorical move,” (Bishop, 2020, p. 25) “in poetry” (Bishop, 2020, p. 25) “; as a punctuation mark, it indicates possession as well as the absence of letters in a con- traction:” (Bishop, 2020, p. 25) “the root `strophe',” (Bishop, 2020, p. 25) “As a poetic turn, the spatial elements are rather like invocation, bringing into being through the elocutionary act but also addressing abstract concepts without anthropomorphizing them.” (Bishop, 2020, p. 26) “the apostrophe allows the speaker/writer latitude” (Bishop, 2020, p. 26) “Roland Barthes by Roland Barthes is an apos- trophe to the novel Barthes would never write as well as to the author who would never write it – that is, an apostrophe to Roland Barthes, novelist.” (Bishop, 2020, p. 26) “Belledonne is an apostrophe, not an elegy” (Bishop, 2020, p. 26) “the rhetorical code' not through `a technique' or `an aesthetic' or even `an ethics of rhetoric', for he felt these were impossible (Barthes, 1988: 92).” (Bishop, 2020, p. 26) “This eroticized rhet- oric is articulated in Plato, who though eschewing the pre-Socratic influ- ences of the Sophists, considered true rhetoric to be what he called “`psychagogy” (formation of souls through speech)' (p. 19) – which was part of the pre-Socratic rhetorical toolbox.” (Bishop, 2020, p. 27) “That is its gesture, a turn to alternatives we have always had. This is the turn of Roland Barthes by Roland Barthes, the journal as autobiographic novel of rhetorical possibilities: the turn as Text.” (Bishop, 2020, p. 27) ### Related ```dataview LIST FROM [[@bishop_circle_2020]] and -"Plans" and -"resources" ```