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Journal articles on the topic 'Klossowski, pierre'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Rose, Marilyn Gaddis, and Alain Arnaud. "Pierre Klossowski." World Literature Today 65, no. 2 (1991): 267. http://dx.doi.org/10.2307/40147121.

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2

Rothwell, Andrew, Laurent Jenny, and Andreas Pfersmann. "Traversees de Pierre Klossowski." Modern Language Review 96, no. 1 (January 2001): 202. http://dx.doi.org/10.2307/3735776.

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3

Hill, Leslie. "‘The Prey or the Shadow’: Klossowski, Kierkegaard, Desire." Paragraph 43, no. 1 (March 2020): 58–70. http://dx.doi.org/10.3366/para.2020.0320.

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During the late 1930s, towards the beginning of a long and colourful career as a translator, writer, novelist and painter, Pierre Klossowski (1905–2001) proved an attentive reader of the work of the Danish thinker Søren Kierkegaard (1813–55). This article examines Klossowski's twofold engagement with Kierkegaard, the first in the form of a commentary, published in Bataille's magazine Acéphale in 1937 addressing the Dane's use of Mozart's Don Giovanni in his philosophical treatise Either — Or, the second, a year later, being a translation of an essay by Kierkegaard, also originally part of Either — Or, offering an alternative interpretation of Sophocles’ Antigone to the one proposed by Hegel. The aim of the article is to examine how Klossowski, in these texts, problematizes the possibility of mediation and translatability, and emphasizes instead the irreducibility of immediacy, secrecy, indirection.
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4

Vuarnet, Jean-Noël. "Trois fragments pour Pierre Klossowski." Lignes 49, no. 1 (2016): 179. http://dx.doi.org/10.3917/lignes.049.0179.

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5

Levesque, Simon. "L’économie sémiotique du fantasme et le signe unique dans l’oeuvre littéraire de Pierre Klossowski." Cygne noir, no. 8 (April 5, 2021): 78–101. http://dx.doi.org/10.7202/1076273ar.

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L’oeuvre littéraire de l’écrivain et peintre français Pierre Klossowski (1905-2001) présente d’importantes récurrences sur le plan thématique. Le bain de Diane (1956), Les lois de l’hospitalité (1965) et La monnaie vivante (1970) forment le corpus ici à l’étude. C’est au personnage de Diane/Roberte que nous nous intéressons plus particulièrement, en tant qu’elle est le « signe unique » et le symbole organisateur de la scène fantasmatique dans l’oeuvre littéraire klossowskienne. Nous profitons de la parution récente de feuillets inédits de l’écrivain rassemblés sous le titre Du signe unique (2018) pour revisiter sa pensée et tâcher de cerner les propriétés singulières de ce « signe unique », de même que le rôle que tient celui-ci dans l’économie du fantasme klossowskien. C’est aux aspects proprement sémiotiques de cette oeuvre que nous voudrions accorder une attention particulière. La mise en rapport des propriétés singulières du signe unique klossowskien avec l’utopie de la monnaie vivante envisagée par l’écrivain en 1970 nous fournit l’occasion d’interroger le signe du point de vue de la valeur et des moeurs pour repenser à nouveaux frais la fameuse loi d’hospitalité formulée par Klossowski en 1956. En nous intéressant à la notion de signe dans la pensée klossowskienne, nous pensons contribuer à une mise en rapport productive entre les écrits « fictionnels » et les écrits « notionnels » de l’écrivain, dont la connexion n’est pas toujours aisée.
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6

James, Ian. "Pierre Klossowski: The Pantomime of Spirits." French Studies 69, no. 4 (September 18, 2015): 553.2–554. http://dx.doi.org/10.1093/fs/knv196.

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7

Klettke, Cornelia. "Pierre Klossowski. L’acte créateur de l’écrivain-peintre." Cahiers ERTA, no. 33 (March 31, 2023): 139–57. http://dx.doi.org/10.4467/23538953ce.23.006.17568.

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The Creative Act of the Writer-Painter Klossowski, who had originally started as a religious seeker of truth in his younger years, will – after his « reversal » – feel himself invested with the role of a « heretic » struggling with the libidinous search for truth. Even as the creator of a perverted metaphysics, he remains a seeker of the revelation of being, now in the role of the divine « adversary » who, thrown back on himself, tends to imitate a religious mystic. The divine is replaced by the whispers of the demon, which Klossowski experiences as « la complicité d'une force "démonique" » in the creation of his artworks. The Diana myth becomes a parable for the act of artistic creation. Sexuality, understood as the primordial ground of creative force that shapes the signe unique, the phantasm, shifts metaphysics to « phantasmaphysics » (Foucault), in which the mystery of the divine is exposed as a delusion (Wahnbild).
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8

Castanet, Hervé. "Roberte ou l'impossible prostitution selon Pierre Klossowski." Sociétés 99, no. 1 (2008): 107. http://dx.doi.org/10.3917/soc.099.0107.

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9

Gonashvili, Gigla. "Pierre Klossowski : Nietzsche et le cercle vicieux." AUC INTERPRETATIONES 8, no. 2 (June 30, 2020): 150–53. http://dx.doi.org/10.14712/24646504.2020.11.

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10

Gamboa Muñoz, Yolanda Gloria. "Klossowski: Um fantasma entre Nietzsche e Foucault?" Princípios: Revista de Filosofia (UFRN) 28, no. 57 (September 30, 2021): 89–102. http://dx.doi.org/10.21680/1983-2109.2021v28n57id22108.

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Após a montagem de um cenário fragmentário escolhendo determinadas expressões do pensamento de Klossowski sobre Nietzsche e assinalando um começo de leitura com duplo ponto de partida (de experiencia pessoal e na via do Incipit), pretendo realizar um exercício de leitura textual utilizando uma expressão sobre Pierre Klossowski inscrita e mascarada por Foucault no Theatrum Philosophicum. Encaminho esse exercício de caracterização nominal - “um outro signo maior e excessivo”- fazendo determinadas referências ao papel do signo, do excesso e do gesto. Nosso suposto é que, ao considerar a apropriação foucaultiana deste signo gestual – sob o nome de Klossowski – seja possivel desenhar uma fantasmagórica figura tríade apontando, de passagem, para um possível atravessamento, desvio e obstaculização de uma habitual relação simples e teórica entre os pensamentos de Nietzsche e de Foucault.
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11

Maclachlan, I. "Review: Pierre Klossowski: The Persistence of a Name." French Studies 57, no. 2 (April 1, 2003): 270–71. http://dx.doi.org/10.1093/fs/57.2.270.

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12

Lauwaert, Lode. "Pierre Klossowski reads Sade theologically. Modernity and salvation." International Journal of Philosophy and Theology 74, no. 3 (July 2013): 174–82. http://dx.doi.org/10.1080/21692327.2013.823773.

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13

Perrier, Guillaume. "Pierre Klossowski et le champ de la traduction." Revue des Sciences Humaines, no. 338 (June 18, 2020): 51–62. http://dx.doi.org/10.4000/rsh.842.

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14

Torres Sanchez, Rayiv. "La infidelidad de los dioses: lenguaje y simulacro en Pierre Klossowski." Nóesis. Revista de Ciencias Sociales y Humanidades 27, no. 1 (January 1, 2018): 159–70. http://dx.doi.org/10.20983/noesis.2018.1.8.

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15

Assunção, Teodoro Rennó. "A literalidade sintática na tradução da Eneida por Pierre Klossowski." Aletria: Revista de Estudos de Literatura 22, no. 1 (April 30, 2012): 69–81. http://dx.doi.org/10.17851/2317-2096.22.1.69-81.

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O objetivo deste estudo é apresentar e comentar, por meio de um exemplo, o proêmio – o critério básico que definimos como “literalidade sintática” – da tradução do poema épico latino a Eneida, de Virgílio, para o francês por Pierre Klossowski. Utilizamos, como recursos teóricos, tanto a resenha dessa tradução por Michel Foucault, quanto certas proposições de Walter Benjamin no ensaio “A tarefa do tradutor”.
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16

Perrier, Guillaume. "Pierre Klossowski, le signe unique et le sous-venir." Tangence, no. 120 (2019): 65. http://dx.doi.org/10.7202/1069142ar.

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17

Crapiz, Sergio. "Thierry Tremblay, Anamnèses. Essai sur l’œuvre de Pierre Klossowski." Studi Francesi, no. 170 (LVII | II) (July 1, 2013): 490–91. http://dx.doi.org/10.4000/studifrancesi.3225.

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18

Letiche, Hugo, Terrence Letiche, and Jean-Luc Moriceau. "Liminality Affect and Flesh." Somatechnics 12, no. 3 (December 2022): 140–61. http://dx.doi.org/10.3366/soma.2022.0385.

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Liminality is an anthropological concept that has been influential in contemporary social studies. This article is written from an organisation culture and studies perspective wherein liminality has been seen: (i) as something that must be controlled, (ii) as a utopian call to creativity, and (iii) as a dystopian entrapment. Liminality has to do with whether the study of practice has been excessively cognitive whereby the human is reduced to concepts of control, efficiency and profit; and whereby the soma (Gr.) of the physical body is marginalised as mind, spirit, and ideation are prioritised. Thus, what of sarx (Gr.) or the flesh of existence (see Merleau-Ponty, Klossowski)? In this article we explore liminality evaluating its relationship to bodily-ness / bodyless-ness, affect and text. We start with a discussion of liminality as originated by the anthropologists van Gennep and Turner, and as pushed aside by Weick, but lionised as creativity by Kostera, and denounced as stagnation by Szakolczai. This is followed by an auto-ethnographic case study. The case study points to the unheimisch 2 of liminality which we examine via Pierre Klossowski’s manifoldness. Realising that text about liminality and its embodiment easily becomes paradoxical (unembodied and affectless), we present a non-textual (i.e., not written) visual reaction to the case; again, in the spirit of Klossowski; and we conclude with reflections co-inspired by Maurice Merlau-Ponty on the physical affectivity of liminality.
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19

Halimi, Carole. "Le tableau vivant : un «genre faux en soi» ? Diderot, Klossowski, Ontani." Studiolo 11, no. 1 (2014): 132–49. http://dx.doi.org/10.3406/studi.2014.960.

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Das lebende Bild, eine „falsche Gattung an sich“? Diderot, Klossowski, Ontani. In diesem Artikel wird das lebende Bild zunächst betrachtet bezüglich seiner Herkunft vom Szenenbild im Theater, der Auffassung von Diderot zufolge, und als Alternative zum Künstlichen. Dieser Charakter des Künstlichen tritt jedoch wieder zu Tage und wird sowohl zur Schwäche wie auch zur Stärke des lebenden Bildes, welches sich wie ein „Scheinbild“ in die Kategorie derer einreiht, die einen falschen Anspruch auf Ähnlichkeit erheben. Pierre Klossowski macht sich gerade die Umkehrbarkeit des lebenden Bildes zu Nutzen zwischen Bild und Leben, um dem Scheinbild Form zu geben als Figur der ewigen Wiederholung. Er macht daraus auch einen Raum, in dem die Täuschung der Offenbarung dient. Luigi Ontani bestätigt schließlich diesen positiven Gebrauch des lebenden Bildes als Scheinbild, indem er in den Raum seines persönlichen Lebens zurückkehrt, wobei Bilder der Kunst und Bildung illusorische Bilder herstellen auf der Basis seiner wirklichen Erfahrung.
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20

Oliveira, Eduardo Jorge de. "Uma moeda impossível, um corpo inesgotável: a economia sadiana no século XX entre Georges Bataille e Pierre Klossowski." Cadernos de Ética e Filosofia Política 1, no. 26 (August 18, 2021): 52–63. http://dx.doi.org/10.11606/issn.1517-0128.v1i26p52-63.

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Será feita uma leitura de D.A.F. de Sade em Pierre Klossowski, Sade Mon Prochain, 1947, e em Georges Bataille, La valeur d'usage de D.A.F. de Sade, O.C. II, 1929-1940, ao lado do prefácio dedicado a Justine, em 1958. A partir desses textos, serão discutidos os aspectos de uma economia sadeana como uma operação de mudança de valores literários ou como a decadência pode ser sustentada como um valor romanesco para a composição de um corpo impossível.
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21

James, Ian, and Russell Ford. "Introduction: Whispers of the Flesh: Essays in Memory of Pierre Klossowski." diacritics 35, no. 1 (2005): 3–6. http://dx.doi.org/10.1353/dia.2007.0012.

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22

Castanet, Hervé. "L’échange du bien inéchangeable. Variations sur une utopie de Pierre Klossowski." La Cause freudienne N° 69, no. 2 (September 18, 2008): 72–79. http://dx.doi.org/10.3917/lcdd.069.0072.

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23

Halimi, Carole. "Les tableaux vivants dans l’œuvre de Pierre Klossowski : quels lieux pour l’érotisme ?" Histoire de l'art 66, no. 1 (2010): 121–30. http://dx.doi.org/10.3406/hista.2010.3318.

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24

James, I. "SIMULACRUM AND THE PLAY OF PARODY IN THE WRITING OF PIERRE KLOSSOWSKI." French Studies 54, no. 3 (July 1, 2000): 299–311. http://dx.doi.org/10.1093/fs/54.3.299.

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JAMES, I. "SIMULACRUM AND THE PLAY OF PARODY IN THE WRITING OF PIERRE KLOSSOWSKI." French Studies LIV, no. 3 (July 1, 2000): 299–311. http://dx.doi.org/10.1093/fs/liv.3.299.

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26

Thériault, Patrick. "Le simulacre au seuil de l’autobiographie : La vocation suspendue de Pierre Klossowski." Études françaises 42, no. 1 (May 16, 2006): 171–92. http://dx.doi.org/10.7202/012929ar.

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Dès le seuil de La vocation suspendue, un jeu référentiel se met en place, qui tire son intérêt à mettre en rapport le questionnement sur l’identitaire (l’autobiographique) et la Loi (l’inscription de la Loi dont le paratexte est le lieu). Compliquant la lisibilité du « pacte autobiographique », ce jeu subversif complique par le fait même le « pacte symbolique » avec l’Autre : dès lors que la fonction symbolique du livre n’opère plus et que le cadre social de l’autobiographie n’est plus « encadrant », le sujet est laissé « suspendu », comme hors de lui-même, en proie à toutes les identifications fantasmatiques et rivales qui caractérisent tout aussi bien, comme j’en ferai l’hypothèse, la dimension lacanienne de l’imaginaire que l’univers klossowskien du simulacre.
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Rossi, Patricia. "Pierre Klossowski : de la femme androgyne à l’adolescent immortel, le masculin en suspens." Les Lettres de la SPF N° 31, no. 1 (June 2, 2014): 65–77. http://dx.doi.org/10.3917/lspf.031.0065.

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Vaillancourt, Thibaut. "Hybridités de l’écriture et subversions du sujet : enjeux du simulacre autour de Pierre Klossowski." Quêtes littéraires, no. 6 (December 30, 2016): 81–90. http://dx.doi.org/10.31743/ql.215.

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What can be said of Pierre Klossowski’s works’ hybridism, he who, philosopher, writer, translator and painter, unabashedly claimed to be a « monomaniac » ? This gap brings about a tension between what we call « hybridism » in his writings (to talk about this sole medium) and a coherence in his « obsessions ». Furthermore, hybridism can be inferred from the variety from which his works take their source and the qualities which the remains of the notion of « subject » inherit. Klossowski’s work, itself a non-cartesian anthropology, calls upon theologians, latin classics, as much as so-called « transgressive » philosophers. Hence hybridism, once coupled with the simulacrum, becomes a guiding thread, kindling the word’s etymology (hybris and ibrida), in an « excessive » and « bastardised » style that does away with any form of identity, be that of the writer itself.
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Peixoto, Renato Amado. "Abismo." História da Historiografia: International Journal of Theory and History of Historiography 13, no. 32 (April 12, 2020): 221–60. http://dx.doi.org/10.15848/hh.v13i32.1490.

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Poucos anos antes do início da Segunda Guerra, delinear-se-ia na França a aproximação entre o socialismo e o esoterismo ocidental. Esse esforço, produzido no entorno do Collège de Sociologie como reação ao Fascismo, visava reativar ideias e esforços que podem ser rastreados desde a Revolução Francesa A metanarrativa daí resultante, operada por vários intelectuais à volta de Georges Bataille, dentre os quais Walter Benjamin e Pierre Klossowski, procurou fixar suas origens no Valentianismo e, depois, na teologia romana. Visava-se criar uma alternativa intelectual ao marxismo por meio das ideias de Fourier, Blanqui, Sade e Nietzsche, produzindo um constructo que iria influenciar decisivamente o Pós-estruturalismo na década de 1960.
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Bruit, Guy. "Pierre Klossowski ou le cercle vicieux. A partir de trois livres de Jean Decottignies." Raison présente 134, no. 1 (2000): 53–70. http://dx.doi.org/10.3406/raipr.2000.3610.

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Choińska, Bogna. "Aporetic Nietzsche and the Klossowski’s proposal." Hybris 18, no. 3 (September 30, 2012): 11–25. http://dx.doi.org/10.18778/1689-4286.18.02.

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Currently, when the need to overcome logocentric metaphysics has become necessity in the many philosophical trends, the role of the German philosopher seems particularly important. The Friedrich Nietzsche’s project is full of contradictions; in addition to statements denouncing the cultural heritage of the West, it has also positive theses, which cannot be agreed with the work of a “suspicious investigator”. These are: the affirmation of the world postulates and the ​​concept of new values, in relation to the phenomenon of life. In the article contradictions of concepts “will to power” and “superman” are showed, next I propose the different reading of Nietzsche’s work with reference to Pierre Kossowski’s thought. Therefore the main purposes of my text is to show aporias of Nietzsche’s ideas and to outline its post-structuralist interpretation made by Klossowski.
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López Silvestre, Federico, and Sergio Mejide Casas. "Capable d’erreur. Una hipótesis sobre la recepción del Nietzsche de Klossowski en el último Foucault." Bajo Palabra, no. 34 (December 19, 2023): 223–42. http://dx.doi.org/10.15366/bp2023.34.011.

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En su último texto, dedicado a Georges Canguilhem, Michel Foucault se desvió del que había sido su vocabulario habitual durante los años sesenta y setenta para introducir unas enigmáticas reflexiones sobre la vida y, especialmente, sobre el error. Este artículo intenta interpretar esas últimas palabras. Para ello, se rastreará la presencia en el pensamiento de Foucault de la noción nietzscheana de error a través de algunos pensadores que le influenciaron notablemente, como Maurice Blanchot y Pierre Klossowski. La conclusión pretenderá sugerir que su sintonía inicial con el nietzcheísmo de Blanchot se complejizará gracias a la lectura de obras como Nietzsche et le cerce vicieux y La Monnaie vivante, que le permitirán adelantar un sentido otro para la vida. Esta perspectiva será la que aflorará, de forma subrepticia, en su último escrito sobre Canguilhem.
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Vaillancourt, Thibaut. "Pierre Klossowski, Du signe unique. Feuillets inédits, édition de Guillaume Perrier, Paris, Les petits matins,." Genesis, no. 48 (June 1, 2019): 188–90. http://dx.doi.org/10.4000/genesis.3904.

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Callan, Guy. "Review: Pierre Klossowski and Maurice Blanchot et al, Decadence of the Nude/La Décadence du Nu." Art Book 11, no. 1 (December 22, 2003): 41–43. http://dx.doi.org/10.1111/j.1467-8357.2004.00380.x.

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Halimi, Carole. "Tableau vivant et turbulence des corps, dans les images de Pierre Klossowski et de Bill Viola." Figures de l'Art. Revue d'études esthétiques 22, no. 1 (2012): 131–43. http://dx.doi.org/10.3406/fdart.2012.990.

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Buendía, Maritza M. "voyeur literario. “El gato” de Juan García Ponce." HUMAN REVIEW. International Humanities Review / Revista Internacional de Humanidades 11, Monográfico (December 21, 2022): 1–7. http://dx.doi.org/10.37467/revhuman.v11.4196.

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Desde hace años, la hermenéutica de Paul Ricoeur ha sido trabajada, estudiada y difundida en México, de manera especial, por la doctora Gloria Prado, lo que se puede constatar en su libro “Creación, recepción y efecto. Una aproximación hermenéutica a la obra literaria“ (1992), así como en su artículo titulado “Neohermenéutica y teoría literaria” (Neohermenéutica. Literatura, filosofía y otras disciplinas, 2009). En ambos escritos, Prado establece cinco niveles hermenéuticos como método de análisis literario que permiten identificar la textura simbólica de un texto. A partir de ello, de la mano de Ricoeur y de Prado, y sin dejar de propiciar el diálogo con otros pensadores como José Ortega y Gasset, Hans George Gadamer y Pierre Klossowski, me propongo llevar a cabo un análisis hermenéutico del cuento “El gato” (publicado en 1972 en Encuentros), del escritor mexicano Juan García Ponce, ubicado dentro de la denominada Generación de Medio Siglo; generación que, en su mayoría, se ve influenciada por la obra de Octavio Paz y Georges Bataille.
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Faulkner, Joanne. "The vision, the riddle, and the vicious circle: Pierre Klossowski reading Nietzsche's sick body through Sade's perversion1." Textual Practice 21, no. 1 (March 2007): 43–69. http://dx.doi.org/10.1080/09502360601156922.

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CALLAN, GUY. "HANS BELLMER BY MICHAEL SEMFF AND ANTHONY SPIRA (EDS) AND PIERRE KLOSSOWSKI BY ANTHONY SPIRA AND SARAH WILSON (EDS)." Art Book 14, no. 2 (May 2007): 22–23. http://dx.doi.org/10.1111/j.1467-8357.2007.00794_3.x.

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Vaillancourt, Thibaut. "Representaciones del Sur en medios audiovisuales, y su deconstrucción: memes en America Latina." Boletín GEC, no. 32 (December 16, 2023): 67–90. http://dx.doi.org/10.48162/rev.43.045.

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Este artículo aborda las relaciones entre el hemisferio sur y el hemisferio norte a partir de representaciones transmitidas por los medios audiovisuales. Más precisamente, se trata de analizar imágenes estereotipadas que atañen a imaginarios vinculados a América Latina. En la medida en que las representaciones televisivas y cinematográficas se reconfiguran en nuevas formas de expresión originadas en Internet, se trata en nuestro caso de analizar memes que conciernen a América Latina, dado que los memes constituyen el lenguaje típico de Internet y sus redes. Según una concepción de los estereotipos que formamos siguiendo las obras de Pierre Klossowski (1970; 2012) y Roland Barthes (2010), su dimensión heurística, social e ideológica aparece de manera más explícita. Las representaciones que se aplican a la llamada América Latina y que se transmiten en las culturas audiovisuales están siendo desafiadas gracias a Internet. Que sean empíricamente verdaderas o falsas importa menos que el alcance y el efecto de los estereotipos así producidos y transmitidos. La cuestión entonces pasa a ser saber cuáles son los presupuestos y fundamentos de ciertos memes latinoamericanos, para finalmente preguntarnos qué relaciones geopolíticas y culturales operan detrás de las representaciones problemáticas de América Latina y sus habitantes.
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James, I. "Traversees de Pierre Klossowski. Edited by Laurent Jenny and Andreas Pfersmann. (Rencontres et Recherches, 2). Geneva, Droz, 1999. 184 pp." French Studies 54, no. 4 (October 1, 2000): 541–42. http://dx.doi.org/10.1093/fs/54.4.541.

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41

Giesbers, Tom. "Pierre Klossowski’s Hamann." Idealistic Studies 47, no. 1 (2017): 141–54. http://dx.doi.org/10.5840/idstudies2018112680.

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42

Cox, Fiona. "Translating the Aeneid to the Nouveau Roman: Pierre Klossowski's Aeneid." Translation and Literature 6, no. 2 (September 1997): 203–15. http://dx.doi.org/10.3366/tal.1997.6.2.203.

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43

Connell, George. "Pierre Klossowski's Sade My Neighbor and the Hermeneutics of Suspicion." Faith and Philosophy 10, no. 4 (1993): 553–66. http://dx.doi.org/10.5840/faithphil199310442.

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Sampath, Rajesh. "The Question as to Why We Have to Live Out the Agony of Our Epoch and its Fundamental Un-Answerability." Symposion 8, no. 1 (2021): 117–38. http://dx.doi.org/10.5840/symposion2021815.

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This paper excavates certain impulses that are buried in Pierre Klossowski’s 1968 edition of his original 1947 work, Sade My Neighbor. We argue that the self-suffocating nature of our historical present reveals the problem of an epochal threshold: in which twenty-first century democracy itself is threatened with death and violence in delusional neofascist attempts at national self-preservation. This speaks to a deeper enigma of time, epochal shifts, and the mystery of historical time; but it does so in a manner that escapes classical problems in the philosophy of history. Rather, by returning to Klossowski’s late 1940s and late 1960s contexts while reoccupying the New Testament question of Jesus’s foresakeness on the Cross, we unravel a series of paradoxes and aporias that attempt to deepen metaphysical problems of time, death, and the sovereign autonomy of human freedom and existence. Ultimately the paper concludes by offering certain speculative philosophical constructions on why today’s self-cannibalization of democracy has its roots in unresolved tensions that span these two poles: a.) the primordial secret of early Christian proclamation of Jesus’s death and b.) the post-Christian Sadean experiment of a philosophical revolution that was doomed to implode when the valorization of pain, suffering, and death fails to fill the vacuum left behind by atheism.
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Paraskevopoulos, Ioannis. "Images in Suspension: Tableaux Vivants, Gesturality and Simulacra in Raul Ruiz’s film The Hypothesis of the Stolen Painting." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 77–98. http://dx.doi.org/10.2478/ausfm-2021-0006.

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Abstract The article discusses Raul Ruiz’s film The Hypothesis of the Stolen Painting (1978). In the closed space of the house a parallel world emerges, where the filmic hypertext is constituted by a series of mise-en-abyme images that explore the multiple universe of tableaux vivants. The article analyses Ruiz’s appropriation of Pierre Klossowski’s concept of simulacra. The structure of The Hypothesis of the Stolen Painting is based upon the infinite reproduction of meaning since each simulacrum-tableau vivant leads to another. The author explores the gesturality of the bodies and its relevance to the use of language and sound in the film. Furthermore, he argues that Ruiz orchestrates the placement of the tableaux vivants in the filmic space in order to reveal the thought of eternal return.
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46

Kim, Jae-Yin. "Theory of ‘Disjunctive Synthesis’ of Deleuze and Guattari." Criticism and Theory Society of Korea 28, no. 2 (June 30, 2023): 115–40. http://dx.doi.org/10.19116/theory.2023.28.2.115.

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Deleuze and Guattari’s first co-authored work was a 1970 paper called “Disjunctive Synthesis”. It is said to be an abridged version of their forthcoming ‘Capitalism and Schizophrenia’, referring to Pierre Klossowski’s recent work. This paper is a draft of the rationale for Anti-Oedipus. Interestingly, however, there are no studies that address the relationship between the “Disjunctive Synthesis” and Anti-Oedipus. “Disjunctive Synthesis” is very helpful in that it unravels and clarifies the ambiguity of Anti-Oedipus. Furthermore, the paper shows Deleuze and Guattari’s initial problem with Anti-Oedipus, concerning the unconscious. In particular, the rupture that separates Anti-Oedipus from The Logic of Sense is identified. I have followed the “Disjunctive synthesis” in order to clarify the problem that the paper is trying to solve, and to show the points that correspond to the “paths” and “bridges” of how this problem develops later in Anti-Oedipus. I have particularly focused on elucidating the inclusive, illimitative, and affirmative usages of the “disjunctive synthesis” in the synthesis of the unconscious.
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Calabrese, Nickolas. "REVIEW: PIERRE KLOSSOWSKI, LIVING CURRENCY." Nordic Journal of Aesthetics 26, no. 54 (January 12, 2018). http://dx.doi.org/10.7146/nja.v26i54.103085.

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Pierre Klossowski’s last major theoretical text Living Currency (2017) saw it’s first official1 translation into English in May 2017, nearly fifty years after it was published in French. On the back of the book is a blurb quoting Foucault, in which he calls it ‘the greatest book of our time’. This was almost certainly hyperbole; but whether or not his appraisal was correct (and I assure you it was not), it is a good book that advances a key to understanding Klossowski’s literary and visual relationship to the exploited and monetized body, as this is the preoccupying theme throughout his fictional, non-fictional, and visual art.
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Tremblay, Thierry. "Le Souffleur et son double." Acta Février 2022 23, no. 2 (February 5, 2022). http://dx.doi.org/10.58282/acta.14153.

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"Review: Pierre Klossowski. The Persistence of a Name." Forum for Modern Language Studies 39, no. 1 (January 1, 2003): 106. http://dx.doi.org/10.1093/fmls/39.1.106.

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Criqui, Jean-Pierre. "Pierre Klossowski. Tableaux vivants : essais critiques 1936-1983." Critique d’art, no. 18 (September 1, 2001). http://dx.doi.org/10.4000/critiquedart.2183.

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