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Discourse, Figure is Lyotard’s thesis. Provoked in part by Lacan’s influential seminars in Paris, Discourse, Figure distinguishes between the meaningfulness of linguistic signs and the meaningfulness of plastic arts such as painting and sculpture.
21 de sept. de 2018 · Jean-François Lyotard (1924–1998) was a French philosopher whose best known work—often to his chagrin—was his 1979 The Postmodern Condition.Written at the request of the Council of Universities of the Provincial Government of Quebec on the state of knowledge in the contemporary world, this work brought the term “postmodernism”, already in use in other fields, such as the arts and ...
Hace 3 días · Usually a <figure> is an image, illustration, diagram, code snippet, etc., that is referenced in the main flow of a document, but that can be moved to another part of the document or to an appendix without affecting the main flow. A caption can be associated with the <figure> element by inserting a <figcaption> inside it (as the first or the ...
Discourse, Figure* represents an early transition in Lyotard’s eclectic philosophical development. And yet it has acquired a certain authority in the field of Cultural Studies, attracting enthusiasts who are willing to make significant claims on its behalf: it overturns the distinction between theory and practice, it reconciles aesthetics with both historical materialist and psychoanalytical ...
22 de ago. de 2020 · Fairclough (1995) presents an analytical framework for critical discourse analysis of ‘the communicative event’ that can be categorized into three dimensions: (i) Text (ii) Discourse Practice (iii) Sociocultural practice. The relationship between these three dimensions can be illustrated in the figure below.
28 de may. de 2019 · Discours, figure by Lyotard, Jean François. Publication date 2002 Topics General semantics, Form (Aesthetics), Art -- Philosophy Publisher Paris : Klincksieck
Lyotard semble concevoir l’ouverture d’un espace figural dans l’art à l’image de ce renversement. L’œuvre figurale prendrait place dans une sorte d’espace renversé, cet espace de jeu oscillant entre le discours et la figure. C’est que d’après lui, « [c]e renversement recrée de la différence, de l’événement »65.
