000			02111cam a2200277zu 4500
001			88845903
003			FRCYB88845903
005			20250107114120.0
006			m o d
007			cr un
008			250107s2014 fr | o|||||0|0|||eng d
020			_a9783035306095
035			_aFRCYB88845903
040			_aFR-PaCSA _ben _c _erda
100	1		_aCastanet, Hervé
245	0	1	_aPierre Klossowski _bThe Pantomime of Spirits _c['Castanet, Hervé']
264		1	_bPeter Lang _c2014
300			_a p.
336			_btxt _2rdacontent
337			_bc _2rdamdedia
338			_bc _2rdacarrier
650		0	_a
700	0		_aCastanet, Hervé
856	4	0	_2Cyberlibris _uhttps://international.scholarvox.com/netsen/book/88845903 _qtext/html _a
520			_aThis book examines the many facets of the work of Pierre Klossowski (1905–2001). Klossowski first established himself as a writer and was known and admired by peers such as Bataille, Blanchot, Gide, Foucault, Deleuze and Lacan. But in 1972 he gave up writing to devote himself to his ‘mutism’: painting made up of large coloured drawings. In time he became as famous a painter as he had been a writer and theorist. Klossowski now has two separate groups of commentators: those concerned with his writings and those with his painting, with little overlap between the two. Here, this separation is explicitly removed. Klossowski’s entire œuvre revolved around the concept of the gaze. Rarely has the gaze been so radically interpreted – as an active, mobile, evanescent object that breaks down the connections between representation and the visible. How is one to see the invisible divinity? This question plagued Klossowski, and he displaced it onto pornographic rituals. The pantomime of spirits is the scene, fixed in silence, where bodies meet – a knotting of desiring body and dogmatic theology. A creator of simulacra, Klossowski attempted to exorcise the ‘obsessive constraint of the phantasm’ that subjugated him in all these scenes. Translated from the French by Adrian Price in collaboration with Pamela King.
999			_c20144 _d20144