Jalal Toufic E-Book

Jalal Toufic

• Herausgeber: Hatje Cantz Verlag
• Kategorie: Geisteswissenschaft
• Serie: E-Books
• Sprache: Deutsch

Seitenzahl: 54

Veröffentlichungsjahr: 2011

Beschreibung

 In der zweiten Ausgabe seines Buchs   (Vampires): An Uneasy Essay on the Undead in Film   (2003)  bemerkt Jalal Toufic: »Viele Jahre habe ich mich mit Schizophrenie und Schizophrenen beschäftigt, die in   Credits Included: A Video in Red and Green  ,  1995, auftraten; jetzt interessiere ich mich für ›das kleine Mädchen‹, das voraussichtlich in meinem kommenden Vampir-Film eine Rolle spielen wird … Auf einer Ebene kann die    13. Serie in Gilles Deleuze' Logik des Sinns, 1969, ›Der Schizophrene und das kleine Mädchen‹, so zurückblickend als Programm für zehn Jahre meiner Arbeit gesehen werden.« In seinem neuen Essay schreibt er über das Bildnis des pubertierenden Mädchens, wie es auch in Poes »Das ovale Porträt« erscheint. » Beim gelungenen Bildnis eines jungen Mädchens handelt es sich nicht um einen Übergangsritus, sondern um einen Nichtübergangsritus; nicht der Übergang, bei dem es sich (zumindest in historischen Gesellschaften) um den Naturzustand handelt, macht einen Ritus erforderlich, sondern der Nichtübergang, der radikale Unterschied zwischen dem Vorher, in diesem Fall einem jungen Mädchen, und dem Nachher, einer Frau. « Vom Porträt des pubertierenden Mädchens bewegt sich Toufic zum Porträt im Allgemeinen und dessen paradigmatischer Beziehung zum Engel; daher der Titel dieses Notizbuches: Poes »Das ovale Porträt«, mit den Augen eines Engel gelesen und umgeschrieben.    Die meisten von Jalal Toufics Büchern stehen auf seiner Website www.jalaltoufic.com als frei herunterladbare PDF-Dateien zur Verfügung.      Sprache: Deutsch/Englisch 

Leseprobe

100 Notes – 100 Thoughts / 100 Notizen – 100 Gedanken

Nº011: Jalal Toufic

Reading, Rewriting Poe’s “The Oval Portrait”—Angelically / Poes »Das ovale Porträt«, mit den Augen eines Engels gelesen und umgeschrieben

dOCUMENTA (13), 9/6/2012 – 16/9/2012

Artistic Director / Künstlerische Leiterin: Carolyn Christov-Bakargiev

Agent, Member of Core Group, Head of Department / Agentin, Mitglied der Kerngruppe, Leiterin der Abteilung: Chus Martínez

Head of Publications / Leiterin der Publikationsabteilung: Bettina Funcke

Managing Editor / Redaktion und Lektorat: Katrin Sauerländer

Proofreading / Korrektorat: Sam Frank, Cordelia Marten

Translation / Übersetzung: Ralf Schauff

Graphic Design and E-Book Implementation / Grafische Gestaltung und E-Book-Produktion: Leftloft

Production / Verlagsherstellung: Stefanie Langner

© 2011 documenta und Museum Fridericianum Veranstaltungs-GmbH, Kassel; Hatje Cantz Verlag, Ostfildern; Jalal Toufic

Illustrations / Abbildungen: p. / S. 1: Fridericianum, September 1941 (detail / Detail), Photohaus C. Eberth, Waldkappel; Universitätsbibliothek Kassel, Landesbibliothek und Murhardsche Bibliothek der Stadt Kassel; p. / S. 2: © Jalal Toufic

documenta und Museum Fridericianum

Veranstaltungs-GmbH

Friedrichsplatz 18, 34117 Kassel

Germany / Deutschland

Tel. [phone]

Fax [phone]

www.documenta.de

Chief Executive Officer / Geschäftsführer: Bernd Leifeld

Published by / Erschienen im

Hatje Cantz Verlag

Zeppelinstrasse 32, 73760 Ostfildern

Germany / Deutschland

Tel. [phone]

Fax [phone]

www.hatjecantz.com

ISBN 978-3-7757-3040-2 (E-Book)

ISBN 978-3-7757-2860-7 (Print)

Gefördert durch die

funded by the German Federal

Cultural Foundation

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Jalal Toufic, A Portrait?, 2010

Jalal Toufic

Reading, Rewriting Poe’s “The Oval Portrait”— Angelically / Poes »Das ovale Porträt«, mit den Augen eines Engels gelesen und umgeschrieben

Jalal Toufic

Reading, Rewriting Poe’s “The Oval Portrait”—Angelically

A painter arrived in a desperately wounded condition in a network of galleries beneath Chaillot, Paris. Aboveground, in that city as in most of the world, everything was contaminated with radioactivity after the series of nuclear explosions that wiped out much of life during a lightning Third World War. He was promptly operated on. The prognosis of the doctor who examined him following the operation was that he had only weeks, or at best months, to live.1 As a result, he was selected to participate in a time-travel experiment.2 He soon learned that another man, a photographer, was also approved for undergoing the time-travel experiments. When he met him, he was taken aback on learning that the latter had volunteered to participate in the experiment. Why did he do it? As a boy, he used to be taken by his parents to the jetty at Orly airport to watch the departing planes on Sundays. There he developed a childhood crush on a woman who also visited the jetty every weekend. But one day he witnessed a traumatic scene. The violent scene, whose meaning he would not grasp until much later, took place on the great jetty at Orly, a few years before the start of the Third World War: the sudden noise, the woman’s gesture, the crumpling body, the cries of the crowd. Later, he knew he had seen a man die. As the boy grew up, he thought that with time he would forget her and, when a man, find another women he would love. This did not prove to be the case. His volunteering to time-travel to the past was partially due not only to the repetition compulsion induced by a trauma from his past but also to his wish to fulfill the amorous desire he felt while a pubescent boy for the woman he used to see at the jetty. The scientists in charge decided to send both men to Paris in the same variant yet similar branch of the multiverse but at a twenty-year interval: the volunteer would be sent to meet the (almost identical version of the) woman he, while a child, saw at the jetty at Orly airport on the fateful day he witnessed a man’s death, and the gravely wounded painter would be sent to meet her twenty years earlier, when she was still a pubescent girl.

The painter found himself in Paris around twenty years earlier. He spotted a girl on the verge of “ripening into womanhood.” He was soon to learn, as he befriended her, that she intuited a catastrophic difference between herself as a girl and the woman who will one not-so-distant day assume her name. Considering their centeredness on getting a portrait, certain pubescent girls are model creatures for writers, artists, filmmakers, and video makers. Of the 231 million girls between the ages of ten and thirteen in 2008,3 how many were mostly preoccupied with having a portrait? A very small percentage. Intuiting that while a boy of her age can love her, it is almost certain that he would not be able to draw her portrait (Rimbaud, an extremely rare exception, was, unfortunately for the pubescent girls of his time, very soon interested instead in men), the pubescent girl intent on having a portrait has a few years, usually between the ages of ten and thirteen (following menarche a girl is in principle replaceable, in around ten months, by her daughter and, if she had failed to get a successful portrait of herself, by the woman she will be mistaken to have grown into and who will assume her name and lay claim to her memories), to find a man who can make a portrait of her. Unfortunately, most of these pubescent girls fall for pretentious mediocre writers or photographers or filmmakers or artists, who will botch their portraits. What about the extremely small percentage of pubescent girls who are mostly preoccupied with having a portrait and