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Люблю

cafeparaacordarosmortos:

Fernando Pessoa descendo o Chiado (Lisboa) com Augusto Ferreira Gomes.
Cinco fotografias instantâneas transformadas em cinco fotogramas - a única filmagem conhecida de Fernando Pessoa.
c. 1925
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Fernando Pessoa strolling down Chiado Square (Lisbon), with his friend, journalist Augusto Ferreira Gomes
Five photographs turned into “film” - the only known footage of Fernando Pessoa.
c. 1925

kulbeck:

Sylvia Beach, librarian and literary hero, proprietor of Shakespeare and Company bookstore and lending library.
She met James Joyce in 1920, just as he was finishing Ulysses. He couldn’t get it published because all the big presses thought it was too obscene, so she offered to publish it for him, even though she’d never published a book before. To fund the project, she got people to buy advance copies. She had no editors, so she edited the huge manuscript herself, and she published it on Joyce’s birthday, February 2, 1922.

berfrois:

In his twenty-third seminar, Jacques Lacan framed the sinthome as a radical unknotting of the symbolic, the imaginary and the real. He offered le sinthome not as a mere technical addition to the battery of psychoanalytic tools, but as a concept of paramount importance, for its unique adequation to what he found to be a significant change in the conventional relation of subject to culture and of ego to other. The sinthome denoted for Lacan a new way that the subject could confront the challenge posed by the rancid politics of our time — the politics produced by (or at least not precluded by) the traditional Borromean entwining of the three registers (symbolic, imaginary, real, or SIR). The corollary to Lacan’s staking out this new ground is a surprising promotion of the imaginary to a principal role in the subject’s relation to the real — of bearing more of this burden than he had previously thought. By the time of his twenty-third seminar, that is, Lacan realizes that the crucial task of mediating between the real and the imaginary for the subject could no longer be shouldered exclusively by a symbolic whose failings were increasingly (and alarmingly) apparent. The rupture that the sinthome indexes appears most importantly for Lacan in the art of writing — and in particular, the writing of James Joyce.
In the nineteen-sixties, Lacan began closely studying the work of Joyce, an interest enhanced when Hélène Cixous (who was writing a book on Joyce that drew on her affinity for Jacques Derrida’s theses on “écriture“) became Lacan’s assistant.From Joyce’s proper name (“Joy-ce”/jouissance) to his family psychiatric history (Joyce’s daughter Lucia was diagnosed as schizophrenic, the Irish author clearly suited Lacan’s abiding concerns. As the father of a troubled daughter and himself the son of a weak, alcoholic father, Joyce was, according to Lacan, marked by the failures of the paternal metaphor. In Seminar XXIII, Lacan posited that Joyce’s artistic enterprise was his way of “making a name for himself,” of provisioning a necessary supplement, and Joyce’s art appears to be compensating for this paternal lack.

“The Real Imaginary: Lacan’s Joyce”, Juliet Flower MacCannellPhotograph: Man Ray, James Joyce, 1922

aguaytierra:

Femmes à une terrasse - M. Branger

Vladimir Lebedev, Dance, 1927
Source

eatsleepdraw:

Prévert.
auderobertgingras.com
http://www.facebook.com/audergdesignergraphique