Incomplete Report: drawings, ocr'd

8/13/2019 Incomplete Report: drawings, ocr'd

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simulacral puzzle th t is at t h ~ he rt of his interest in mimicry.Caillois tells the story of the praying mantis, the ultimate mimeticanimal, who not only folds itself into a stalk-like immobility throughwhich it becomes visually indistinguishable from the branches onwhich it sits, but outrunning the visual in this domain, uses thestrategy of playing dead s its main line of defense against preda-

~ a i i ~

form. Reflexivefield of the object ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ m l lf the subject, a form thaexcept the fact th t I am seeingmove, however, is to float the field of seei encesubject; it wants to show that in the utom tism 0 infinite repetition, the disappearance of the first person is the mechanism thattriggers formlessness.(See Liquid Words, Threshole, and Zone. )

~ O S ~ U ~ e ~ ' 1 1 ~ ' F J . c b : > o ~ . x l. ~ ' 1 J ~ . i i ~ t J f r . J O t . \ ~ ~ O f . J ' ' ~ ~ JOf U ~ J e ~ l~ ~ V Ol ~ O f P J J . 17 ~ ~ l ~ . t r l ~ f l . J : J . J e 1 ~ r o S ~ ' 1 l

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3W I Principe, glomltrique, de laretes constituent desdu triangle donne.La construction de 1tion doit etre effectuee ~ e ~ o ~ d U edroite (voir 90). Ai . sd abord l ombre M ,Ie plan n extSteI:_L ombre r e . m : p j J ~ l I lC est la p

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Ombre portee d une figure plane I 32

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Youns writet S t ~ l c e i.ha.t Most ~ t n M u . t l a l obJect, 1at1.8 - sseand perform 011 :it ~ ~ i 1 \ ~ ~ h a t most indlvJu.si act., creatiotl.

t N ~ t i c e . ') ~ t ' J . \ 2Y e A C ~ pass; and,$cltn e s t h ~ y AidW1 a r ~ take an

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to be interpreted as the(t)) , with 0 ~ t ~ T , be g , td_--. rown . . ct to t ~ e probability measureq t mensIOn an motIOns, W (-), W '(-) andtialised at zero almost surely.

to the agents in the economy is describedV J b ~ e , l ( g h t - . ~ t t & ' i j I i S l I t r a t i o n {Ftlo


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The phalanstery will be an immense lodging house, (Fourier had no conceptionof family life,) F. Armand and R. Maublanc, Fourier (Paris, 1937), vol.1, p. 85.

[W13a,2]

The cabalist, the composite, and the butterfly form appear under the rubric distributives, or m8canisantes. [W13a,3]always brings selfish motives into play with passion. All s

e intriguer-the least gesture, a wink of the eye. Everything son and with alacrity. 17ziorie de l uniti uniumeile (1834), voL 1,

' " j ~ I t > I ' I . f i r i Z ~ b a w s very clearly how Fourier takes account of egoism. I 1 workers who agitated were called cabaleurs.

i : r = . - : = ~ [W13a,4]l f ~ J T i $ i i i ~ ~ : - w i t h itself engenders the cherry; with Mercury, the straw-

_ ~ ~ . y i 1 \ { e black currant; with Juno, the raisin ; and so on. Armand~ . . :c, Fourier (Paris, 1937), vol.l, p. 114. [WI3a,5]10 ~ . _ ~ u - - - - . classification of a genus, species, or group of beings or of~ i ~ jJ\i . , t ~ ....... .n'ged symmetrically with respect to one or several of their properties,

~ ~ ~ ~ ~ o ~ O t n sides proceeding from a center or pivot, according to an ascendingf ~ ~ ; J o J i one side. descending on the other, like two flanks of an army

F I ~ ~ l S ; : ~ ~ ~ , , ; ; ; ~ ~ ~ series, in which the world ( ) of subdivisions is not determined.~ ~ ~ ~ ~ ~ ; ~ ~ ~ a ~ s ~ u ; r ~ series, which comprehend. at various levels, 3, 12, 32, 134,404

-- ~.. mand and Maublanc, Fourier (Paris, 1937), vol. 1, p . 127.. [W13a,6]

passion corresponds to an organ of the human body.[WI3a,7]~ . _ arising ~ o ~ t h ~ series are so dynamic that one~ ; ; : : : : =_ - ~ o r ; ~ ' l I I " - In one's room. Cited nArmand and Maublanc, ouner[W13a,8]

~ ~ ~ 9 e i ~ ~ ~ ~ ~ ; ~ t t t e Hordes: These sources are the penchantof pride, impudence, and insubordination. Fourier. Len l et soc;.etaire (Paris, 1829), p. 246. l\) [W14,1]

~ ~ ~ ~ ~ ~ ~ ~ ~ i i ~ ~ o r k , they should wear a religious symbol

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Up 1 t e t ~ wue. M1y ~ k y bacL ttdc .J. er n . - ~ ~ ~ - ~ -wahose ~ ~ v e r ~ t s . a H J l t o i ~ ~ e ~ 6tJ o theu ~ t .e ~ ~ k . atJJ 4e- J r - e a m 1 i ~ , Lookin ~ m -

r t , i ~ ~ , l ~ ~ cotMJ ce ~poer Lait 1 Wj& a tabJparl= ~ ~ tt ~


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Vlad,VV { r Wa5 f1V\a11y r c : n ~ e ( d So desperate he r.;wt MlAyf f O ~ home to ~ e a ~ ~ ~ ~ e ae- dll.,e sh1p he J 1 ~ d 74 ISOLATIONbounJ for-

~ ~ Y f t .Th15 vc:tage Hredhi5 1 r n . Q 8 t ~ ~ f t > r t )

~ J ~ W 5e-My c : L r ~ i n . s sale r ~ r

~ f O l A ~ h o l i t t

~ s ,f: e hL ~ et le Sed\viltt 3 love

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Leonard Woolfwho called his wife the least political animal sinceAristotle invented the definition. As Jane Marcus puts it:In the interest, I'm sure, of protecting her reputation,[he) suppressed some of his wife's feminist and socialistwritings. In Collected Essays he tells us when an essay originally appeared in TLS [Times Literary Supplement) but notwhen one appeared originally in The aily Worker. He reprinted an early draft of Woolf's introduct ion to MargaretUewellyn Davies's Life as We Have Known t rather than alater version which she reworked with the help of the working women themselves.H

Marcus goes on to describe Woolf's Professions for Womenwhich exists in the Berg collection in a version three times aslong and three times as strong as the one I..eonard Woolf printedin The Death of the Moth and Collected Essays. (It is nowobtainable in The Pargiters [New York: Harcourt Brace Jovanovich,1978 pp. xxvii-xliv.) Much of Marcus' Art and Anger is devoted to the essay; for example, omitted from the printed essayisthe following tribute to Dame Ethel Smythe:She is of the race of pioneers, of pathmakers. She has gonebefore and felled trees and blasted rocksBut the version Woolf herself wrote first and then cancelledgoes like this:[She is) one of the icebreakers, the gun runners, the window smashers. The armoured tanks who climbed the roughground, drew the enemies [sic fire.

The unpublished version of the essay goes on with an astonishingdialogue between fisherwoman's reason and imagination, inwhich the imagination (pulling on her stockings) hears from thereason "My dear, you were going altogether too far," and with asketch about a man returning from a hard day in the city to findthe kitchenmaid reading Plato, the cook writing a Mass in 8 Flat,the parlormaid playing billiards, and the housemaid doing mathematics_ 6 But I am giving into irresistible temptation and stealingfrom Marcus' splendid essay (which also contains much aboutElizabeth Robins, an actress and unjustly ignored novelist, whose


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~ ~ ( l ) . . , . ~ s '~ ~ f = < c J ~ 8~ ~ H ~ ; ; - ~.,0) Q>- i - ~ H -1'~ r. -1'~ ~ to g ... on their clothing. Although the Little Hordes perform the most difficult :s-' cp' ~ '--=< ~ t-s tasks ... , they receive the least remuneration. They would accept nothing at all i f ~ . . , . . . . ~ ;r C 1)7

that were permitted in association.... All authorities, even monarchs, owe the f ~ S- f ~ C"'"D-\.. first salute to the Little Hordes. With their pygmy horses, the Little Hordes com- ( l ~ i " ~ t:: ~~ prise the globe's foremost regiments of cavalry; no industrial army can begin a f f- Q.- 11\ ~~ campaign without them. They also have the prerogative of initiating all work done ~ L (' ~ '

.J r'0' s:: ~ :;r: ~f' s:-- '8 ~~ ,..,.. ~ ~~ }- ~ ~ ~ in the name of unity. Charles Fonrier, e Nouveau Monde industriel et societaire H $ ~ t : 'lParis, 1829), p. 247-248 and 244-246. 31 [W14,2J ~ t1J v.- I l III~ H N ~ ~( ) (p ~ 0 .,: fanoeuvre tartare--llr cu rvilinear mode of the Little Hordes, in contrast to the1

~ 'S"" (fl ~ manoeuvre moderne--or rectilinear mode" of the Little Bands . The Horde re- ( tIe t ~ ~ semhles a square bed of variegated tulips: one hundred cavaliers will together .......~ (i (+ r ~ tlisplay two hundred colors, artistically contrasted. Fourier, Le Nouveau ll Ionde. ~Q ~ ~ ~ p.249. 32 [W14.3] ":t?H C ; ~ : r 5.. ~ ~ Whoever shall abuse quadrupeds, birds, fish or insects , either by hard usage or ~~ t ~ by unnecessary cruelty, will be liable to the tribunal of the Little Hordes. And ~

~ c j II> ;t. wha, v.r hi . . . may be, he would be brou,.,t bel.. , tm.. tribunal 01 clriIdren, and ~r+ r'"' (b treated as inferior in moral sentiment to children themselves. Fourier. e Nou- ~H () c; ~ r;eau Monde (Paris, 1829), p. 248. 33 [W 14.4j ~r-l' :t> ~ ~ The Little Hordes are obliged to look after the concorde sociale; the Little BantU.~ .-..) l. tp ~ the charme social. [W14,5 C)1 t ~ ... "The Little Hordes will come to the beautiful by way of the good, by speculative ;..

(/0) ~ vi defilement. Fourier, e Nouveau Monde, p . 255.34 [W14.6j ~= ~ 1 ~t;:" 4 f) 11> " Just as the Little Hordes have their Druids and Druidesses, the Little Bands have .,...S - t ~ ) ( their own adult associates, who are known as Corybants. They also have their ow. 4{& S-- allies among the groups of voyagers who travel about Harmony. Whereas the Little~ ~ Hordes are allied to the big hordes of Adventurers and Adventuresses, who h e l O l ~ 0--tr ~ ~ to the industrial armies, the Little Bands are associated with the big hands of 2r. Knights and Ladies Errant , who are dedicated to the fine arts. Fourier, Le Nm. ~1Il;+

~~

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t ~~ -s;'~

~ i veau Monde (Paris, 1829). p. 254.35 [W14aX .s'n ~ ~:=;; t-:"") The Little Bands have jurislliction over offenses against meadows and gardem :f ..and over questions of language. [W14a.2 ~

~ .1-- I f the vestalate is called upon lo mislead the minds of the children concerniDl' ~, exual relations , the tact manifest in the use of two sets of genital-urinary appn . ~~ tus .Iea the child complete .ignorance of sex. E. i l h ~ ~ 1 i n ~ , D ~ t i o n n a i r e d#C) socwlogle phalanstenenne (Pans , 1911), p. 424 (s .v. tact ' ). likeWIse, the cour'... tesy of the boys toward the girls in the Little Bands is de signed to mask the mearu..~ "I' l;allant behavior among adults. ~ ~ ~ ~ ~ 01 [W14a..lr : ~ ~ J ~ ~ ~ l ~ ~ ~ : ~ r r - t~ ... w W ~ F= ~ . . . 0 r C) ~ ~ -'" ~ :s- -< ~ '"t ~ ~ . . . . . .., r ~ rf'oi ~ r t ~ ' r ( l ~ q ~ ~ ~ ~ = I C

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9/16

Pek u s ~ a l ~ u ~ e d ~ 1 S O W ~ door e.) Cepf w ~ ~ l 1e c o ~ ( J . lolA }tMe 1t1to 0 r - u H t 1 ~ A people dc:or P ;m) whick c. preferrecl.

8 L t ~ he WOCAIJ .,ot Lise kis cbr ~ e t \ ~ ' u e w ~ s ~ t 1 O W ~ tW. SroWld W ~ , k s ~ i l t ~ kiftCtl, aU r l A ~ F c9t1J bw2Ze:., ~ k haJ worlc.ed o ~ t -

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W \ ' P ' e ~ s ~ rWki te sbAt=f

MARRIAGE AND LOVETH popular notion about marriage and love is thatthey are synonymous, that they spring from the samemotives, and cover the same human needs. Like mostpopular notions this also rests not on actual facts, buton superstition.Marriage and love have nothing in common; theyare as far apart as the poles; are, in fact, antagonisticto each other. No doubt some marriages have beenfoo \) the result of love. Not, however, because love couldassert itself only in marriage; much rather is it because few people can completely outgrow a convention. There are to-day large numbers of men andwomen to whom marriage is naught but a farce, butwho submit to it for the sake of public opinion. td any rate, while it is true that some marriages arepeople. oor based on love, and while it is equally true that in somecases love continues in married life, I maintain that itdoes so regardless of marriage, and not because of it.r . On the other hand, it is utterly false that lover ,x-ed Cofl\f\C- results from marriage. On rare occasions one doeshear of a miraculous case of a married couple fallingliotl tha in love after marriage, but on close examination it


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256 CHAPTER THREE POPULARFESTIVE FORMS 257Oh h ~ i . In ~ e l . t b e ~ i V l ' i Y 1 Ce1lin$ CAt VY1c9ded t ~ ( - s ~ e 2 . . da UrfS, ~ ~ ctd V\ot ~ t . e d ~

C e 1 I i V l ~ C8t rode 1nvtsibl-e b,ke JI/e\ telA w a . ~ 1 .. Dd UrrS t10 had ~ C l p t t . AI/' hsded dark .pace.JAt

C e 1 f 1 ~ < 6 UID, C 1 hasVl \ t ~ e .

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the people do not perceive a static image of their unity eine Ge-sla t) but instead the uninterrupted continuity of their becomingand growth, of the unfinished metamorphosis of death and reonewal. For all these images have a dual body; everywhere the geni.tal element is emphasized: pregnancy, giving birth, the procreativeforce (Pulcinella's double hump, the protruding belly). We havepointed this out and will resume this subject in another chapter.Carnival with all its images, indecencies, and curses affirms thepeople's immortal, indestructible character. In the world of carnival the awareness of the people's immortality is combined with thereali-zation that established authority and truth are relative.Popular-festive forms look into the future. They present the victory of this future, of the golden age, over the past. This is thevictory of all the people's material abundance, freedom, equality,brotherhood. The victory of the future is ensured by the people'simmortaljty . The birth of the new, of the greater and the better, isas indispensable and as inevitable as the death of the old. The oneis transferred to the other, the better turns the worse into ridiculeand kills it. In the whole of the world and of the people there isno room for fear. For fear can only enter a part that has been separated from the whole, the dying link torn from the link that isborn. The whole of the people and of the world is triumphantlygay and fearless. This whole speaks in all carnival images; it reignsin the very atmosphere of this feast, making everyone participatein this awareness.

In connection with the realization of the whole (eternally unfinished) we would like to quote another excerpt from Goethe'sNature. " Its crown is love. Only through love can we drawnear to it. It has placed abysses between creatures, and all creatures long to merge in the universal embrace. It divides them, inorder to bring them together. t atones for a whole life of suffering,by the mere pressing of lips to the cup of life."W Jz.. okk 1 ~ t e h z We shall conclude by stressing that the carnival awareness of thepeople's immortality is intimately related to the immortality of the5ee in becoming of being and is merged with it. In his body and his lifeman is deeply aware of the earth and of the other elements, of the

At \. Vlot {ripz. over V\ethin.An C e ~ 1 i 3 Cat 5ayed

sun and of the starfilled sky. The cosmic nature of the grotesquebody will be analyzed in our fifth chapter.Let us now turn to our second question concerning the functions

of popular-festive forms in Rabelais' novel.Our starting point will be a brief analysis of the French comic

drama The Play in the Bower" leu de fa Fcuillee) of the troubadour Adam de la Halle from Arras. This drama was written in1262, almost three hundred years before Rabelais. The first comicplay, it presents a feast of carnival type, using this theme and allthe privileges implied by it: the right to emerge from the routineof life, the right to be free from all that is official and consecrated.The theme is treated simply, but directly. It is typically carnivalesque from beginning to end.

The Play in the Bower" has scarcely any footlights, one mightsay, to separate it from real life. The performance was given inArras and the action is also set in Arras, the author's hometown.The characters are the author himself (the young troubadour), hisfather Maitre Henri, and other citizens of Arras who appear under their real names. The topic of the play is Adam's intention toleave Arras and his wife to study in Paris. This episode actuallytook place in the troubadour's life. However, there is a fantasticelement interwoven with the many features of real life. The playwas performed on the first of May, which was the time of the fairand of a popular festival, and the drama's entire action is coordinated with these events.

The Play in the Bower" is divided into three parts. The firstpart could be defined as carnivalesque and biographical, the second part as carnivalesque and fantastic, and the last part as a carnivalesque banquet.

In the first part of this play the personal family affairs of the author, Adam, are presented with utmost freedom and familiarity.There follows a no less frank presentation of the other citizens ofArras, in which their private lives and their boudoir secrets aredisclosed.

The play starts with Adam appearing in a scholastic gown (this is


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f l i ~ ~ d t t t t > r i t l " ' ~ U W-e ir1Je eJ. a.s follows:e . " t r ~ ~ ' ~ IS r o J ~ & b i ~ / r \ e ~ Mso

~ t . A ~ ~ - e t t ( , ) c . 1 o ~ J 4 . l t l ~ ~ ~ o I o ~ , ~t-cJ ue.,w ~ t J ~ ' l i , , , , ~ h ) ~ u . l s _

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III 15920 5

forms. This 'culture of m aterials', as he called it , was the bas is for 1\lat er system of des ign which he taught fir st in Petro grad in th e IOl iInkhuk, th en in Kiev, and when he turned to Mos cow in 192 7, wh e; ,he was appomted Director of th e Ce ram ic Fa cult y in the reo rgani 7l . 1Vkhutema s, th e Vkhutem - HIgher T echni ca l Institute. It was at t l,tim e th at he bega n working on his g lider which he called L el fi llthe word ISa co mbination of 'to fl y' and Tatlin's own nanle Th d . I . IS .1\ma e entire y o f wood and was based on a close stud y of natur .1i159 Tatlin' s model of his g lider Lelallill in Moscow in 1932- -........ - -

~ J \ . 1 l p - ~ e . . w i ~ \ A ~ e . . i ~ - M t kace. j poe 5 of t M t d ' e . ~ 1 ' r e ~ J ~ h o s e w i ~ V l SOdes scA decl ~ e . 1 r ~ r \ S . s ' ~ e m i ~ w ~ plalAe..sof be, i\Sj ~ J So em avtcl SO ~ ~ . At c lerJ ~ I ;

' P o , n ~ . t\ 'is ~ ~ h ~ Mt)v&i we,\lo\4l t ~ e ~ \ M of ,,,,re S c . i ~ e and re.su(tCckcLall ~ n t r of a.1Y 1uc. l l S ~ c I o - Stiewtc.es a ~ ~ )~ m Q n G j artl &t , ' n c a t ~ b 4 f ' ~ ~

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2 f there be no sand-pits where it can be dug river sand or sifted gravelmust be used. Even sea sand may be had recourse to but it dries veryslowly; and walls wherein it is used must not be much loaded unlesscarried up in small portions at a time. I t is not however fit for thosewalls that are to receive vaulting. In plastered walls built with new pitsand the salt which exudes destroys the plaster;3. but plaster readily adheres to and dries on walls built with new pitsand and vaulting may safely spring from them. f sand have been dug along time and exposed to the sun the moon and the rain it loses itsbinding quality and becomes earthy; neither when used does it bind ther u ~ so as to prevent them sliding on their beds and

_ +. + to be used in walls where great weights are to besgpporteet. T o H ~ t sand is excellent for mortar it is unfit fora rich quality when added to the lime and

' - ' H } O j , , ~ d o e s not suffer it to dry without cracks. Thewhen tempered with beaters makes the

to an

mVwater are added~ ~ ~ d h e r bodieJ. are a compoundbeing soft thoseearth hard of fire


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286 I Projections coUes 78 Ligna drolte

Introduisons Ies notions IHkessaires pour comprendre ce qui suit.On appeUe distance horizontale la longueur Ie la projection horizontale d un segment de droite . Composons Ie rapport de la distanceverticale hB - hA des points A et B du segment considere it leur

r : : : ~

Pi g. 388distance horizon ale lab (fig. 388) et designons

. h lJ hA= lab La valeur i = tg ex est dite pente de lade la: droite sur Ie plan H o.Le rapport inverse h lab ,distance horizonLdont les cotes different de l unite s appelle intervalle de

Ie designe par L. Ainsi, 10rsque hB - hA = 1, lab = LDe ces definitions on deduit immediatement quel intervalle d une droite sont des grandeurs inverses qui s ecrid . 1. onc = T. L intervalle s emploie pour effectuer la graduation d une droGraduer une droite, c est marquer sur sa projection les points dontIes cotes sont exprimees en nombres entiers (cotes rondes).Pour graduer la droite AB (fig. 389), l faut avant tout determinerI intervalle L = h lab . Dans notre exemple, lab = 12,2 1111.1lhlJ h = 4,5 m et L = 2,7 m.

Ligne droite IOll porte t partir du point a M jusllu au point C4 de cote rond eIe plus proche Ie segment lt determine par Ie rapport

4 - 3 4T l

d Oll l'OIl tire it = O G 2,7 = 1,02 mLes points suivants de cotes rondes 5, G et 7 sout distants l uude l autre de L = 2,7 m. Si ell portalll du point C4 des intervalles

t D 50 2IFig. 389

~ r projcclioll du segment u gauche du point . lJJ ". de coLes 3, 2, 1 et ellIiIl 0 qui est la trace horizoJl-la vraio lOllgueur tlu segment AB on procede sui -389. A cet effel Ie trapeze ABaa.4b7 9 de la figure 388~ t t u sur vlan du dessill. Les bases ,trapeze sont consti-~ ; l les proJelantes A a 3 . ~ et Bb 7 9 et les cotes par Ie segment ABprojection ~ b 7 . 9 cette derniere etant prise comme charniere .rabll-ttement, Ie trapeze prend la position ~ b 7 . 9 B c Lespoints Ac et Be se trouvellt aIOl's sur les perpelldiculaires a la chal'uiere, Ie premier a Ia distance hJl = 3,4 I I I de la projection ~ b Met Ie deuxieme t Ia distance hlJ = 7,9 m. Les deux segments quirepresentent les bases du tr apeze sont construits it I echelle du dessin.Pour simplifier Ie dessin, i l est d usage de dessiner non pas Ie tra -peze, mais 10 triallgle rectangle hachure des figures 388 et 389. Les


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angelique. mais, tout au contraire, cornrne un sacrilege

I ensemble. l partie exterieure de l plante. si l onterpretation intro uite ici, revet une signification sans

contre-partie parfaite des

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Incomplete Report: drawings, ocr'd