Denis Hollier
Biographic Data
| ID | 552824 |
|---|---|
| NAME | Denis Hollier |
| GIVEN NAMES | Denis |
| FAMILY NAME | Hollier |
| SIGNATURE | HOLLIER D |
| AFFILIATIONS | New York University |
| VERIFIED | No |
| TOTAL WORKS | 44 |
| TOTAL CITATIONS | 42 |
| AUTHOR COUNT | 44 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1973 |
| LATEST PUBLICATION YEAR | 2013 |
| H-INDEX | 4 |
For Prestige: Hegel in the Light of Mauss
The proposition most essential to what Bataille calls his "general economy" is that the quantity of energy produced by a given system is always greater than the energy that is necessary for the maintenance of that system. A system is, by definition, unable to contain itself; it is unable to hold itself within itself or to circumscribe itself; it exceeds itself. A system is condemned to go beyond its own self-given boundaries; it is condemned to s…
Pour le prestige: Hegel à la lumière de Mauss
O valor de uso do impossível
Visando à reflexão sobre o projeto da revista Documents, publicada nos anos 1929-1930, o artigo discute as relações entre a arte e a etnografia a partir da noção de "valor de uso", que se tornaria decisiva na obra de Georges Bataille. Para tanto, vale-se de textos publicados na revista por autores como Michel Leiris, Georges Henri Rivière e Carl Einstein, entre outros, além do próprio Bataille
Notes (on the Index Card)
April 01 2005 Notes (on the Index Card) Denis Hollier Denis Hollier Search for other works by this author on: This Site Google Scholar Author and Article Information Denis Hollier Online Issn: 1536-013X Print Issn: 0162-2870 © 2005 October Magazine, Ltd. and Massachusetts Institute of Technology2005 October (2005) (112): 35–44. https://doi.org/10.1162/0162287054223918 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Vi…
Entretien avec Denis Hollier
du site ou, le cas échéant, des conditions générales de la licence souscrite par votre établissement
Revisiting A New History of French Literature
R.J. Golsan: A New History of French Literature was published in 1989, when the effects of the de Man and Heidegger affairs were challenging not only the prevailing critical formalism, but were paving the way for a more ideological or "engaged" criticism in the 1990s (postcolonialism, gender studies, etc). If you were to undertake or even reconceive your New History, what impact, if any, would these developments have
"Revisiting "A New History of French Literature
A Conversation with Jean-Louis Cohen
Rosalind Krauss: In his catalogue essay for the recent Guggenheim exhibition Premises, Joseph Abram implies that in the last two decades there has been an important connection between exhibitions and the pressure for architectural change in France, particularly through the role they've played in promoting young architects.1 He mentions the effect of IFA [Institut FranCais d'Architecture], giving as an example a 1990 exhibition that promoted forty…
Off Premises
Timeliness and Timelessness
A Conversation with Hubert Damisch
Denis Hollier: How would you define yourself? Historian of art? Anti-historian of art? Theorist of art? Philosopher of art? How would you define your field? Hubert Damisch: It's a field with three poles, and here my early training with Merleau-Ponty played a decisive part: question of unconscious; question of history (which I would put in third place); and something I don't know whether to call form or structure. I guess I'd say, using Wittgenste…
The Moma Expansion: A Conversation with Terence Riley
Hal Foster: Can you give us a general summary of the competition process? Terence Riley: In brief, a lot of paper was generated by the selection process. Underlying the process of the museum selecting an architect is the presupposition that, for the architect to develop a proposal or a scheme, the museum has to be able to explain to the architect its position on a variety of important issues. In a day-to-day mode, people who work in a building ra…
About Some Books Which Bataille Did Not Write
The Death of Paper, Part Two: Artaud's Sound System
Our century, one hears, is wrapping itself up under the sign of visual culture. This might be a mere effect of the melancholic mood that easily allows the distancing ingrained in visual experience to side with some kind of sense of an ending. Man, after all, was given sight in order to be sad. However, at the other end of the century, when it was young and future oriented, artists and thinkers, at least an impressive number of them, were adamant …
Desperanto
Letter from Paris (Foreign Mail)
The Death of Paper: A Radio Play
While writing his Memoirs, Raymond Aron was led to reread the series of Letters from he had written for various French magazines (among them Alain's Libres propos and Guehenno's Europe) between 1931 and 1933 when, after finishing his studies, he had gone to Germany to teach. Aron was especially attentive to what these letters had to say since the fiftieth anniversary of the events he had described in them had brought them back into the limelight,…
Enquete
Melanie Hawthorne, Frank Kermode, Jane Gallop, Thomas Pavel, Toril Moi, Charlotte M. Wright, Faridoun Farrokh, Jenene Allison, Barbara Johnson, Jane Tompkins, Tatyana Tolstaya, Elisabeth Rich, U. C. Knoepflmacher, Alice Friman, Marshall Bruce Gentry, Katherine E. Kelly, William J. Scheick, Hubert Heinen, Carl Fowler, Jean-Pierre Cauvin, David B. Merrell, Lee K. Abbott, Janet P. Sholty, Elaine Marks, Claudia A. Limbert, Clay Reynolds, Denis Hollie…
The Reception of the Sixties
ous art magazines but of mass-press journalism-was something that shocked us. I'm sure this was experienced by each of us differently, since we all encountered 1960s art and the discourse it generated, and the profound change it effected in artistic practice, at different moments. But we could start by speculating on why we think there is a particular resistance to 1960s art at this moment. What is there in the political or aesthetic situation of…
Surrealist Precipitates: Shadows Don't Cast Shadows
I'd like to take off from a famous pronouncement, the This will kill that, not as declared by Claude Frollo in Notre-Dame de Paris, but instead as restated by Claude Lantier in Le ventre de Paris. Zola has his painter utter it, not very far from Beaubourg, at the point where he passes in front of Baltard's recently constructed pavilions for Les Halles. Claude has just noticed the rose window of Saint-Eustache, framed by the arcades of a passagewa…
While the City Sleeps: Mene, Mene, Tekel, Upharsin
1. I leave the effort of dealing with the didactic aspect of Krzysztof Wodiczko's project to others. What interests me are the formal presuppositions of his guerrilla warfare. Guerrilla is a type of warfare that doesn't play by the rules, that can't be pinned down. Quick interventions. Incursions. No pitched battles. The essential thing is not to give the enemy the initiative in the field, not to go by his timetable, never to meet him where he is…
Aux fins du Collège de Sociologie. Textes établis et annotés par Jean Jamin, présentés par Denis Hollier
Jamin Jean, Hollier Denis. Aux fins du Collège de Sociologie. Textes établis et annotés par Jean Jamin, présentés par Denis Hollier . In: Gradhiva : revue d'histoire et d'archives de l'anthropologie, n°13, 1993. pp. 61-66
Poetry… up to Z
The Use-Value of the Impossible
A New History of French Literature
The Use-Value of the Impossible
A Conversation with Hubert Damisch
Denis Hollier: How would you define yourself? Historian of art? Anti-historian of art? Theorist of art? Philosopher of art? How would you define your field? Hubert Damisch: It's a field with three poles, and here my early training with Merleau-Ponty played a decisive part: question of unconscious; question of history (which I would put in third place); and something I don't know whether to call form or structure. I guess I'd say, using Wittgenste…
Television
Mimesis and Castration 1937
I think it will interest American readers to acquaint themselves with the latest and most peculiar phase of literary reaction, which appears also as a bold manifestation of avant-garde thought. These words can be considered the first American reference though not an explicit one to the group that called themselves the College de Sociologie. They begin Meyer Schapiro's Kenyon Review article on Roger Caillois's book La communion des forts, which ha…
The Moma Expansion: A Conversation with Terence Riley
Hal Foster: Can you give us a general summary of the competition process? Terence Riley: In brief, a lot of paper was generated by the selection process. Underlying the process of the museum selecting an architect is the presupposition that, for the architect to develop a proposal or a scheme, the museum has to be able to explain to the architect its position on a variety of important issues. In a day-to-day mode, people who work in a building ra…
The Death of Paper: A Radio Play
While writing his Memoirs, Raymond Aron was led to reread the series of Letters from he had written for various French magazines (among them Alain's Libres propos and Guehenno's Europe) between 1931 and 1933 when, after finishing his studies, he had gone to Germany to teach. Aron was especially attentive to what these letters had to say since the fiftieth anniversary of the events he had described in them had brought them back into the limelight,…
The Reception of the Sixties
ous art magazines but of mass-press journalism-was something that shocked us. I'm sure this was experienced by each of us differently, since we all encountered 1960s art and the discourse it generated, and the profound change it effected in artistic practice, at different moments. But we could start by speculating on why we think there is a particular resistance to 1960s art at this moment. What is there in the political or aesthetic situation of…
On Equivocation (Between Literature and Politics)
1. InJune 1989, French voters received the list of candidates nominated for the European Parliament by each national Party. Those patient enough to read to the thirtieth entry of the list of the Front National, the extreme-right party headed by Le Pen, would have found the name Jules Monnerot. It was followed by the qualifying mention: Founder of the Collkge de Sociologie. Sic. A cunning of reason or of unreason? Did this reference gain a single …
Notes (on the Index Card)
April 01 2005 Notes (on the Index Card) Denis Hollier Denis Hollier Search for other works by this author on: This Site Google Scholar Author and Article Information Denis Hollier Online Issn: 1536-013X Print Issn: 0162-2870 © 2005 October Magazine, Ltd. and Massachusetts Institute of Technology2005 October (2005) (112): 35–44. https://doi.org/10.1162/0162287054223918 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Vi…
Entretien avec Denis Hollier
du site ou, le cas échéant, des conditions générales de la licence souscrite par votre établissement
A Conversation with Jean-Louis Cohen
Rosalind Krauss: In his catalogue essay for the recent Guggenheim exhibition Premises, Joseph Abram implies that in the last two decades there has been an important connection between exhibitions and the pressure for architectural change in France, particularly through the role they've played in promoting young architects.1 He mentions the effect of IFA [Institut FranCais d'Architecture], giving as an example a 1990 exhibition that promoted forty…
Timeliness and Timelessness
About Some Books Which Bataille Did Not Write
Surrealist Precipitates: Shadows Don't Cast Shadows
I'd like to take off from a famous pronouncement, the This will kill that, not as declared by Claude Frollo in Notre-Dame de Paris, but instead as restated by Claude Lantier in Le ventre de Paris. Zola has his painter utter it, not very far from Beaubourg, at the point where he passes in front of Baltard's recently constructed pavilions for Les Halles. Claude has just noticed the rose window of Saint-Eustache, framed by the arcades of a passagewa…
While the City Sleeps: Mene, Mene, Tekel, Upharsin
1. I leave the effort of dealing with the didactic aspect of Krzysztof Wodiczko's project to others. What interests me are the formal presuppositions of his guerrilla warfare. Guerrilla is a type of warfare that doesn't play by the rules, that can't be pinned down. Quick interventions. Incursions. No pitched battles. The essential thing is not to give the enemy the initiative in the field, not to go by his timetable, never to meet him where he is…
Panorama de ciencias humanas
Note: Comment signer, comment ne pas
J'aimerais qu'on ne I1t pas cette Note: i la place d'une signature, c'est peu ou c'est trop. Mais, la signature 4tant toujours i c6t6 du sujet, comment signer, comment ne pas signer texte d'un autre? Les sept feuillets qui suivent ne sont done pas sign6s. C'est peut-6tre (autant commencer par une hypothise r6confortante) un t6moignage de l'estime que l'auteur porte d son lecteur: il n'a pas voulu lui faire l'injure de supposer qu'il pourrait n'8t…
Why Are We in America
A Portrait of the Artist in an Auto
Lyotard, in an occasional piece, somewhere evokes pleasure one might experience in starting up an automobile by activating a rhetoric.' This is, to be sure, only a manner of speaking, a metaphor, a particularly opportune example, but only an example, of those figures of rhetoric of which it may be said that they move crowds, but concerning which it is known that none, in reality, has ever started up a single car. And yet who would be able to say,…
I've Done My Act: An Exercise in Gravity
THE PRINTED TEXT of a play generally utilizes three different sorts of typographic elements: roman capitals, roman text, and italic type faces. Names of characters appear in block capitals, while the words they exchange follow in a roman capital type face and lowercase text. Finally, in italics-inserted at times between parentheses within the characters' lines, or at other times isolated in the space between those lines-come the stage directions …
Sartre Resartus
Sartre: Fort! Ou Da
Mimesis and Castration 1937
I think it will interest American readers to acquaint themselves with the latest and most peculiar phase of literary reaction, which appears also as a bold manifestation of avant-garde thought. These words can be considered the first American reference though not an explicit one to the group that called themselves the College de Sociologie. They begin Meyer Schapiro's Kenyon Review article on Roger Caillois's book La communion des forts, which ha…
Bataille's Tomb: A Halloween Story
Even the best-intentioned of posthumous tributes cannot avoid obeisance to the rituals of necrophilia. Thus I shall use the date and place of our present meeting, as well as its pious motive, as a pretext for introducing my subject: at a barely respectful distance from Vezelay, where Georges Bataille was buried twenty years ago today, I shall speak of Bataille's grave.' Not of the grave in which he has since been resting, beneath a stone I do not…
Television
The Politics of Prose: Essay on Sartre
The Word of God: I Am Dead
back covers of Foucault's two last books, Care of the Self and Use ofPleasure, carry the same aphorism by Rene Char: The history of man is a long succession of synonyms for the same word. To contradict it is a By 1984, a long time had passed since Foucault had cited Char. And it had been a long time as well since he had spoken of duty. To make itself heard this imperative now borrowed the voice of a poet. That it should have done so suggests, at …
French Customs, Literary Borders
Datelined Yellowknife (Northwest Territories), a New York Times article of October 3, 1987 announced preparations for an upcoming bicentennial in 1989. The Native Americans of the Great North had persuaded the Canadian government to grant that our current year would be marked by a return, on all official maps, to native place-names. It had been, in fact, in 1789 that Sir Alexander Mackenzie, in reaching the Arctic Ocean by an inland route, opened…
Bloody Sundays
Research Article| October 01 1989 Bloody Sundays Denis Hollier Denis Hollier Search for other works by this author on: This Site PubMed Google Scholar Representations (1989) 28: 77–89. https://doi.org/10.2307/2928585 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Denis Hollier; Bloody Sundays. Repre…
A New History of French Literature
Rereading the Classics
The Dualist Materialism of Georges Bataille
On Equivocation (Between Literature and Politics)
1. InJune 1989, French voters received the list of candidates nominated for the European Parliament by each national Party. Those patient enough to read to the thirtieth entry of the list of the Front National, the extreme-right party headed by Le Pen, would have found the name Jules Monnerot. It was followed by the qualifying mention: Founder of the Collkge de Sociologie. Sic. A cunning of reason or of unreason? Did this reference gain a single …
À l'en-tête d'Holopherne
This essay argues that, in Manhood, the Judith Salome diptych has a deeper and more structuring effect than Cranach's Lucrèce and Judith, even though Le iris himself used the latter in order to frame his autobiographical volume. The Judith I Salome' diptych is composed by the very two figures whose merging Panofsky (he could have mentioned the Judith II (« Salome ») that Klimmt painted in 1911) singled out as one of the most flagrant symptoms of …
A New History of French Literature
Poetry… up to Z
The Use-Value of the Impossible
While the City Sleeps: Mene, Mene, Tekel, Upharsin
1. I leave the effort of dealing with the didactic aspect of Krzysztof Wodiczko's project to others. What interests me are the formal presuppositions of his guerrilla warfare. Guerrilla is a type of warfare that doesn't play by the rules, that can't be pinned down. Quick interventions. Incursions. No pitched battles. The essential thing is not to give the enemy the initiative in the field, not to go by his timetable, never to meet him where he is…
Aux fins du Collège de Sociologie. Textes établis et annotés par Jean Jamin, présentés par Denis Hollier
Jamin Jean, Hollier Denis. Aux fins du Collège de Sociologie. Textes établis et annotés par Jean Jamin, présentés par Denis Hollier . In: Gradhiva : revue d'histoire et d'archives de l'anthropologie, n°13, 1993. pp. 61-66
The Reception of the Sixties
ous art magazines but of mass-press journalism-was something that shocked us. I'm sure this was experienced by each of us differently, since we all encountered 1960s art and the discourse it generated, and the profound change it effected in artistic practice, at different moments. But we could start by speculating on why we think there is a particular resistance to 1960s art at this moment. What is there in the political or aesthetic situation of…
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