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دوره 12، شماره 5 - ( 1400 )
جلد 12 شماره 5 صفحات 709-691 |
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Bertrand B. Visage et visagéité Hantise figurative chez Mehdi Sahabi. LRR 2021; 12 (5) :691-709
URL: http://lrr.modares.ac.ir/article-14-59485-fa.html
URL: http://lrr.modares.ac.ir/article-14-59485-fa.html
Bertrand Denis. Visage et visagéité Hantise figurative chez Mehdi Sahabi. جستارهای زبانی. 1400; 12 (5) :691-709
Professeur émérite, Université Paris 8-Vincennes-Saint-Denis. Paris. France ، denis.bertrandcotar@gmail.com
چکیده: (1807 مشاهده)
The face is everywhere in Mehdi Sahabi's work, whether frontal ("Portraits", "Figures", "Archamanians" and "Photo-journalism") or indirect ("Grafiti", "Totems", "Puzzled" and "Junkyard Cars"), always altered, formally transformed... Visageness, between figurality and figurativity, is a central motif. To show what is at stake, we study an extract from Maurice Merleau-Ponty's Phenomenology of Perception upon the face. It is a "phenomenological suspension" (epoche) exercise, which a face "upside down", detached from our habits of vision, provides. A double questioning results from this: (i) on the visual event that moves the face from its status as a "canon" of the visible (the beauty) to a teratological status (the monstrous); (ii) on the relativity of epoche, never emptied of any modality, inevitably impregnated with cultural pre-constructs.
These questions shed light on the status of the face in Sahabi's work, both a sign and an emblem of altered figurativity. We identify the paths of its deformation - from blurring to tearing, from fragmentation to crushing - through a typology (extracts from the above series). The semiotic analysis leads to the axiological dimension of the face, manifested and concealed, exhibited and forbidden. This defining ethical requirement of visageness, which is specific to the person and induces his fragility, is shown in Sahabi's aesthetic gesture. As Levinas puts it: "What is specifically face is what cannot be reduced to it.
These questions shed light on the status of the face in Sahabi's work, both a sign and an emblem of altered figurativity. We identify the paths of its deformation - from blurring to tearing, from fragmentation to crushing - through a typology (extracts from the above series). The semiotic analysis leads to the axiological dimension of the face, manifested and concealed, exhibited and forbidden. This defining ethical requirement of visageness, which is specific to the person and induces his fragility, is shown in Sahabi's aesthetic gesture. As Levinas puts it: "What is specifically face is what cannot be reduced to it.
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