Tag: text

Voyage autour de ma chambre

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A Journey around my Room (Voyage autour de ma chambre) by Xavier de Maistre. via

  • French title: Voyage autour de ma chambre
  • Written 1790, first published in 1795
  • The French text of Voyage autour de ma chambre is available online
  • Translated by Stephen Sartarelli
  • Published in Voyage around my Room: Selected Works of Xavier de Maistre, which includes an Introduction by Richard Howard, Joseph de Maistre’s 1811 Preface, as well as two other works by Xavier de Maistre:
    • Nocturnal Expedition around my Room (see our review)
    • The Leper of the City of Aosta (see our review)
  • The new UK edition (Hesperus, 2004) was translated by Andrew Brown
  • The new UK edition has a Foreword by Alain de Botton
<IDENT chambre>
<IDENT_AUTEURS maistrex>
<IDENT_COPISTES mannonij>
<ARCHIVE http://www.abu.org/>
<VERSION 2>
<DROITS 0>
<TITRE Voyage autour de ma chambre (1794)>
<GENRE prose>
<AUTEUR de Maistre, Xavier>
<COPISTE Julien Mannoni (mannoni@worldnet.fr)>
<NOTESPROD>
EDITION 1839, orthographe respectée

http://abu.cnam.fr/

Public Domain Review (2017).

AG2026_1211322a

Vittorio Fortunati, “Du haut de leurs mansardes : le motif de l’isolement chez Baudelaire et Xavier de Maistre”, Revue italienne d’études françaises [Online], 14 | 2024, Online since 15 November 2024, connection on 17 February 2026. URL: http://journals.openedition.org/rief/13188; DOI: https://doi.org/10.4000/12oyy

Jacques Rancière, Courts Voyages au pays du peuple, 1990.

In the present

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“What is still to be achieved is the struggle to grasp the surface effects of the present through concepts that articulate the abstract forces that produce them, forces that are not eternal and are not an essence. It can’t be done by means of words alone. Words have to connect to everyday life in all its vulgar glory and idiocy, and right at the point where the emerging forces of production are shaping that everyday life, [d]riven perhaps by quite distinctive forms of class struggle and experience. The means to live and endure otherwise may already have come into existence, fettered though they are by outmoded relations and forms.”

Mckenzie Wark’s The Struggle to Live in the Present in Verso blog.

Capital Is Dead .

Hyperallergic reviews Coffee, Rhum, Sugar & Gold

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Zoe Samudzi‘s A Caribbean Present Steeped in a Colonial Past reviewed Coffee, Rhum, Sugar & Gold: A Postcolonial Paradox for Hyperallergic. The show curated by Larry Ossei-Mensah and Dexter Wimberly , currently, at the Museum of the African Diaspora, through August 11, 2019.

The emergent themes of the show can be broadly cast into three categories (though none of the artists fit singularly into any one): corporeality (interpretations of politics around the body), place (examinations of place, space, and time), and religion and spirituality.

Adler Guerrier, “Untitled (Place marked with an impulse, found to be held within the fold) iv” (2019), Ink, graphite, collage, acrylic, enamel paint and xerography on paper (Courtesy of the artist and David Castillo Gallery)

J. Michael Dash

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From this interview of J. Michael Dash with The Public Archive (2012).

You were a close friend and translator of the late Edouard Glissant.  What is his enduring legacy – as a person and as an artist?

I remember reading recently that prophets are often defined by what they are not. I am not saying that Edouard Glissant was a prophet but he does represent an intellectual watershed in the Caribbean intellectual landscape. For the time being though, there is a tendency to regret what he was not. There has been a rash of criticism aimed at what critics call “the late Glissant” who is seen as blindly following Deleuzean nomadology in his apolitical celebration of global creolization.  Even his defenders have tried to construct him as a “warrior of the imaginary” or pointed to the various political pamphlets written with Chamoiseau before his death.  I think in both cases, critics are still haunted by the example of Frantz Fanon as a model for Caribbean writing. Glissant had never felt that literature should be put in the service of political causes – certainly not in a narrow, utilitarian way. He began writing at a time when a decolonized world heralded by politically committed writing was coming into being.  These new nation states were flawed and there but there was no way of imagining alternatives.  This was where literature as a new mode of cognition came in.  As I have written elsewhere, Glissant, from the outset, proposed that writers and thinkers should be approached and frequented like towns.  He said this about Faulkner and later about the figure of Toussaint Louverture.  I think his thought should be approached in this way – an urban space of diversity, open to all and facilitating various intellectual itineraries.  Perhaps, in accordance with the creole saying quoted in one of the epigraphs of Caribbean Discourse, “An neg se an siec” ( a black man is a century), the Glissantian century has only just begun

The Public Archive | Published: March 4, 2012.

Figures of note as place, which can be “frequented like towns.” Psychogeography into poetry, paraontology, and imagined reality.

A related thought, not from the interview.

“L’imaginaire de mon lieu est relié à la réalité imaginable des lieux du monde, et tout inversement.”

Edouard Glissant

Tamara K.E.

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An article and interview with Tamara K.E. via atelierbesuche.

The figures in my images do not develop from already existing comic characters, but develop as random data. In this context, an obsessive, not clearly definable language is important. A language, which takes the dynamics of our cultural memory on board and therefore defies any final interpretation.

Untitled, 2014/18 Watercolour marker, gel pen, Tipp-Ex on paper 29,5 x 21 cm via Aurel Scheibler

Beck-Eggeling.