"Farewell Terpsichore – an improvisation on smiles, shadows and breath"

Jenn Ashworth; Charlie Gere; Doris Rohr

"Farewell Terpsichore – an improvisation on smiles, shadows and breath"

Jenn Ashworth, Charlie Gere, Doris Rohr

Research output: Contribution to journal › Article

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Abstract

The text "Farewell Terpsichore – an improvisation on smiles, shadows and breath" is a deliberately unconventional approach towards 'academic writing'. With reference to writer/philosopher Helene Cixous and Jacques Derrida in particular, this text addresses a creative and hybrid practice of words and drawings. Freeing up the stilted conventions of writing in academic contexts informed Rohr's practice-based PhD research project "Drawing on Nature: the Legacy of John Ruskin’s Cosmos" which led on to this new text. The relationship between writing and drawing is of particular concern, alongside other narrative formats of drawing. The article seeks to balance forms referencing script, alphabet or pictorgram with visuals, mostly drawings. Further reference is made to Henri Michaux and Josef Beuys.

Original language	English
Pages (from-to)	72-97
Journal	LUNE
Volume	00
Issue number	1
Early online date	15 Nov 2017
Publication status	E-pub ahead of print - 15 Nov 2017

Keywords

Text Writing Drawing Poetry Sign Affiliations Networks Memory

Access to Document

LUNE[Table of Contents]Final published version, 74 KB
LUNE[Rohr FarewellFinal published version, 2.26 MB
LUNE[Contributors]Final published version, 74.7 KB

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Ashworth, J., Gere, C., & Rohr, D. (2017). "Farewell Terpsichore – an improvisation on smiles, shadows and breath". LUNE, 00(1), 72-97. http://uir.ulster.ac.uk/39077/1/Dateofacceptance_LUNE%20journal.pdf

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abstract = "The text {"}Farewell Terpsichore – an improvisation on smiles, shadows and breath{"} is a deliberately unconventional approach towards 'academic writing'. With reference to writer/philosopher Helene Cixous and Jacques Derrida in particular, this text addresses a creative and hybrid practice of words and drawings. Freeing up the stilted conventions of writing in academic contexts informed Rohr's practice-based PhD research project {"}Drawing on Nature: the Legacy of John Ruskin{\textquoteright}s Cosmos{"} which led on to this new text. The relationship between writing and drawing is of particular concern, alongside other narrative formats of drawing. The article seeks to balance forms referencing script, alphabet or pictorgram with visuals, mostly drawings. Further reference is made to Henri Michaux and Josef Beuys.",

keywords = "Text Writing Drawing Poetry Sign Affiliations Networks Memory",

author = "Jenn Ashworth and Charlie Gere and Doris Rohr",

note = "Reference text: Arendt, H. (1963), Eichmann in Jerusalem: A Report on the Banality of Evil, New York: Viking Ayerza, J., {\textquoteleft}What is a Picture{\textquoteright} in Lacanian Ink, 9, 1995 Barthes, R. (1977), Image Music Text, trans. Stephen Heath, London: Fontana B{\"o}ll, H. (1992), Heinrich B{\"o}ll{\textquoteright}s Best Stories, ed. John Klapper, Bristol: Bristol Classical Press Cixous, H. (1998), Stigmata, trans. Catherine A. F. MacGillivray, London: Routledge Derrida, J. (1993), Memoirs of the Blind: The Self Portrait and Other Ruins, trans. Pascale- Anne Brault and Michael Naas, Chicago: University of Chicago Press Derrida. J. (2003), The Work of Mourning, eds. Pascale-Anne Brault and Michael Naas, Chicago: Chicago University Press Henri Michaux Exhibition Catalogue, Paris: Centre Pompidou, 1978 Henri Michaux, exhibition catalogue, New York: Solomon R Guggenheim Museum, Montreal: Mus{\'e}e national d{\textquoteright}art contemporain and Paris: Centre Georges Pompidou, Mus{\'e}e national d{\textquoteright}art modern, 1987 Joseph Beuys: The Secret Block for a Secret Person in Ireland, exhibition catalogue, Munich, 1988 Lacan, J. (1977), The Four Fundamental Concepts of Psychoanalysis, trans. Alain Sheridan, London: Hogarth Press Michaux, H. (1951), Postface Mouvements Paris: Le Pint du Jour. NRF {\'E}ditions Gallimard Michaux, H. {\textquoteleft}Signes{\textquoteright}, in XXe Si{\'e}cle, 4, January, 1954 Michaux, H. {\textquoteleft}Vitesse e tempo{\textquoteright}, Quadrum III, 1957 Michaux, H. (1972), Emergences-R{\'e}surgences, Geneva: Editions d{\textquoteright}Art Albert Skira Michaux, H. (1993), Peintures, Paris: Gallimard Miller, J. H. (1992), Illustration, London: Reaktion Books Rohr, D. (2016), Drawing on Nature: The Legacy of Ruskin{\textquoteright}s Cosmos, unpublished PhD, Lancaster University , available at http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.695894 Schade (1998), Joseph Beuys: Early Watercolours, Munich: Schirmer Art Books Stewart, N., {\textquoteleft}Alastair MacLennan interviewed by Nicholas Stewart{\textquoteright}, Circa Magazine, 13, Nov/Dec, 1983, available at https://vads.ac.uk/collections/maclennan/interviews.htm[accessed 14th August 2017] Temkin, A., Beuys, J., Rose, B., & Museum of Modern Art (1993), Thinking Is Form: The Drawings of Joseph Beuys, London: Thames & Hudson",

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N1 - Reference text: Arendt, H. (1963), Eichmann in Jerusalem: A Report on the Banality of Evil, New York: Viking Ayerza, J., ‘What is a Picture’ in Lacanian Ink, 9, 1995 Barthes, R. (1977), Image Music Text, trans. Stephen Heath, London: Fontana Böll, H. (1992), Heinrich Böll’s Best Stories, ed. John Klapper, Bristol: Bristol Classical Press Cixous, H. (1998), Stigmata, trans. Catherine A. F. MacGillivray, London: Routledge Derrida, J. (1993), Memoirs of the Blind: The Self Portrait and Other Ruins, trans. Pascale- Anne Brault and Michael Naas, Chicago: University of Chicago Press Derrida. J. (2003), The Work of Mourning, eds. Pascale-Anne Brault and Michael Naas, Chicago: Chicago University Press Henri Michaux Exhibition Catalogue, Paris: Centre Pompidou, 1978 Henri Michaux, exhibition catalogue, New York: Solomon R Guggenheim Museum, Montreal: Musée national d’art contemporain and Paris: Centre Georges Pompidou, Musée national d’art modern, 1987 Joseph Beuys: The Secret Block for a Secret Person in Ireland, exhibition catalogue, Munich, 1988 Lacan, J. (1977), The Four Fundamental Concepts of Psychoanalysis, trans. Alain Sheridan, London: Hogarth Press Michaux, H. (1951), Postface Mouvements Paris: Le Pint du Jour. NRF Éditions Gallimard Michaux, H. ‘Signes’, in XXe Siécle, 4, January, 1954 Michaux, H. ‘Vitesse e tempo’, Quadrum III, 1957 Michaux, H. (1972), Emergences-Résurgences, Geneva: Editions d’Art Albert Skira Michaux, H. (1993), Peintures, Paris: Gallimard Miller, J. H. (1992), Illustration, London: Reaktion Books Rohr, D. (2016), Drawing on Nature: The Legacy of Ruskin’s Cosmos, unpublished PhD, Lancaster University , available at http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.695894 Schade (1998), Joseph Beuys: Early Watercolours, Munich: Schirmer Art Books Stewart, N., ‘Alastair MacLennan interviewed by Nicholas Stewart’, Circa Magazine, 13, Nov/Dec, 1983, available at https://vads.ac.uk/collections/maclennan/interviews.htm[accessed 14th August 2017] Temkin, A., Beuys, J., Rose, B., & Museum of Modern Art (1993), Thinking Is Form: The Drawings of Joseph Beuys, London: Thames & Hudson

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AB - The text "Farewell Terpsichore – an improvisation on smiles, shadows and breath" is a deliberately unconventional approach towards 'academic writing'. With reference to writer/philosopher Helene Cixous and Jacques Derrida in particular, this text addresses a creative and hybrid practice of words and drawings. Freeing up the stilted conventions of writing in academic contexts informed Rohr's practice-based PhD research project "Drawing on Nature: the Legacy of John Ruskin’s Cosmos" which led on to this new text. The relationship between writing and drawing is of particular concern, alongside other narrative formats of drawing. The article seeks to balance forms referencing script, alphabet or pictorgram with visuals, mostly drawings. Further reference is made to Henri Michaux and Josef Beuys.

KW - Text Writing Drawing Poetry Sign Affiliations Networks Memory

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