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‘Pathetic Fallacy’ in ‘The Large Glass’: A Portrait of a Confirmed Bachelor on the Cogito Scene

Year 2016, Issue: 21, 297 - 306, 01.05.2016

Abstract

In this essay, Duchamp’s ‘The Large Glass’ is understood in view of artistic praxis which took its essence from the concept of symbol as it was defined in the basic texts of philosophy as the very limit between the representer and the represented. In this way, The Large Glass’ allows itself to be understood as the persona of Duchamp in its double meaning of mask and personality. According to this view, the upper section of bride and the lower section of bachelors are trapped in an an erotic drive as its necassary parts which in turn circles forever within the isolated loop of certainity without any hope for a union. As a result of this strain between logos and eros bachelors are apt to selfsatisfaction by means of incessantly talking about truth which finds it symbolic expression in ‘Chocolate Grinder’ in the lower section. Finally, this Cartesian determined cogito stage of dualistic mechanism which Duchamp revelaed its unconsious back stage as the male oriented inquiry of truth under the pressure of erotic impulses also put on the scent of his own inveterate and impish bachelor portrait

References

  • Aristotle. (1962), On Interpretation, trans. Harold P. Cook, Cambridge: Harvard University Press.
  • Descartes, Rene. (1984), The Philosophical Writings of Descartes, Volume II, trans. J. Cottingham, R. Stoothoff & D. Murdoch, Cambridge: Cambridge University Press.
  • Platon. (1903), Platonis Opera, ed. John Burnet, Oxford University Press.
  • Gilbert, Ryle. (1949),“Descartes' Myth,” The Concept of Mind, London: Hutchinson.
  • Sanat Tanımı Topluluğu. (1984), Marcel Duchamp, İstanbul: STT Yayını.

BÜYÜK CAM’DA ‘PATETİK HATA’: BİR MÜZMİN BEKÂRIN COGITO SAHNESİNDE PORTRESİ

Year 2016, Issue: 21, 297 - 306, 01.05.2016

Abstract

Bu makalede Duchamp’ın “Büyük Cam” olarak bilinen yapıtı, sembol kavramının temel metinlerde ortaya konulan anlamı üzerinden sanatsal eylem esasında anlaşılarak ele alınmaktadır. Bu anlamda “Büyük Cam” bir yapıt olarak, Duchamp’ı persona’sında maske/kişilik olarak anlama imkânı vermektedir. Buna göre üst bölmedeki gelin ve alt bölmedeki bekârlar aslında erotik itkiye tâbi bir mekanizmanın unsurları olarak yalıtılmış kesinliğin döngüsünde birleşmeksiniz döner dururlar. Bu durumun logos ve eros arasında oluşturduğu gerilim nedeniyle de bekârlar yapıtta alt bölmede ‘Çikolata Öğütücüsü’yle ifadesini bulan hakikat üzerine durmadan söz üreterek ‘kendi kendilerini tatmin’ ederler. Sonuç olarak, bir erkek söylemi oluşunda hakikat araştırmalarının ‘bilinçdışı’ perde arkasını ifşa ettiği bu düalist mekanizmanın cogito sahnesi, aynı zamanda müzmin ve muzip bir bekâr olarak Duchamp’ın kendi portresi oluşuna da ışık tutar

References

  • Aristotle. (1962), On Interpretation, trans. Harold P. Cook, Cambridge: Harvard University Press.
  • Descartes, Rene. (1984), The Philosophical Writings of Descartes, Volume II, trans. J. Cottingham, R. Stoothoff & D. Murdoch, Cambridge: Cambridge University Press.
  • Platon. (1903), Platonis Opera, ed. John Burnet, Oxford University Press.
  • Gilbert, Ryle. (1949),“Descartes' Myth,” The Concept of Mind, London: Hutchinson.
  • Sanat Tanımı Topluluğu. (1984), Marcel Duchamp, İstanbul: STT Yayını.
There are 5 citations in total.

Details

Primary Language Turkish
Journal Section Research Article
Authors

Oğuz Haşlakoğlu This is me

Publication Date May 1, 2016
Published in Issue Year 2016 Issue: 21

Cite

Chicago Haşlakoğlu, Oğuz. “BÜYÜK CAM’DA ‘PATETİK HATA’: BİR MÜZMİN BEKÂRIN COGITO SAHNESİNDE PORTRESİ”. FLSF Felsefe Ve Sosyal Bilimler Dergisi, no. 21 (May 2016): 297-306.

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