Henry Fuseli’s Nightmarish Visions
|November 29, 2012|
The Nightmare, 1781
Dream of Belinda, 1780-90
The Fire King, 1801-1810
The Weaver with Ass-Head, 1793-4
The Wierd Sisters, 1783
Sleep and Death Carrying Away Serpendon of Lycia, 1803
The Incubus Leaving Two Sleeping Women, 1793
About the Artist:
Henry Fuseli (February 7, 1741 – April 17, 1825) was a Swiss painter, draughtsman and writer.
Inherent Vice’s Two Directions
The jokes certainly strike one as sophomoric and the latter one as clichéd, further below Pynchon’s intelligence than one would like to think he would stoop, at least in print. Discounting them and moving on, or throwing the book across the room as Parker half implies we should do, however, would be to lose sight of “that high magic to low puns”.
Auden, Larkin and Love
I was prompted to revisit these ancient questions anew by a long footnote about a single line in the new Complete Poems edition of Philip Larkin’s poetry. The footnote refers to “An Arundel Tomb” contains a provocative remark about that the poem’s celebrated, controversial, closing line, the one about the true nature of immortality: “What will survive of us is love.”
Plato, Our Comrade?
Not surprisingly, there have already been critics of Badiou’s translation. The first is that his translation breaks the formal rules of translation to such a degree that the original meaning of the text has lost its significance. But this critique is inadequate at face value because Badiou’s hyper-translation is forthright in its intention of taking Plato’s concepts and modifying them into his own lexicon.