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Tintoretto by Stefano Zuffi

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By Stefano Zuffi

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Going far beyond Cohn's interpretation of the "Or" ofMallarme's title as only a temporal "now" that signifies news flash, Derrida argues that it is the very uncon-- trolla~ility ~--. of the physical spread of OR overthe page of the text-" dehORs" ("outdoORS"), "fantasmagoRique" "tresOR" ("stORe"), "hORizon," "majoRe" ("moRe"), "hORs" ("exterioR")-th~_Il1akes OR a signifier truly cut free of the gold standard of even its most shifting signified. ,,~. " By this he means folding over one another to produce both the replication of the series and difference of the same from itself.

Etc. Puvis de Chavannes, neo-Italian to the musee imaginaire. these influences prove the lack of seriousness, in terms of construction and sureness. "9 The endogenous description of the phenomenon can thus range in its final assessment from Delaunay's horrified dis- Sixty years later, the same conclusion would be drawn, if missal of Picasso's "continuity in pillage" to the art historian's less disdainfully, as Gerard Genette also named pastiche the pleasure at Picasso's force of synthesis, whether in combining matrix within which absolutely all of Picasso's work unfolded: Le Nain and Ingres to form a new sense of Frenchness 11 or "Picasso is only himself through the vehicle of the styles that in fusing archaic sculpture, Raphael, and photography to as-.

For Simmel wants to project a social space in Thinking about the distance between these two-coquetry which signs circulate endlessly as weightless fragments of rep- and prostitution-in 1910, just a few years before Picasso artee, stripped of practical content-that of information, made this collage, Georg Simmel sees them both as a form of argument, business-taking as their content, instead, the abstraction. 'lui\Talel1t ~n money with no remainder (indeed, the an interchangeable, accidental character.

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