Louis Marin

Louis Marin ( May 22nd, 1931 in La Tronche, † 29 October 1992 in Paris) was a philosopher, historian, semiotician, art historian and critic.

Career

Louis Marin was 1961-1964 cultural adviser to the French Embassy in Turkey. After that, he was until 1967 Director of the French Institute in London. In 1967 he became a professor at the Université de Paris- Nanterre and at the UER d'Arts Plastique de Paris 1- Panthéon- Sorbonne. From 1970 he taught at the University of California in San Diego from 1974 to 1977 at the Johns Hopkins University in Baltimore. Subsequently, he was from 1977 to 1992 professor at the École des Hautes Études en Sciences Sociales ( EHESS ), Centre de Recherches Historiques in Paris. In 1978 he was Directeur d' études and 1987 Directeur du Centre de recherche sur les Arts et le langage at the EHESS. From 1985 until his death he taught as a visiting professor at Johns Hopkins University.

Work

Marin points to the tensions, lack of transparency and aporias in the representation and character theory in his work. He thinks the French 17th century along with the development history of modernity and thus illuminates the modern ideas about the characters, the representation and power. In The Portrait of the King, he starts from the theory of signs Pascal to both theorize the power of the sign and the sign of power can. This relationship, he also studied in La Fontaine, Racine and Perrault. In his devotion to painting and its representation, for example by Poussin, Caravaggio and Philippe de Champaigne, one finds the same dialogue between classicism and modernity. Based on texts by Montaigne, Rousseau, and especially in Marin takes Stendhal The excommunicated L' écriture de soi voice and the theme of the autobiography, the production and representation of itself on. His perspective is reminiscent of that of Philippe Lejeune, but differs by more philosophical issues and a stronger emphasis on the statement paradoxes of autobiographical genre. As a result, Marin stands out from his contemporaries and his structuralist predecessors. In From the Powers of the image that can be understood as a sum of his work, it asks for the original power of the image. Following the deconstructive critique of the philosophical tradition to which an image has always been a moderate weakening of his, Marin takes a turn from the image of being the "His Image ".

His influence can be observed inter alia in thinkers such as Jacques Derrida, Hubert Damisch, and Georges Didi- Huberman.

Works

  • Études sémiologiques: Ecritures, peintures (1971, Reed Klincksieck, 2005. )
  • Sémiotique de la Passion, topiques et figures ( Desclée de Brouwer - Aubier - Montaigne, 1972)
  • Le récit évangélique avec Cl. Chabrol ( Aubier - Montaigne, 1972)
  • Utopiques: jeux d' espaces ( Minuit, 1973)
  • La Critique du discours ( Éditions de Minuit, 1975)
  • Détruire la peinture ( Éditions a Galileo, 1977) The painting destroy diaphanes, Zurich / Berlin 2003
  • The portrait of the king, diaphanes, Zurich / Berlin 2006
  • The excommunicated voice. Memory tests, diaphanes, Zurich / Berlin 2002
  • The Opaque painting. For representation in the Quattrocento, diaphanes, Zurich / Berlin 2004
  • Cross- readings, diaphanes, Zurich / Berlin 2011
  • From the powers of the image. Glosses, diaphanes, Zurich / Berlin 2007
October 29 Blaise Pascal Jean Racine Charles Perrault Nicolas Poussin Structuralism Deconstruction Integrated Authority File
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