By Anne Bromberg, Frederick M. Asher, Catherine B. Asher, Nancy Tingley, Robert Warren Clark
In contemporary years, the Dallas Museum of artwork has extended its selection of South Asian paintings from a small variety of Indian temple sculptures to almost 500 works, together with Indian Hindu and Buddhist sculptures, Himalayan Buddhist bronze sculptures and formality items, paintings from Southeast Asia, and ornamental arts from India’s Mughal interval. works of art within the assortment have origins from the previous Ottoman empire to Java, and architectural items recommend the grandeur of structures within the Indian tradition.
This quantity info the cultural and creative importance of greater than a hundred and forty featured works, which variety from Tibetan thangkas and Indian miniature work to stone sculptures and bronzes. referring to those works to each other via interconnecting narratives and cross-references, students and curators offer a huge cultural background of the region.
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Extra resources for The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art
Sample text
In this half sleep I have the impression I have done something criminal, disgraceful, unavowable, that I shouldn’t have done. ’15 The account of Derrida’s unhappy consciousness at the beginning of ‘Cogito and the History of Madness’ dramatizes the essay’s argument that madness cannot be described or contained in the apparent neutrality of a discourse, for discourse must always be on the side of reason that radically excludes madness. Such safeguards as are possible come from the practice of reading that Derrida adopts, in an inventive movement that takes the risk of being ‘neither direct nor unilinear’ in order to come as close to madness as possible (37).
Consonance]. 2) Derrida points to the value of differentiating the meaning of the words one uses, giving a long list of terms roughly synonymous with ‘structure’, implying that the word ‘structure’ can be more 35 DERRIDA’S WRITING AND DIFFERENCE precisely differentiated from, and is more inhabited by other words, than we might guess from Kroeber’s airy remark that it has a ‘perfectly good meaning’. Still, one can have a weakness, a soft spot, for favourite words. Derrida’s notion of force works with, and on, susceptibility, imagination and sensibility.
Historicity So ‘the structuralist stance, as well as our attitudes assumed before or within language, are not only moments of history. They are an astonishment, rather, by language as the origin of history. By historicity itself’ (2). We are, Derrida insists, surprised by writing, held in it, already in a text. An indirect approach to force, an avowed lack of philosophical originality and muscle makes structuralism, preoccupied with (and astonished by) language and form, the most able to articulate the relation between repetition and surprise that is, for Derrida, the possibility of history.