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In this context, Jean Francois Lyotard's Presenting the unpresentable can be understood.
And teased out of its Kantian wrappings, the unpresentable is not only downsized, brought back to the culture it evades, but in the process also restored to desire and to the pleasure principle, as evoked in Lacan's account of sublimation.
This allows the unpresentable to become perceptible in his writing itself, in the signifier.
This interpretation of Baraka's notions of Black Art and Black idiom allows us to understand that the essential task for black artists is to strike out into the region where no phrase regimen as yet exists, so that they may encounter the silence of that which, unpresented and unpresentable, awaits phrasing.
Using non-professional actors in all but a handful of roles--and even his own father as the central figure in his previous award winner, Clouds of May--he has succeeded in presenting to audiences what often seems like the unpresentable.
In the postmodern visual arts, this focus on simulacra--on that which replaces the real--constitutes a shift away from the earlier, modernist-inspired putting "forward [of] the unpresentable in presentation itself" (Lyotard 1984, 81), which one saw, for instance, in the work of the Abstract Expressionists.
This aesthetic definition still relates to quantum theory, as we will see if we adapt the first sentence that I have quoted above: "[P]ostmodern [physics] would be that which, in [classical physics], puts forward the unpresentable in presentation itself.
Yet, while sexual ecstasy is one route to transcendence it is not it in itself, and Yeats strains to move beyond it to the release of the unpresentable within us.
The apostle Paul, after all, did not suggest that possible jealously among the body parts, for example, between the head and foot, or the unpresentable parts and the rest of the body, could be remedied by letting the head run everything.
Some philosophers, such as Wittgenstein, are engaged in the theme of presenting the unpresentable.
The polytheism of Pharoanic Egypt, the apparent worship of images, not least of the golden calf, has to be rejected and a new approach to being, and perhaps a new aesthetic, has to be forged in opposition to representation for God is held to be invisible and certainly is averse to being imaged forth: think now of Lyotard saying the sublime is so valuable because it is unpresentable.
I desire to write on an unspeakable event, to present the unpresentable, to contain the leaky, to attempt an understanding of the impossible.