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A-lB Critical Theory ra p h
Seminar
Michael Newman

Course Description
The use *:l:flg,
has been"tpervasive
or imprinting and
casrinq fr
in mooeln
ndepen den tt
t

?l
*
]:Hd,;;;;r_l;IJi:,,?:*#lr,:ft:bjects
.ontroiii"n!"intuntion
n o opu-n'iJ .n,
n." effects, s u ch
lJiU 1;*3X 'fi,:T#
lg"i
j:a".g
a tic im ri ei
n 0 ra is e q u
i .,
': "-,1 3 e srio n s or rh e

fi iliiil;JJ;i'piinrr'"","H'ti:ll{i;ii?,T;:::?.I#'j,[';,,:?fl jT;,,,,
it,,"r6,ri#":i:J,i?;:;:LX"Jfl
1e70s to ros"^'-!"d;
"
a consideration
,t$:+T,nl"ff ,;l[f
;;;;tos.raphv. rrr"lir., lf:.,,:,y;1;:"0.
wir forow-foiri,tiieads:
and critique;il:-i1+
the trace; r".o:g,,
r .;il;;;tion_ot ;;;i;::],d,itsreration to themark
First,
third, the impricarionl;lrh" tr-.,u ,.Jut,yonJfutruun and
#;:ano imprinito i,itj uno ,"r1, ,,g,i ano trace;
dearh, ,rtn", parricurar
fi: :ilJ:XT':? .; : iJ[", f, ff]Jg L p',,
"
;; ;il;,"i[u
t,,.u co ns io e ieo'a s rra ce
or

Requirements
A. The texts are
activery in fo.r the class. you rwiil
oi".lllllud.tq"ding be expected to participate
e e,rio,^t m;i;l:;,;H:nffim:".,
"
;r," rne of the readings

The Trace in the

;ffiru,t: orisin of Drawins
Pliny, Naturat Hi*ry: Books XXX,\fXX.V,-ed.G.
p. Gootd,
trans. H. Rackham,
i::?i'l,l#L:{t=ir*n#^*,n:n"tinrarviro;;;'H','u",.
numbers *o.*l:
re-rt orirrel}n according to the paiagraph
ttr icnaffi text).
*o}; H::txf#";ffi ?: lJi:,,t%,_,72 rh e sta s e or rawi : D ng
de Zegher'lqlq"",
pp. g3-10g. r* Iruishins
vwtrufrrr-r$ and New
rjil'
York:
gon"o"ov cut'.rin"
,^ _ _??03,
uean
The nrr*ini''C"nt"r,
Fisher, "on drawing:,
in The sfage of Drawing;
Gestureand Act, pp.217_
 Session 2:The lndex, Stain, and Sign
Reading:
Rosalind Krauss, "Notes on the lndex" in The Originality of the Avant-Garde and
otherModernistMyths (cambridge, Mass. and London, Engrand: Mrr,
1985), pp.196-219.
Georges Didi-Huberman, "The lndex of the Absent wound (Monograph on a
Stain)," October, Summer 1984, pp.63-81,.
James Elkins, on Pictures and the words That Failrhem (cambridge UK:
Cambridge University Press, 1998), Chapter 1: "Marks, Traces, Traits,
Contours, Orli, and Splendores", pp. 3-46.

Session 3: The Relic, Life Cast, Death Mask and Photograph

Reading: -,u

sigmund Freud, "Mourning and Melancholia," standard Edition, vor. 14, pp.243-
258.
Andre Bazin, "The ontology of the Photographic lmage", in what is cinema?
(Berkeley: University of California Press, 196Z), pp.g-16
Roland Barthes, camera Lgcida : Reflections on Photography (New york: Hill
and Wang, 1981).tfli

Session 4: The Trace of the Other

Reading:
Emmanuel Levinas, "The Trace of the Other," in Deconstruction in Context, ed.
Mark Taylor (Chicago: University of Chicago press, 1986), pp.345-359.
Edward casey, "Levinas on Memory and the Trace", in J.c.sallis, G. Moneta and
J. Taminiaux eds., The collegium Phaenomenologicum (Dordrecht:
Kluwer, 1 988), pp.240-255.
Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans.
Pascale-Anne Brault and Michael Naas (chicago: The University of
Chicago Press, 1993). gUV
Julia Kristeva, "The Semiotic Ciitora Ordering the Drives ," in Revolution in Poetic
Language, trans. Margaret Waller (New York, Cotumbia University Press,
1984), esp. pp.25-6.