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“Where now? Who now? When now? Unquestioning. I, say I. Unbelieving. Questions, hypotheses.”. It is with this deconstructive note that Samuel Beckett opens his book “The Unnamable”. Before him, Espinoza had already inaugurated this indeterminacy around the body and man: “The fact is that no one has determined, until now, what the body can do.”. Fail, always and better: “Ever tried. Ever failed. No matter. Try again. Fail again.” – so Beckett wrote. And it is because of the failure, the human (too human) act of failing, stumbling and jumping out of the dictate of unique thought, the precision of reversing the logic, as Duchamp inverted a urinal and started to call it “The Fountain”, that this text will be written. This communication is intended to be a compliment to the beatitude and the human being, whose essence is built around the error of wandering, in the performative deviation of difference. Against the unique and massifying dictate, we propose the “différance” of Charlie Chaplin, or Charlot, the Tramp. From the “flânerie” woven between the accident of failure and the humor of Charlie Chaplin and Buster Keaton, to the questioning and the will to never give up on Beckett: “where I am? I don’t know. You must go on. I can’t go on. I’ll go on”.

L’objectif de cet article est de cerner la présence intertextuelle de tableaux surréalistes dans une sélection d’œuvres d’Angela Carter, romancière qu’intéressaient tout particulièrement les rapports entre littérature et autres arts. L’article se concentre sur deux œuvres de Carter: The Infernal Desire Machines of Dr Hoffman (1972) et The Passion of New Eve (1977) dans lesquelles l’on peut voir se manifester un dialogue critique avec Marcel Duchamp et Max Ernst. Parallèlement, l’inscription politique du gender et les problèmes de transaction et de traduction entre texte et image sont examinés. Les Étant donnés et La mariée mise à nu par ses célibataires, même (1915–1923) de Duchamp, ainsi que L’habillement de l’épousée de Max Ernst (1939), dans lesquels apparaît un foisonnement de correspondances avec l’œuvre de Carter, sont utilisés comme base d’analyse iconologique et textuelle. L’article fait également référence aux œuvres de Jarry et de Roussel, dont la présence intertextuelle dans l’œuvre romanesque de Carter est considérable. The purpose of this paper is to investigate the intertextual presence of surrealist paintings in selected works by Angela Carter, a writer who was acutely interested in the intersections between literature and art. It concentrates mainly on Carter’s The Infernal Desire Machines of Dr Hoffman (1972) and The Passion of New Eve (1977) which are read in terms of their engagement with and critical dialogue with Marcel Duchamp and Max Ernst, considering the politics of gender operating in these works as well as issues of transaction and translation between word and image. Duchamp’s Étant donnés and The Bride Stripped Bare by Her Bachelors, Even, also called The Large Glass (1915-1923), as well as Ernst’s The Robing of the Bride (1939), which exhibit abundant correspondences with Carter’s texts, constitute the main focus of the iconological and textual analysis. This article also draws on the work of Alfred Jarry and Raymond Roussel that similarly provide important intertexts for Carter’s fiction.

This essay examines the gender aspects in Marcel Duchamp’s conceptual oeuvre, which have long been partially or completely neglected in the Duchamp literature. The analysis focuses on the well-known readymade, called Fountain (1917/64), which became the symbolic object of the very beginning of the conceptual art paradigm. My hypothesis is that Duchamp’s conceptual work, mixing up the logic of circular arguments with humor and irony, can be interpreted as an ‘avant-la-lettre’ gender provocation, confronting interpreters not only with a gender task —understanding and defining our social gender roles, tasks and desires facing the already existing possibilities given in our social surroundings— but also with an over-gender task that goes beyond the understanding of our biological endowments and given social gender roles and positions. Hence, on the one hand, this early gender provocation, carried out by the Fountain of Marcel Duchamp performing ironic aesthetic value judgments —modeling the structure of logical selfcontradictions—encourages gender awareness; on the other hand, —by setting up premises leading to senseless conclusions— it creates a gender trap.My argument is that the interpretation of this gender trap, modeled by the Fountain at the beginning of the 20th century —in the lack of an over-gender awareness— can result in reductions, denying the complexity of our human existential and co-existential roles and neglecting the over-gender roles and positions of human beings as autonomous and yet co-existentially related individuals.

[EN] This study calls into question the geometric explanation given by Ulf Linde in 1977 for two of the artworks of Marcel Duchamp (1887-1968), Bride (La Mariée, 1912) and the Large Glass (Grand Verre, 1915-1923). In the analysis of the first of these, Linde succeeds in diagnosing that the work follows golden ratio proportions, albeit with incorrect mathematical expressions. With the second artwork, the analysis seems to me unsound, since he does not mention the measurements from which the study begins. Because of this, and as proof, I carry out the same analysis as Linde applied to the Large Glass, but starting from the measurements given by Duchamp, finding that despite being very close, they do not correspond to a golden ratio., [ES] El presente estudio pone en cuestión la explicación geométrica dada por Ulf Linde a dos de las obras de Marcel Duchamp (1887-1968), La Mariée (1912) y el Grand Verre (1915-1923), en 1977. En el análisis de la primera de ellas, Linde acierta en el diagnóstico de que la obra responde a unas proporciones áureas, aunque con expresiones matemáticas incorrectas, y en la segunda realiza un análisis poco riguroso, dado que no proporciona las medidas de las que parte para realizarlo. Debido a ello, y como comprobación, realizo el mismo análisis de Linde aplicado al Grand Verre, pero partiendo de las medidas dadas por Duchamp, encontrando que a pesar de ser muy aproximado, no corresponde exactamente a la proporción áurea.

L’écrivain peut dialoguer de manière explicite ou implicite avec un autre écrivain ou artiste par l’intermédiaire d’une réflexion sur une œuvre d’art plastique, comme nous l’avons vu à plusieurs reprises dans cet essai. L’écrivain parle, par exemple, au philosophe « à travers » une méditation sur l’œuvre d’un peintre. Cette discussion peut être d’ordre conceptuel, mais pour qu’elle soit perceptible, la présence d’un informateur ou truchement, selon l’usage anthropologique de cette notion, est...