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.It is indeed an admirable face-object.In Queen Christina, a filmwhich has again been shown in Paris in the last few years, themake-up has the snowy thickness of a mask: it is not a paintedface, but one set in plaster, protected by the surface of the colour,not by its lineaments.Amid all this snow at once fragile andcompact, the eyes alone, black like strange soft flesh, but not in theleast expressive, are two faintly tremulous wounds.In spite of itsextreme beauty, this face, not drawn but sculpted in somethingsmooth and friable, that is, at once perfect and ephemeral, comes toresemble the flour-white complexion of Charlie Chaplin, the darkvegetation of his eyes, his totem-like countenance.Now the temptation of the absolute mask (the mask of antiquity,for instance) perhaps implies less the theme of the secret (as is thecase with Italian half mask) than that of an archetype of the humanface.Garbo offered to one's gaze a sort of Platonic Idea of thehuman creature, which explains why her face is almost sexuallyundefined, without however leaving one in doubt.It is true that thisfilm (in which Queen Christina is by turns a woman and a youngcavalier) lends itself to this lack of differentiation; but Garbo doesnot perform in it any feat of transvestism; she is always herself,and carries without pretence, under her crown or her wide-brimmed hats, the same snowy solitary face.The name given toher, the Divine, probably aimed to convey less a superlative state55 56 of beauty than the essence of her corporeal person, descended froma heaven where all things are formed and perfected in the clearestWine and Milklight.She herself knew this: how many actresses have consented tolet the crowd see the ominous maturing of their beauty.Not she,however; the essence was not to be degraded, her face was not tohave any reality except that of its perfection, which wasWine is felt by the French nation to be a possession which is itsintellectual even more than formal.The Essence became graduallyvery own, just like its three hundred and sixty types of cheese andobscured, progressively veiled with dark glasses, broad hats andits culture.It is a totem-drink, corresponding to the milk of theexiles: but it never deteriorated.Dutch cow or the tea ceremonially taken by the British RoyalFamily.Bachelard has already given the 'substantialAnd yet, in this deified face, something sharper than a mask ispsychoanalysis' of this fluid, at the end of his essay on the reverieslooming: a kind of voluntary and therefore human relation betweenon the theme of the will, and shown that wine is the sap of the sunthe curve of the nostrils and the arch of the eyebrows; a rare,and the earth, that its basic state is not the moist but the dry, andindividual function relating two regions of the face.A mask is butthat on such grounds the substance which is most contrary to it isa sum of lines; a face, on the contrary, is above all their thematicwater.harmony.Garbo's face represents this fragile moment when thecinema is about to draw an existential from an essential beauty,Actually, like all resilient totems, wine supports a variedwhen the archetype leans towards the fascination of mortal faces,mythology which does not trouble about contradictions.Thiswhen the clarity of the flesh as essence yields its place to agalvanic substance is always considered, for instance, as the mostlyricism of Woman.efficient of thirst-quenchers, or at least this serves as the majoralibi for its consumption ('It's thirsty weather').In its red form, itViewed as a transition the face of Garbo reconciles twohas blood, the dense and vital fluid, as a very old hypostasis.Thisiconographic ages, it assures the passage from awe to charm.As isis because in fact its humoral form matters little; it is above all awell known, we are today at the other pole of this evolution: theconverting substance, capable of reversing situations and states,face of Audrey Hepburn, for instance, is individualized, not onlyand of extracting from objects their opposites - for instance,because of its peculiar thematics (woman as child, woman asmaking a weak man strong or a silent one talkative.Hence its oldkitten) but also because of her person, of an almost uniquealchemical heredity, its philosophical power to transmute andspecification of the face, which has nothing of the essence left in it,create ex nihilo.but is constituted by an infinite complexity of morphologicalfunctions.As a language, Garbo's singularity was of the order ofBeing essentially a function whose terms can change, wine has atthe concept, that of Audrey Hepburn is of the order of theits disposal apparently plastic powers: it can serve as an alibi tosubstance.The face of Garbo is an Idea, that of Hepburn, an Event.dream as well as reality, it depends on the users of the myth.Forthe worker, wine means enabling him to do his task with demiurgicease ('heart for the work').For the intellectual, wine has the reversefunction: the local white wine or the beaujolais of the writer ismeant to cut him off from the all too expected environment ofcocktails and expensive drinks (the only ones which snobbishnessleads one to offer him).Wine will deliver him from myths, will57 58 remove some of his intellectualism, will make him the equal of the the evil it can generate is in the nature of fate and therefore escapesproletarian; through wine, the intellectual comes nearer to a natural penalization, it evokes the theatre rather than a basic temperament.virility, and believes he can thus escape the curse that a centuryand a half of romanticism still brings to bear on the purely cerebral Wine is a part of society because it provides a basis not only for a(it is well known that one of the myths peculiar to the modern morality but also for an environment; it is an ornament in theintellectual is the obsession to 'have it where it matters').slightest ceremonials of French daily life, from the snack (plonkand camembert) to the feast, from the conversation at the local cafeBut what is characteristic of France is that the converting power of to the speech at a formal dinner.It exalts all climates, of whateverwine is never openly presented as an end.Other countries drink to kind: in cold weather, it is associated with all the myths ofget drunk, and this is accepted by everyone; in France, becoming warm, and at the height of summer, with all the imagesdrunkenness is a consequence, never an intention.A drink is felt as of shade, with all things cool and sparkling.There is no situationthe spinning out of a pleasure, not as the necessary cause of an involving some physical constraint (temperature, hunger, boredom,effect which is sought: wine is not only a philtre, it is also the compulsion, disorientation) which does not give rise to dreams ofleisurely act of drinking.The gesture has here a decorative value, wine.Combined as a basic substance with other alimentary figures,and the power of wine is never separated from its modes of it can cover all the aspects of space and time for the Frenchman [ Pobierz całość w formacie PDF ]
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.It is indeed an admirable face-object.In Queen Christina, a filmwhich has again been shown in Paris in the last few years, themake-up has the snowy thickness of a mask: it is not a paintedface, but one set in plaster, protected by the surface of the colour,not by its lineaments.Amid all this snow at once fragile andcompact, the eyes alone, black like strange soft flesh, but not in theleast expressive, are two faintly tremulous wounds.In spite of itsextreme beauty, this face, not drawn but sculpted in somethingsmooth and friable, that is, at once perfect and ephemeral, comes toresemble the flour-white complexion of Charlie Chaplin, the darkvegetation of his eyes, his totem-like countenance.Now the temptation of the absolute mask (the mask of antiquity,for instance) perhaps implies less the theme of the secret (as is thecase with Italian half mask) than that of an archetype of the humanface.Garbo offered to one's gaze a sort of Platonic Idea of thehuman creature, which explains why her face is almost sexuallyundefined, without however leaving one in doubt.It is true that thisfilm (in which Queen Christina is by turns a woman and a youngcavalier) lends itself to this lack of differentiation; but Garbo doesnot perform in it any feat of transvestism; she is always herself,and carries without pretence, under her crown or her wide-brimmed hats, the same snowy solitary face.The name given toher, the Divine, probably aimed to convey less a superlative state55 56 of beauty than the essence of her corporeal person, descended froma heaven where all things are formed and perfected in the clearestWine and Milklight.She herself knew this: how many actresses have consented tolet the crowd see the ominous maturing of their beauty.Not she,however; the essence was not to be degraded, her face was not tohave any reality except that of its perfection, which wasWine is felt by the French nation to be a possession which is itsintellectual even more than formal.The Essence became graduallyvery own, just like its three hundred and sixty types of cheese andobscured, progressively veiled with dark glasses, broad hats andits culture.It is a totem-drink, corresponding to the milk of theexiles: but it never deteriorated.Dutch cow or the tea ceremonially taken by the British RoyalFamily.Bachelard has already given the 'substantialAnd yet, in this deified face, something sharper than a mask ispsychoanalysis' of this fluid, at the end of his essay on the reverieslooming: a kind of voluntary and therefore human relation betweenon the theme of the will, and shown that wine is the sap of the sunthe curve of the nostrils and the arch of the eyebrows; a rare,and the earth, that its basic state is not the moist but the dry, andindividual function relating two regions of the face.A mask is butthat on such grounds the substance which is most contrary to it isa sum of lines; a face, on the contrary, is above all their thematicwater.harmony.Garbo's face represents this fragile moment when thecinema is about to draw an existential from an essential beauty,Actually, like all resilient totems, wine supports a variedwhen the archetype leans towards the fascination of mortal faces,mythology which does not trouble about contradictions.Thiswhen the clarity of the flesh as essence yields its place to agalvanic substance is always considered, for instance, as the mostlyricism of Woman.efficient of thirst-quenchers, or at least this serves as the majoralibi for its consumption ('It's thirsty weather').In its red form, itViewed as a transition the face of Garbo reconciles twohas blood, the dense and vital fluid, as a very old hypostasis.Thisiconographic ages, it assures the passage from awe to charm.As isis because in fact its humoral form matters little; it is above all awell known, we are today at the other pole of this evolution: theconverting substance, capable of reversing situations and states,face of Audrey Hepburn, for instance, is individualized, not onlyand of extracting from objects their opposites - for instance,because of its peculiar thematics (woman as child, woman asmaking a weak man strong or a silent one talkative.Hence its oldkitten) but also because of her person, of an almost uniquealchemical heredity, its philosophical power to transmute andspecification of the face, which has nothing of the essence left in it,create ex nihilo.but is constituted by an infinite complexity of morphologicalfunctions.As a language, Garbo's singularity was of the order ofBeing essentially a function whose terms can change, wine has atthe concept, that of Audrey Hepburn is of the order of theits disposal apparently plastic powers: it can serve as an alibi tosubstance.The face of Garbo is an Idea, that of Hepburn, an Event.dream as well as reality, it depends on the users of the myth.Forthe worker, wine means enabling him to do his task with demiurgicease ('heart for the work').For the intellectual, wine has the reversefunction: the local white wine or the beaujolais of the writer ismeant to cut him off from the all too expected environment ofcocktails and expensive drinks (the only ones which snobbishnessleads one to offer him).Wine will deliver him from myths, will57 58 remove some of his intellectualism, will make him the equal of the the evil it can generate is in the nature of fate and therefore escapesproletarian; through wine, the intellectual comes nearer to a natural penalization, it evokes the theatre rather than a basic temperament.virility, and believes he can thus escape the curse that a centuryand a half of romanticism still brings to bear on the purely cerebral Wine is a part of society because it provides a basis not only for a(it is well known that one of the myths peculiar to the modern morality but also for an environment; it is an ornament in theintellectual is the obsession to 'have it where it matters').slightest ceremonials of French daily life, from the snack (plonkand camembert) to the feast, from the conversation at the local cafeBut what is characteristic of France is that the converting power of to the speech at a formal dinner.It exalts all climates, of whateverwine is never openly presented as an end.Other countries drink to kind: in cold weather, it is associated with all the myths ofget drunk, and this is accepted by everyone; in France, becoming warm, and at the height of summer, with all the imagesdrunkenness is a consequence, never an intention.A drink is felt as of shade, with all things cool and sparkling.There is no situationthe spinning out of a pleasure, not as the necessary cause of an involving some physical constraint (temperature, hunger, boredom,effect which is sought: wine is not only a philtre, it is also the compulsion, disorientation) which does not give rise to dreams ofleisurely act of drinking.The gesture has here a decorative value, wine.Combined as a basic substance with other alimentary figures,and the power of wine is never separated from its modes of it can cover all the aspects of space and time for the Frenchman [ Pobierz całość w formacie PDF ]