Abstract
Devoted to the Freud-Signorelli case, this study by French art-historian/philosopher Hubert Damisch offers an in-depth analysis of “the implication of the subject in the various dimensions of perception, remembering, analysis, and interpretation.” To better reflect the complex relationships between art, psychoanalysis, and interpretation, Damisch's commentaries take the form of a diary. By discussing his comings and goings between the 1960s and 1990s and by making an effort to remember his own life and practice, Damisch builds a dispositif where Freud's analyses of the mechanisms of oblivion, Signorelli's painting of “the damned,” Dante's Inferno, and Primo Levi's testimony on the Shoah reverberate with each other. This study, which is one of the chapters of the unfinished book La machine d'Orvieto, was first published in French in Y voir mieux, y regarder de plus près (Rue d'Ulm, 2010).
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