Renaissance Things: Objects, Ethics, and Temporalities in Derek Jarman’s Caravaggio (1986) and Modern Nature (1991)
Renaissance Things: Objects, Ethics, and Temporalities in Derek Jarman’s Caravaggio (1986) and Modern Nature (1991)
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文艺复兴时期的事物：德里克·贾曼的《卡拉瓦乔》（1986）和《现代自然》（1991）中的物体、伦理和时间性
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发表时间：
2014
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通讯作者：
J. Ellis
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作者：
J. Ellis
本文通过对电影《卡拉瓦乔》（1986）中不合时宜的道具问题的重新审视，来思考德里克·贾曼对物体和物质世界的投入。使用布鲁诺拉图尔和简班尼特的理论，它探讨了如何道具，特别是刀和金币，成为演员在艺术家的工作室组装。然而，这部电影对物质的兴趣更为基本，它既关注地下墓穴的灰尘，又关注颜料的研磨：身体和表象是由物质形成的。这部电影对物质的关注可以与贾曼对非正统的文艺复兴思想家乔尔达诺·布鲁诺的兴趣联系起来，布鲁诺是卢克雷特唯物主义哲学的主要支持者之一。本文认为，这种唯物主义构成了连通性伦理学的基础，我们可以在他的回忆录《现代自然》（1991）的环境思想中看到更充分的发展。在贾曼关于在邓杰内斯建造他的花园的描述中，他使用了早期的现代植物学论文来重新思考植物是不合时宜的东西;在雅克·德里达和时间性的奇怪理论家之后，这篇文章认为植物打开了花园，让其他植物闹鬼。根据伊丽莎白·弗里曼的说法，这种被鬼魂缠身的意愿构成了一种伦理立场;在贾曼的案例中，使用过时的文艺复兴时期的植物学知识成为一种既抵制当下不可避免的感觉，又建立跨时空联盟的方式。
This essay revisits the question of the anachronistic props in the film Caravaggio (1986) to consider Derek Jarman’s investment in objects and the material world. Using the theories of Bruno Latour and Jane Bennett, it explores how the props, particularly the knife and the gold coins, become actants within the assemblage of the artist’s studio. The film’s interest in matter is even more elemental, however, in its attention both to the dust of the catacombs and the grinding of pigment for making paint: the matter out of which bodies and representations are formed. The film’s attention to matter can be linked to Jarman’s interest in the unorthodox Renaissance thinker Giordano Bruno, one of the key proponents of Lucretian materialist philosophy. The essay argues that this materialism forms the basis for an ethics of connectedness, one which we can see more fully developed in the environmental thinking of his memoir Modern Nature (1991). In Jarman’s account of making his garden at Dungeness, he uses early modern botanical treatises to rethink the plants as untimely matter; following Jacques Derrida and queer theorists of temporality, the essay argues that the plants open the garden up to be haunted by others. This willingness to be haunted, according to Elizabeth Freeman, constitutes an ethical stance; in Jarman’s case, the use of the outdated Renaissance botanical lore becomes a way of both resisting the sense of the present as inevitable, and of forging cross-temporal alliances.