2013/1–2 (22)

7–23; >Summary 24–29<

Eva Näripea. Towards an Apocalyptic Zero Point: Approaching Work in Post-Soviet Estonian Auteur Cinema

30–71; >Summary 72–78<

Kristo Nurmis. Estonia and Estonians in German Propaganda Posters, 1941–1944

79–97; >Summary 98–101<

Karin Nugis. Identity Construction in a Dialogue of Opposing Discourses: Estonian Crafts in the 1960s–1970s

102–117; >Summary 118–122<

Triin Ojari. Mediated Living Environments: Media Reflections of Modern Architecture. Coverage of the Topic of Architecture in the Estonian Media from the 1990s on

123–150; >Summary 151–154<

Ants Hein. Chapel of the Blessed Virgin Mary in Viru-Nigula



Jean-Luc Nancy. Pilt – eristuv
Translated by Anti Saar

167–179; >Summary 180–182<

Epp Annus. Love and the Image in Nancy and Lacan

This essay examines Nancy’s philosophy of the image through Lacan’s remarks about love. In L’Oscillation distinct, Nancy outlines a parallel between love and the image through their relationship to presence as lack. Starting from this comparison between the image and love through themes of lack and the temporality of lack, this essay will outline a symmetry between Nancy’s understanding of the image and his understanding of the self. Nancy’s elaborations on the force of the image and on the groundlessness of the image lead to the Lacanian agalma and to the Lacanian formulation ‘love is giving what one does not have’.

183–197; >Summary 198–200<

Robert Hughes. An Introduction to the Aesthetics of Jean-Luc Nancy (with Reflections on Estonian Landscape Images)

With special attention to landscape art, this overview explores Jean-Luc Nancy’s aesthetics in five theses: (1) The event of art involves shedding the everyday significations and conceptual framings that shut out the world and enclose the subject in solipsism, (2) Art locates the subject in the presentness of a singular sensuous event, (3) Art arouses intimations of the ground of the image as a ground of unpresented chaos, wildness, and indifference, (4) Art stages a real encounter with the world’s unsignifying indifference to human existence, and (5) Art exposes the subject as other to itself in the event of art.




CHRONICLE 1. I – 31. XII 2012