Zsuzsa Baross (Trent University, Collège International de Philosophie): a cultural theorist, her work turns to art, especially the visual arts (“Painting Becoming Music,” Encounters; “Cinema, Memory, History,” “The Image and the Trait,” Posthumously for JD; “Le cinéma selon Jean-Luc Godard,” séminaire, CIPh, 2014) as privileged sites for questioning the present. She is the author of Posthumously, for Jacques Derrida (Sussex Academic Press, 2011) and Encounters (Sussex Academic Press, 2015), and numerous essays in anthologies and journals (Angelaki, Deleuze Studies, Derrida Today, New Literary History, and most recently, LaRivista, “In Praise of (la) Rabbia,” 2016).
Abstract: “To be One’s Contemporary: Pasolini”
In preparing my presentation I have asked myself, not whether Deleuze or Derrida, the two thinkers who most influenced my work, are our contemporaries today, but rather what it means to read them well, to think in their company today. To continue to elaborate, comment on, or rely on their work for inspiration, etc. until someone else, just as powerful comes along and breaches open an entirely new field of “possibles”? Or the task — far more onerous if not impossible — is to make them our contemporaries. In the words of Paul Celan (“Die Welt ist fort, ich muss dich tragen” [the world is gone, I must carry you]), to carry them.
Not a task, even if I were capable of it, for a conference presentation. I’ve tried to approach it, in the company of Deleuze, in a less demanding case — that of Pasolini.