Ashley Woodward

Lesson of Darkness: Phenomenology and Lyotard’s Late Aesthetics

ABSTRACT This paper examines the relationship of Jean-François Lyotard’s aesthetics to phenomenology, especially the works of Mikel Dufrenne and Maurice Merleau-Ponty. It argues that this comparison allows a greater understanding of Lyotard’s late aesthetic writings, which can appear gnomic and which have received relatively little critical attention. Lyotard credits Merleau-Ponty with opening the theme of difference in the aesthetic field, yet believes that the phenomenological approach can never adequately account for it. After outlining Lyotard’s early critiques of Dufrenne and Merleau-Ponty, the paper will demonstrate how his late aesthetics can be understood as returning to phenomenological themes but in the form of a reversal. Lyotard’s “lesson of darkness” is that the secret power of art can never be brought into the light of phenomenal appearance, and that artworks do not testify to the birth of perception, but to its death and resurrection.

Nihilism and the Sublime in Lyotard

This paper seeks to demonstrate that in Lyotard’s later works the sublime is posited as a response to nihilism. This demonstration is significantly complicated by the fact that while Lyotard frequently gave the sublime a positive valuation, he also identified it with nihilism. The paper charts Lyotard’s confrontation with nihilism throughout his career, showing how the themes with which he characterizes nihilism in his earlier works are repeated as characteristics of the sublime in his later works. It then argues that for Lyotard the sublime acts as both a characterization of the nihilism of contemporary cultural conditions, and as a resource with which to respond to nihilism. Lyotard’s deployment of the sublime as such a response can be understood as an instance of his use of the sophistical strategy of retorsion, finding from within nihilism itself the potential for resistance. Moreover, this position may be understood as motivated by a rejection of revolutionary programmes for changing social conditions, and by the desire to preserve a space for justice – understood as respect for difference. For Lyotard, the abyss between meaning and existence which characterizes both nihilism and the sublime preserves this space better than any attempt to close or bridge it.