My article aims to interrogate the tension between space and time in Diderot’s philosophy starting from the tableau of the imagination and its specific functioning. By examining the category of ragoût –a culinary preparation that, during the 18th century, became an expression of an aesthetic of the relationship and harmony between the parts and the whole –I will show how it plays, between the Lettres sur les souds et muets, the Essais sur la peinture, the Salonsand the Regrets sur ma vieille robe de chambre, its central role in defining an idea of dynamic spatiality, within which reality and representation coexist in relationships of mutual tension and correspondence. In fact, the ragoût reveals a conception of conveniencewhich, by interweaving space and time, recalls the processes of human reason and interrogates them in pictorial and real space, making it habitable and comprehensible: if a detail always reveals a totality, activating a process of orientation in reality, when the relationship between the parts and the whole breaks down, the world itself falls apart. It is the law of convenienceand ragoût that regulates the world: to change one’s dressing gown is to redefine one's life entirely. If this does not happen, if the relationship between the fragment and the whole is broken, as in La Grenée painting exhibited at theSalon 1767, Penelope appears more suited to a beer hall than to the majestic but sober palace of Ithaca.

L’espace des ragoûts. Diderot, la robe de chambre et Pénélope dans une taverne à bière

Matteo Marcheschi
2021-01-01

Abstract

My article aims to interrogate the tension between space and time in Diderot’s philosophy starting from the tableau of the imagination and its specific functioning. By examining the category of ragoût –a culinary preparation that, during the 18th century, became an expression of an aesthetic of the relationship and harmony between the parts and the whole –I will show how it plays, between the Lettres sur les souds et muets, the Essais sur la peinture, the Salonsand the Regrets sur ma vieille robe de chambre, its central role in defining an idea of dynamic spatiality, within which reality and representation coexist in relationships of mutual tension and correspondence. In fact, the ragoût reveals a conception of conveniencewhich, by interweaving space and time, recalls the processes of human reason and interrogates them in pictorial and real space, making it habitable and comprehensible: if a detail always reveals a totality, activating a process of orientation in reality, when the relationship between the parts and the whole breaks down, the world itself falls apart. It is the law of convenienceand ragoût that regulates the world: to change one’s dressing gown is to redefine one's life entirely. If this does not happen, if the relationship between the fragment and the whole is broken, as in La Grenée painting exhibited at theSalon 1767, Penelope appears more suited to a beer hall than to the majestic but sober palace of Ithaca.
Marcheschi, Matteo
File in questo prodotto:
Non ci sono file associati a questo prodotto.

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11568/1125587
 Attenzione

Attenzione! I dati visualizzati non sono stati sottoposti a validazione da parte dell'ateneo

Citazioni
  • ???jsp.display-item.citation.pmc??? ND
  • Scopus ND
  • ???jsp.display-item.citation.isi??? ND
social impact