摘要：Normal 0 21 false false false NL-BE X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} Abstract (E): This paper examines Chris Marker’s film Sans Soleil in relation to Jean-François Lyotard’s theory of the sublime. Through an analysis of the film’s representation of memory, time and temporality it will argue that Marker’s film effectively “invokes the unpresentable in presentation itself” (Lyotard, 1992: 15). Abstract (F): Cet article examine le film Sans Soleil de Chris Marker en relation avec la théorie du sublime de Jean-François Lyotard. À travers une analyse de la représentation de la mémoire, du temps et de la temporalité du film, il soutient que le film de Marker invoque d’une manière effective “l’irreprésentable dans la représentation même” (Lyotard, 1992: 15).
关键词：sublime; memory; time; temporality; indeterminacy; unpresentable; Sans Soleil; Chris Marker
