, , , , , , , , , , , , , , , , , , ,

Click on image to enlarge.  [Image captured in the private chapel at the paroisse, Walikale, Nord Kivu, DRC, 2011.]

“In a significant sense, the masterpiece ‘reads’ its subject [reader]. The work of a/the master is both persuasive and coercive…. The fabric of the text takes hold through the (spell)binding lines from which it is knit. The masterpiece works by bringing together two contrasting movements of translation: reader is born(e) in(to) text is carried over (in)to reader. The goal of this transference (metaphora) process is a ‘fusion of horizons’ [Gadamer]. Within the frame-work of the masterpiece, one meets tradition as a vital partner in a lively conversation rather than as words etched in tablets of stone or inscribed on the trunk or leaves of a dead tree. The traditional purpose of conversation is to overcome the barriers of space and time…”


“A masterpiece is always deemed perfect (perfectum, from perficere, ‘to accomplish, perform, complete‘). It is precisely the apparent plenitude of the masterpieces that promises satisfaction to pro-spective appreciators. Meaning presumably is completely present in and fully presented by the masterpiece. Submission to the masterpiece is supposed to bring the complete enjoyment the arises from the mastery of meaning. But this expectation is never satisfied.”


“Just as a master can be lord only over a subjected servant, so a masterpiece can rule only in relation to obedient or even servile appreciation…”

— Mark C. Taylor, ERRING (1984)