In Au fond des images (2003), Jean-Luc Nancy introduces concepts about the image, pertinent to understanding the minor genre of poets’ writings on painting. Nancy begins by stating that the image is sacred, clarifying that the sacred should not be confused with the religious, which is based on rituals. The sacred signifies that which is separated, excluded, distanced. The image’s attraction is derived from this, from its untouchable nature. Because of its separation from the viewer, the image inspires a desire for intimacy, and draws the spectator to it. Poets’ texts on painting constitute minor forms: prefaces to catalogs, criticism, or poems that are verbal transpositions of visual objects (ekphrasis). These minor forms often express major preoccupations. In this essay, we address Mark Strand, Michel Deguy, Nicolas Pesquès, Yves Bonnefoy, and T. Alan Broughton from this perspective of a desire for contact in their efforts to develop their aesthetic and ethical principles through the gaze.

中文翻译：

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次要的事情，主要的工作：诗人和画家社区

让·吕克·南希（Jean-Luc Nancy）在《风景画的图像》（Au fond des images）（2003）中介绍了有关图像的概念，这些概念与理解诗人在绘画上的次要体裁有关。南希首先说图像是神圣的，阐明神圣不应该与基于仪式的宗教相混淆。神圣表示分开，排除，隔开。图像的吸引力源于此，其不可触摸的本质。由于其与观看者的分离，图像激发了人们对亲密的渴望，并吸引了观众。诗人关于绘画的文字构成次要形式：目录序言，批评或诗歌是视觉对象的口头转换（ekphrasis）。这些次要形式通常表现出主要的关注点。在本文中，我们将对马克·斯特兰德，米歇尔·德吉，尼古拉斯·佩斯奎斯，伊夫·邦纳弗伊和T致辞。