By Hannah Westley
Reconsidering the connection among autobiography and self-portraiture, The physique as Medium and Metaphor explores the intertextuality of self-representation in twentieth-century French artwork. Situating the physique because the nexus of intersections among the written note and the visible photograph, this e-book rethinks the complicated prestige of the self. beginning on the twentieth-century's departure from figurative and mimetic illustration, this learn discusses the paintings of seminal artists and writers - together with Marcel Duchamp, Michel Leiris, Francis Bacon, Bernard No?l, Gis?le Prassinos, Louise Bourgeois and Orlan - to articulate the 20 th century's radical revisions of subjectivity that originated from and back to representations of the be aware, the picture, and the physique. This quantity should be of curiosity to scholars of either French Literature and paintings heritage, quite those people who are attracted to the interdisciplinary exchanges among visible arts and literature.
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Additional resources for The Body as Medium and Metaphor. (Faux Titre)
Lacan consigns portraiture to the realm of the Imaginary, and refers to it only as a regrettable instance of those static imagos in which the subject seeks to alienate its desire. The art of the portraitist and analyst are thus pitted against one another in Lacan’s campaign against ego psychology. 4 However, the notion of self-representation as a transaction implies a parallel with the psychoanalytic situation of transference. The transaction – transference analogy diverts attention away from the illusory unity of the ego and towards the more malleable concept of a subject-in-process.
As Le Grand Verre resists rational definition, so it still resists critical appropriation. I have explained how traditional portraiture conveys an illusion of the uniqueness of the portrayed subject by presupposing a belief in the unity of the signifier (the “interior essence” of the portrayed) and the signified (the exterior form). 70 - 96; quoted in Barthes, 1982; 280 46 The Body as Medium and Metaphor Verre undermines the optics of pure vision, refuting the notion of artwork as mimesis or mirror.
Both the Bachelor and the Bride regions are generated as reflections and projections of his previous pictorial works. Le Grand Verre consequently emerges as a corpus whose identity is defined through reproduction. For Duchamp, the process by 30 The Body as Medium and Metaphor which Le Grand Verre came into being was as significant as its iconographic content. The laborious manner in which he chose to reproduce his previous works emphasizes the uniqueness of the work in construction and problematizes the notion of a locatable origin.