Art, Death and Lacanian Psychoanalysis examines the relationship between art and death from the perspective of Lacanian psychoanalysis. It takes a unique approach to the topic by making explicit reference to the death drive as manifest in theories of art and in artworks.
Art, Death and Lacanian Psychoanalysis examines the relationship between art and death from the perspective of Lacanian psychoanalysis. It takes a unique approach to the topic by making explicit reference to the death drive as manifest in theories of art and in artworks.
Efrat Biberman is an Associate Professor at Hamidrasha Faculty of Arts, Beit Berl College, Israel. Her fields of interest are theory and philosophy of art from a Freudian-Lacanian perspective. She is the author of Visual Text(a)iles: Narrative and Gaze in Painting (2009, in Hebrew). Shirley Sharon-Zisser practices psychoanalysis in Tel Aviv, Israel. She is a member of the World Association of Psychoanalysis (AMP) and an Associate Professor of English at Tel Aviv University. Her work focuses on the interrelations between rhetorical theory and Lacanian psychoanalysis. Her publications include The Risks of Simile in Renaissance Rhetoric (2001), Critical Essays on Shakespeare's "A Lover's Complaint": Suffering Ecstasy (2005, ed.) and Lacanian Interpretations of Shakespeare (2009, ed.).
Inhaltsangabe
Prologue: re-hearse Introduction 1 Beyond the art principle 2 What never stops dying Art as philo(soph)y 3 On the artwork as cedable object Autobiography or automortography Inscribing the body/inscribing life? Inscribing the body/inscribing death The self-portrait as cedable object 4 Writing their deaths: James Joyce and Virginia Woolf 5 The art of inters(l)aying: the inscription of death as stylistic form Witticism and death Death and the maiden 6 Between two deaths: the case of photo-painting Between two deaths Between concealment and hole: two mediumal means of the presence of the death drive in visual art Between painting and photography Photo-painting: the case of Gerhard Richter Buchloh and Osborne on the representation of death in Richter's works Photo-painting between two deaths Epilogue: on painting and death Bibliography Index
Prologue: re-hearse Introduction 1 Beyond the art principle 2 What never stops dying Art as philo(soph)y 3 On the artwork as cedable object Autobiography or automortography Inscribing the body/inscribing life? Inscribing the body/inscribing death The self-portrait as cedable object 4 Writing their deaths: James Joyce and Virginia Woolf 5 The art of inters(l)aying: the inscription of death as stylistic form Witticism and death Death and the maiden 6 Between two deaths: the case of photo-painting Between two deaths Between concealment and hole: two mediumal means of the presence of the death drive in visual art Between painting and photography Photo-painting: the case of Gerhard Richter Buchloh and Osborne on the representation of death in Richter's works Photo-painting between two deaths Epilogue: on painting and death Bibliography Index
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