Parveen Adams's Art: Sublimation or Sympton PDF

By Parveen Adams

All of the individuals addresses the theoretical questions through pursuing a distinct creative challenge, together with a detailed examine the relation among the picture and the thing in Hitchcock's Vertigo, the sexual aesthetics of Caravaggio, the creative pen of Barthes, and the way Cronenberg's movie Crash services as a sinthome.

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89). E v e n i n this atmosphere of naive j u r i d i c a l zeal, however, the narrator already begins to ask himself whether it is actually possible to comprehend the Holocaust i n this one-sided, "hygienic" manner, or whether it is not rather "something i n the face of w h i c h we can only fall silent i n revulsion, shame and guilt" (p. 102). Throughout The Reader, the figure of reading or understanding is l i n k e d to a re­ current image of the face: l o o k i n g i n the face, facing up to the truth.

It b o t h r e p e a t s a n d a n a l y z e s b u t t h e r e i s o n e q u e s t i o n t h a t n e e d s to be p o s e d o f the s e c o n d h a l f , f o r i t d o e s n o t p o s e it i t s e l f . If t h e s t o r y o f S c o t t i e ' s p a s s i o n i n the first f i l m is t h e effect o f G a v i n E l s t e r , t h e f i g u r e o f E l s t e r b e c o m e s i m p o r t a n t n o t s o m u c h as a c h a r a c t e r b u t as t h e s y n t h e s i s o f a n u m b e r o f s t r u c t u r a l e l e m e n t s .

T h i s e n a b l e s u s to p r i s e e v e n t h e first f i l m a w a y f r o m t h e o e d i p a l r e d u c t i o n i s m o f the s u b s t i t u t i o n o f M a d e l e i n e f o r t h e lost m a t e r n a l o b j e c t . T h e c o i l s h o u l d n o t b e t a k e n a s t h e s i g n o f t h a t o b j e c t . It d o e s n o t n e e d to b e f o u n d e d h i s t o r i c a l l y o n t h e m o t h e r , f o r its s t r u c t u r a l f o u n d a t i o n o c c u r s i n t h e v e r y i d e n t i f i c a t i o n w i t h i m a g e s a n d it f i n d s its a p p l i c a t i o n , n o t a m o n g s o n s , b u t a m o n g t h o s e w h o i d e n t i f y w i t h i m a g e s .

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