Conceptual Odysseys: Passages to Cultural Analysis (New by Griselda Pollock

By Griselda Pollock

The "theoretical flip" in the arts and arts within the 1970's and 1980's has, for lots of, had its day, with paintings produced less than its rubric all too usually feeling drained or perhaps downright lazy. In its place -- while hazarding opposed to an outright rejection of conception -- this e-book, brought by way of Mieke Bal, provides paintings via a brand new new release of students responding on to Bal's notion of the "travelling concept". by way of taking an idea from one self-discipline and, with a real figuring out of its beginning, thoughtfully utilising this in a brand new context, interesting new chances are spread out for research of artistic endeavors and different cultural gadgets. right here we discover those "travelling options" hired in clean explorations of matters as assorted because the work of Poussin and of Adam Elsheimer; Chantal Akerman's movie; The Museum of the French Revolution and the paintings of German Jewish painter Charlotte Salomon. it is a uniquely illuminating contribution to the edgy territorial conflicts among visible tradition, artwork historical past and cultural experiences.

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Additional info for Conceptual Odysseys: Passages to Cultural Analysis (New Encounters: Arts, Cultures, Concepts)

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It is their presence itself which can become the focus and echo chamber of resisting viewing. Because the women in the miniature are the inscribed viewers, that is, viewer figures within the image, figures that enable us to consider the implied viewer, that is to say, the real viewers outside the image implied by the inscribed viewer figure in the picture. This does not mean that the implied viewer outside the picture was by necessity female. 21 The Regensburg Pentateuch, however, is also a family book not made for synagogal use, and as such it is reasonable to assume that women as well as men had access to it.

Following the hermeneutic method of interrogating the prejudices of each participant in the dialogue, this question needs to be answered by thinking about the horizon of the painting’s first address. The parameters discussed in the second part of the essay are an attempt to consider the painting’s intention, in the terms of what was intended for it to achieve as it signified through its wider cultural surroundings. 14 I. Means of visual address In Poussin’s Rinaldo and Armida, the difference between left and right hand reads as a binary of feminine and masculine characteristics.

38 II. A few parameters of agency The letters written by the mother of one of Poussin’s patrons offer the first resource to reconsider Rinaldo and Armida’s message. Thinking about the painting’s relationship to the realities of communicating as a woman in the early seventeenth century, it is possible to begin to explore what is at stake in this image’s intention for women viewers. 39 These letters give us an indication of women’s experience in the milieu in which Poussin’s paintings were intended to be seen.

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