Harvey Giesbrecht, Charles Levin's Art in the Offertorium: Narcissism, Psychoanalysis, and PDF

By Harvey Giesbrecht, Charles Levin

ISBN-10: 9401207771

ISBN-13: 9789401207775

This publication proposes a brand new method of the matter of aesthetic adventure in Western tradition. Noting how paintings global phenomena evoke traditional psychoanalytic speculations approximately narcissism, the authors flip the tables and "apply" aesthetic questions and issues to psychoanalytic thought. Experimenting with Freudian and post-Freudian recommendations, they suggest a non-normative conception of the psychic force to handle and embody deep tensions within the post-Renaissance aesthetic undertaking, the increase of modernism, and the modern artwork global. it truly is argued that those tensions mirror important conflicts within the improvement of patriarchal civilization, which the emergence of the classy area, as a really good diversity of perform, exposes and subverts. The postmodern period of aesthetic mirrored image is interpreted because the final result of a posh narcissistic dialectic of idealization and de-idealization that's major for the knowledge of latest tradition and its historic customers.

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Extra info for Art in the Offertorium: Narcissism, Psychoanalysis, and Cultural Metaphysics (Contemporary Psychoanalytic Studies, Volume 15)

Example text

Why are we bothering to observe this ridiculous dumb show? Evidently we are fascinated, but surely it is all NARCISSISM WITHOUT APOLOGY 41 a confidence trick. After all, the performance would be nothing without us, just as Baldessari’s Proposal is nothing without our feverish speculations. In the offertorium, we are “seen” in an entirely new way. We discover that we are libidinal beings who are in and of the body that is all the time expressing our libidinal energies right out. When Freud first discovered that we are “sexual” beings through and through, it was so stunning a realization that he could not imagine that it would one day become obvious.

Muffled in the noisy cotton wool of the MoMa, she radiates loud silence. The artist Abramovic is indeed “present”—but though she may be in the museum, she is not necessarily of it. ” Freud (1930) made a famous personal statement about his disquiet over the idea of the oceanic feeling. The derivation of religious needs from the infant’s helplessness and the longing for the father aroused by it seems to me incontrovertible, especially since the feeling is not simply prolonged from childhood days, but is permanently sustained by fear of the superior power of Fate.

As their sad fate attests, Romeo and Juliet do live in the world, but they are not really of it. They cannot survive its violent premise of competition for dominance. They want to retreat from the traumatic war zone into harmony and peace. ” Lovers, mothers, and babies are locked into their embraces, just as Abramovic locks the succession of her comers into a visual relationship that takes them out of this world, into a trance-like state. Marina Abramovic’s gaze, however, is not particularistic, like the mutual gaze of lovers; it is impersonal, quite blank.

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Art in the Offertorium: Narcissism, Psychoanalysis, and Cultural Metaphysics (Contemporary Psychoanalytic Studies, Volume 15) by Harvey Giesbrecht, Charles Levin

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