加入VIP
  • 专属下载特权
  • 现金文档折扣购买
  • VIP免费专区
  • 千万文档免费下载

上传资料

关闭

关闭

关闭

封号提示

内容

首页 【女性主义研究】女性之看:性化、观众、颠覆

【女性主义研究】女性之看:性化、观众、颠覆.pdf

【女性主义研究】女性之看:性化、观众、颠覆

yunyun
2011-04-09 0人阅读 举报 0 0 暂无简介

简介:本文档为《【女性主义研究】女性之看:性化、观众、颠覆pdf》,可适用于人文社科领域

femininelooksexuationspectatorshipjenniferfriedlandersubversionFeminineLookSUNYseriesinPsychoanalysisandCultureHenrySussman,editorSUNYseries,Insinuations:Philosophy,Psychoanalysis,LiteratureCharlesShepherdson,editorSexuation,Spectatorship,SubversionJenniferFriedlanderSTATEUNIVERSITYOFNEWYORKPRESSFEMININELOOKCoverimage:AndréKertész,“ElizabethandI,”Paris,©EstateofAndréKertészHigherPicturesAnearlierversionofchapterappearedinJournalforPsychoanalysisofCultureandSociety(Spring,vol),andpreliminaryresearchontheimagesaddressedinchaptersandappearedinMovingPictures:WherethePolice,thePress,andtheArtImageMeet(Sheffield:SheffieldHallamUniversityPress,)PublishedbyStateUniversityofNewYorkPress,Albany©StateUniversityofNewYorkAllrightsreservedPrintedintheUnitedStatesofAmericaNopartofthisbookmaybeusedorreproducedinanymannerwhatsoeverwithoutwrittenpermissionNopartofthisbookmaybestoredinaretrievalsystemortransmittedinanyformorbyanymeansincludingelectronic,electrostatic,magnetictape,mechanical,photocopying,recording,orotherwisewithoutthepriorpermissioninwritingofthepublisherForinformation,contactStateUniversityofNewYorkPress,Albany,NYwwwsunypresseduProductionbyJudithBlockandEileenMeehanMarketingbyAnneMValentineLibraryofCongressCataloginginPublicationDataFriedlander,JenniferFeminineLook:sexuation,spectatorship,subversionJenniferFriedlanderpcm(SUNYseriesinpsychoanalysisandculture)(SUNYseries,insinuations:philosophy,psychoanalysis,literature)Includesbibliographicalreferences(p)andindexISBN––––(hardcover:alkpaper)PhotographyPhilosophyITitleTRFdcContentsLISTOFILLUSTRATIONSviiACKNOWLEDGMENTSixINTRODUCTIONCHAPTEROverlookingtheRealinCameraLucidaCHAPTERTheAccidentThatWillHaveHappenedBarthes,Kertész,andthePunctumCHAPTERFilmTheory,SexualInDifference,andLacan’sTaleofTwoToiletsCHAPTERHowShouldaWomanLookScopicStrategiesforSexuatedSubjectsCHAPTEROpeningUptothePunctuminJamieWagg’sHistoryPainting:ShoppingMallCHAPTERMyra,MyraOntheWall,Who’stheScariestofThemAllSensationandtheStudiumCHAPTERFramingtheChildinSallyMann’sPhotographsCONCLUSIONFilmTheoryforPosttheoryNOTESBIBLIOGRAPHYINDEXvyanuladaThispageintentionallyleftblankIllustrationsAndréKertész,“LandingPigeon”AndréKertész,“BrokenPlate”AndréKertész,“NewYorkCity”RobertMapplethorpe,“ManinPolyesterSuit”Saussure’sdiagram(tree)Lacan’sdiagram(doors)AdaptationofLacan’sobjectdiagramSurveillancefootageofJamesBulger’sabductionPressimageofJamesBulger’sabductionJamieWagg,HistoryPainting:ShoppingMallMarcusHarvey,MyraMyraHindley’smugshotChrisOfili,TheHolyVirginMaryRosemaryWest’smugshotDorotheaLange,“DamagedChild,Shacktown,ElmGrove,Oklahoma,”cEdwardWeston,“Neil,”viiyanuladaThispageintentionallyleftblankAcknowledgmentsThisbookhasbenefitedgreatlyfromthesupportofscholars,mentors,friends,andfamilyIregretthatthedepthofmyappreciationexceedsmyabilitytopaypropertributetotheirprofoundinfluencesIamexceptionallyfortunatetohaveinspiringcolleaguesandfriendsthroughoutPomonaCollegeMycolleaguesintheArtandArtHistoryDepartment,MarkAllen,JudEmerick,GeorgeGorse,KathleenHowe,PhyllisJackson,SandeepMukherjee,MichaelO’Malley,SheilaPinkel,FrancesPohl,andMercedesTeixido,havebeenunfailinglysupportiveandintellectuallyinvigoratingIcanonlymentionafewoftheothermanyfriendsatPomonaCollegewhonotonlyhaveprovidedmuchneededsupportofintellectualandemotional(andsometimesculinary)kindsthroughoutthisprocessbutalsohavemademylifeimmeasurablyricher:VinDeSilva,BobGaines,KathleenFitzpatrick,StephanieHarves,YvonneHouy,SusanLarsen,IanMoyer,MaryPaster,PeggyWaller,GaryWilder,andMegWorleyMyearlymentors,ConstanceCoinerandBishSen,sparkedmyinitialexcitementforculturaltheoryandhavebeenenduringrolemodelsformeasaprofessorIwouldalsoliketoexpressdeepgratitudetomydissertationchairattheUniversityofPittsburgh,JohnLyne,forsupportingthisprojectinitsearlystagesandtoLarryPrelliforhiswiseandkindmentorshipwhileIwasafacultyinresidenceattheUniversityofNewHampshireThisworkhasbeenenormouslyimprovedbytheperspicaciousinsightsofscholarsinmanydifferentplacesIamparticularlythankfulforthegenerousfeedbackIreceivedfollowingpresentationsofportionsofthisbooktotheDepartmentofPsychoanalysis,UniversityofGhent,BelgiumthePychoanalyticStudiesProgram,DeakinUniversity,AustraliaThePowerInstituteFoundationforArtandVisualCultureandtheDepartmentofArtHistoryandTheoryattheUniversityofSydney,AustraliatheLjubljanaGraduateSchooloftheHumanities,SloveniaaswelltoannualmeetingsoftheAssociationforPsychoanalysisofCultureandSocietyandtomystudentsatixPomonaCollege,whoaskfrightfullysmartquestionsRobertGurbogenerouslyprovidedmewithunpublishedinformationaboutAndréKertész’slifeIamgratefulforthecarefulandcaringhelpthatCaitlinMyersprovidedwiththeformattingoftextandimageIthanktheUniversityofPittsburghforawardingmetheAustrianNationalityRoomScholarship,whichenabledmetospendasummerinLinz,whereconversationswithphilosopherRobertPfallerstretchedmythinkinginexcitingdirectionsCharlesShepherdson’sastutesuggestionsregardingadditionsandrevisionsenhancedthisbookbeyondmeasureIwouldalsoliketoexpressmyappreciationtothePankeyfamilyfortheirgenerositytothePomonaCollegeMediaStudiesPrograminestablishingtheEdgarEandElizabethSPankeyProfessorshipMyparents’unwaveringsupportandunconditionallovehavenourishedmeininestimablewaysMamaRoz,whoreadeverywordofthedissertationfromwhichthisbookdeveloped,hasbeenwonderfullyencouragingthroughoutthislongprocessThekindnessandloveofMamaJessieandPapaLarrycontinuetoinfluencemylifeprofoundlyIamgratefulforKarenIorio’senthusiasmforwhatIdoandformyAuntVic’ssupportandgoodhumor(nottomentionfunnystoriesseechapter!)GennaMiller’smarvelousfriendshiphasbeenaconstantsourceofstrengthandinspirationFinally,mydeeploveandgratitudegotoHenryKrips,whohasmadeinvaluablecontributionstothisbookaswellasmakingmylifefullofundreamtjoyxAcknowledgmentsIntroductionThroughoutmyfirstundergraduatemediastudiescourse,IwascontinuallyexhilaratedbytheexplanatorypowerandinterventionistpotentialofculturalstudiesHowever,themostmemorablemomentoccurredonthelastdayInmymemory,thesceneplaysasfollowsTheprofessor,speakingratherinformallytothefewremainingdiehards,offeredananalysisofthewaytheonlymaledetectiveofcoloronaprimetimeserieswasdisempoweredInthecourseofdiscussingthesubtlemechanismsbywhichtextscarrytracesofoppressionandprejudice,ProfessorXpointedoutthatthedetectiveofcolorworeformal,professionalsuits,whilethewhitedetectivesworecasualclothesThisincongruity,heclaimed,revealedthewayminoritieshavetoworkhardertoberegardedequallyascapableastheircolleaguesOneobservantstudentchallengedthesignificanceofthistextualevidencebypointingoutthattheprofessorwouldhavereachedthesameconclusionhadtheclothingstylesbeenreversedIfthedetectiveofcolorhadbeenworsedressedthanhiscolleagues,sheargued,theprofessorwouldhavejustaseasilyusedthistodemonstratethatthecharacterwasanoutsider:eitherignorantofresistanttoortoolazytocareabout“appropriate”(ie,white)professionalbehaviorsProfessorX,asharplydressedmanfromSouthasiaamongalargelybluejeanedwhitefaculty,wasfamousforinvitingstudentstochallengehimtointellectualspars(inwhichheexhibitedincisivewit),andIeagerlyawaitedhisriposteProfessorXcouldhavequitejustifiablyreinforcedhispointbycallinguponthestructuralsignificanceoftheopposingdressoftheminoritycharactertohiswhitecounterparts,regardlessofthespecificcontentofthisdifferenceSimilarly,anappealtothepolysemicnatureofthetextwouldhaveenabledhimtoexplainhowtextsimplicitlycontainavarietyofsignsthatworktoreinforceadominantreading,tosustainnegotiatedreadings,andtoactasresourcesfromwhichtoconstructoppositionalreadingsNorwouldithavebeenunprecedentedforProfessorXtomakethereflexivemoveandcandidlydiscusshowthecomplexitiesofhisownsubjectpositioninfluencedhiscriticaljudgmentsButProfessorXdidnoneoftheseInfact,hedidnothingatallAquickcollectionofouressaysandsomeabbreviatedfarewellswereallthatensuedRivetedbytheprofessor’ssilence,Ilingeredinmyseat,sensingthedireinadequacyoflanguagetograspwhathadhappened,aninadequacythatseemedtomatchtheprofessor’sownsilenceIsatandwonderedhowthesymboliccouldsoprofoundlyeludeProfessorX,ascholarofrepresentation,widelyadmiredforhisdeftuseoflanguage,andhowitalsoeludedthemomentinwhichIconfrontedthatelusivenessInthatmomentIgropedforwhatIhavesincecometoencounterintheworkofJacquesLacan:anotionofpsychoanalytic“truth,”whichexistspreciselywhereknowledgefailsAsPaulVerhaeghedescribes,thereisa“differencebetweenknowledgeandsomethingbeyondknowledge,somethingthatbelongstoanotherregister,otherthanthesymbolicorderThereissomethingthatcannotbeputintowords,somethingforwhichwordsarelacking”(Verhaeghe)ForLacan,such“truth”differsfrom“mereknowledge”inthat“theessentialcharacteristicoftruthisthatitconfrontsuswiththeultimatepointwhereknowledgeaboutdesirecannolongerbeputintowordsThisdimensionbeyondthesignifieristheLacanianreal”()Althoughwemaytraditionallyassociatesuchpointsoffailureinthesymbolicwithtrauma,moreoftenthannot(andthiswillbeimportanttotheensuingarguments)seeminglytrivialorinsignificanteventsandobjectsinexplicablytriggertheseflashesoftheRealWeareoftenstruck,notsomuchbyeventsorobjectsthemselves,butratherbyapalpablesenseoftheirhauntinglyindistinctthreatAsVerhaeghedescribes,theRealcanbethoughtofaswhatis“justwaitingaroundthecorner,unseen,unnamed,butverypresentLacancallsthistheimminenceoftheobject(justthinkofthenightmare:weareawakenedasplitsecondbeforewewouldseeorexperience‘it’)”()MyinteresthereliesnotintryingtounderstandwhytheinterchangewithProfessorXtriggeredtheresponsesthatitdidRather,thisbooktakesasitstasktheexplorationofhowwhatIwillcallthesepsychic“accidents”or“surprises”maybecompatiblewiththecritical,politicallyinterventionistgoalsofculturalstudiesInparticular,Iconsiderwaysinwhichtheymightcontributetonewunderstandingsregardingrelationshipsamongsubjects,culturalproducts,andideologyThebookwilltakevisuality(bothpracticeandobject)astheprimaryfieldthroughwhichtoexploresuchrelationshipsInparticular,Iwillbeconcernedwith“movingimages”inatleastthreesenses:First,thewayinwhichimagesmoveinthesenseofcirculatingphysicallyamonggeographicallocaIntroductiontions,timeperiods,genre,andmediumTheoftenunpredictableeffectsofthesemovementsonreception,Iwillargue,providepossibilitiesforrichinsightsintorelationshipsamonganimage’sformalcharacteristics,itscontextsofproduction,anditscontextsofreceptionTheserelationshipsalsoofferusasenseofhowimages“move”inasecondwaynamely,howtheyemotionallyresonatewithcertainviewersatparticulartimesorplaces,andforseeminglyunanticipatedreasonsInordertoinvestigatethesefirsttwoissues,Ishalldrawuponthehistoricalandculturalcontexts,aswellastheoriesofcompositionalformoftheimagesandpsychicmechanismsthataccompanytheactoflookingLast,behindalloftheimagesIexplorelurksthequestionofhowimagesmay“move”viewersinathird,politicalsenseInansweringthisquestion,IwillnotonlyexaminewaysinwhichimagesrespondtoormobilizesocialactionbutalsodiscussapossiblepoliticalstrategyforspectatorshipthatenablesviewerstoviewimagessubversivelyThestrategythatIofferwillinvolvebeingmovedbyimages,whileresistingthecomfortableoptionsofexplainingtheirsignificance,ignoringtheireffects,orrefusingtheirpleasuresThis,inthewordsofSamuelWeber,“meansrelearninghowtobestruckbythesignifierInthetheatreoftheunconscious,onenevergetsoverbeingstagestruck”(Weber)Throughafocusuponsucha“politicsoftheimage,”thisbookengagesoneofthemostenduringdebatesintheareaofculturalstudies,concerningthenatureofideologyandinparticularthestruggletoarticulatetheconnectionsbetweentheideologicalsphereofculturalproductionandthematerialsocialrelationsofasocietyTheoristssuchasRaymondWilliamsandStuartHallhavefocusedontherelationshipofpopularculturetopoliticsandeconomicsTheyhavearguedthatcultureandideologyareneitherdirectlyemergentfrommaterialrelations,norindependentfromthembutinsteadarecapableofproducingtheirownmaterialeffectsIncontemporarymediaandculturalstudies,theseargumentshavebeenfurtherelaboratedinthelightofLouisAlthusser’sinsightthatideologyitselfismaterial,existingasa“livedrepresentation”structuringeverydaypracticesItfollowsthatnotonlydoculturalpracticessuchasartconstitutesitesofideologicalstruggle,butalsoarttodayconstitutesitsownmodeofproduction,the“cultureindustry”AsHalFosteremphasizes,“cultureisnotmerelysuperstructuralitisnowanindustryofitsown,onethatiscrucialtoourconsumeristeconomyasawhole”(Foster)ItisatthisjuncturethatIsituatethisbook’sinterventionButmyconcernwillbenotonlytoexplorewaysinwhichculturalproductionscreateandembodysocialandeconomicpractices,butalso,throughinvestigationsofcontroversialartimages,toshowIntroductionhowculturemayprecipitatevieweranxietiesandpleasuresInsodoing,IbringtogetherthebasicpremisesofculturalstudieswithLacanianpsychoanalysisinordertobridgethetraditionaldividebetweentheculturalandthepsychicSpecifically,thisbookaimstoconstructapsychoanalyticallybasedfeministtheoryofspectatorship,whichbringstogetherkeyinsightsfromthepostrstructuralistworkofRolandBarthesandthepsychoanalyticworkofLacanThefirsthalfofthebookexplicatesfoundationalconcepts,beginningwithLacan’snotionoftheRealandBarthes’conceptofthe‘punctum’(chapter)ForLacan,theReal,elaboratedmostoriginallyandextensivelyinSeminarXI,refersto“thatwhichliesbeyondtheautomatonofthesymbolicorder”(LacanSemXI)Liketheelusive“it”thatescapesthedreamer,theRealcanneverbesymbolicallyrepresentedordirectlyencountered,butonlyfeltorsensedthroughitsanxietyprovokingeffectsThe“real,”Lacanexplains,“hastobesoughtbeyondthedream:hiddenfromusbehindthelackofrepresentation”()Itcanonlyappearasa“missedencounterwhichpresentsitselfintheformofatrauma”()Barthes’punctumsimilarlyreferstoaphotographic“element,”whichforreasonsthatappearinaccessibletotheviewer,unexpectedly“risesfromthescene,shootsoutofitlikeanarrowandpierces”theviewer(BarthesCL)It,too,takestheformoftrauma,byevokinga“senseofineffablelossthroughthemissedencounter”(Lury)Thepunctum,Barthesdescribes,gesturestowarda“subtlebeyondasiftheimagelauncheddesirebeyondwhatitpermitsustosee”(BarthesCL)IcontendthatreadingtheseconceptstogethersuggestsanewunderstandingofBarthes’influentialworkonphotography,CameraLucida,whichopposesmostcriticalinterpretationsCameraLucida,Iargue,hasbeenlargelymisreadasBarthes’recantationofthepoststructuralistprojectinfavorofrealism,amisreadingthathasforeclosedalternateapproachestounderstandingtherelationshipsamongvisualtexts,viewers,andideologyInparticularIarguethat,ratherthanespousingarealistviewofthephotograph,Barthesoffersacompellingandpoignantaccountofthephotograph’suncannypowertoevoketheLacanianRealInmyaccount,Barthes’highlycontestedconceptofthepunctumfindsaplacewithintheLacanianarchitectionic,asascopicmanifestationofwhatLacandescribesasthesignifieroflackintheOther,thesexuatedpoleofWomanThenIexplorefurtherthequestionofthephotograph’srelationshiptorealismandtheRealbylookingatasetof“photographicaccidents”intheworkofHungarianexpatriotphotographerAndréKertész(chapter)HereIIntroduction❖provideanindepthaccountofthewayinwhichthepunctummayoperateinrelationtotheLacanianRealInexploringissuesofphotographicrealism,IfocusparticularlyonintersectionsbetweenwaysphotographsfunctionasapparentlytransparentrepresentationsofrealitiesandasformalaestheticproductionsThischapterexplicateswhatitmeanstoidentify,notwithaphotograph’spointsofmeaning,butratherwithitspointsofsymbolicfailureInsodoing,itsetsthesceneforunderstandingakeypointofthebook:ashiftawayfromthefocusofmostfeministfilmtheoryuponwhatitmeanstolookatWoman,toafocusuponwhatitmeanstolookasWomanTheambiguityinthetitleofchapterfour,“HowShouldaWomanLook”isintendedtosignalthissameshiftawayfromdiscussionsofhowawomanislookedat(howsheisseen)tohowawomanlooks(howsheseesaswoman)Inparticular,inviewingKertész’sphotograph,“NewYorkCity,”Iaminterestedinthinkingaboutwhatitmeanstoidentifywiththeimage’spointofsymbolicfailure(inthecaseofthisimage,thevase)ratherthanwithhowtheimageofWoman(inthiscase,theglassbust)mightappearInthissense,myprojectelucidatesJacquelineRose’ssuggestionthatfilmtheorymustseektoelaborate“notjustwhatwesee,buthowwesee”(Rose)Fromtheseinsightsfollowsthecruxofthebook’stheoreticalcontributiontotheoriesofspectatorshipandapoliticsoftheimage(chaptersand)IproposeapsychoanalyticallyinflectedapproachtotheorizingfeministspectatorshipthatdiffersfromtraditionalmediastudiesworkinthisareaTraditionally,filmandarttheorists(suchasLauraMulvey,MaryAnnDoane,andGriseldaPollock)havepredicatedtheirapproachestofeministspectatorshipontherejectionofpleasureandsurpriseConseque

用户评价(0)

关闭

新课改视野下建构高中语文教学实验成果报告(32KB)

抱歉,积分不足下载失败,请稍后再试!

提示

试读已结束,如需要继续阅读或者下载,敬请购买!

文档小程序码

使用微信“扫一扫”扫码寻找文档

1

打开微信

2

扫描小程序码

3

发布寻找信息

4

等待寻找结果

我知道了
评分:

/30

【女性主义研究】女性之看:性化、观众、颠覆

仅供在线阅读

VIP

在线
客服

免费
邮箱

爱问共享资料服务号

扫描关注领取更多福利