By Griselda Pollock
The "theoretical flip" in the arts and arts within the 1970's and 1980's has, for plenty of, had its day, with paintings produced less than its rubric all too usually feeling drained or maybe downright lazy. In its place -- while hazarding opposed to an outright rejection of thought -- this booklet, brought via Mieke Bal, provides paintings by way of a brand new new release of students responding on to Bal's concept of the "travelling concept". by way of taking an idea from one self-discipline and, with a real figuring out of its beginning, thoughtfully utilizing this in a brand new context, intriguing new percentages are unfolded for research of artistic endeavors and different cultural gadgets. the following we discover those "travelling techniques" hired in clean explorations of topics as varied 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, paintings historical past and cultural reviews.
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Extra info for Conceptual Odysseys: Passages to Cultural Analysis (New Encounters: Arts, Cultures, Concepts)
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.
Looking at the painting today, it is still an image that seeks to move us to astonishment through an image of someone being radically altered through the activity of seeing. 3 The quality of Armida’s ontological uncertainty is not merely historical, therefore: it operates as part of a movement where historical representation affects present-day experience. 4 Rhyming my own potential interaction, the painting addresses me in such a way that suggests it has a powerful agency to affect my own state of being, forcing me to merge with the image and to become a dual entity myself.
1 Transposed to the field of medieval manuscript illumination, I identify a visual space for resisting viewing that serves to reframe a miniature representing the circumcision of Isaac, an image that has been positioned in normative terms that exclude feminine subjectivity. 2 This distinction is crucial, because it enables the interpretative work of the historian to emerge as an active intervention. Such active intervention through interpretation contrasts with traditional notions of contextual historical interpretation, and reveals the latter as indebted to the legacy of positivism.