dc.contributor.author | Pollock, Griselda | en |
dc.date.accessioned | 2018-04-03T11:45:30Z | |
dc.date.available | 2018-04-03T11:45:30Z | |
dc.date.issued | 2017-10-25 | en |
dc.identifier.issn | 2084-574X | en |
dc.identifier.uri | http://hdl.handle.net/11089/24393 | |
dc.description.abstract | This paper proposes a conversation between Charlotte Salomon (1917–43) and Edvard Munch that is premised on a reading of Charlotte Salomon’s monumental project of 784 paintings forming a single work Leben? oder Theater? (1941–42) as itself a reading of potentialities for painting, as a staging of subjectivity in the work of Edvard Munch, notably in his assembling paintings to form the Frieze of Life. Drawing on both Mieke Bal’s critical concept of “preposterous history” and my own project of “the virtual feminist museum” as a framework for tracing resonances that are never influences or descent in conventional art historical terms, this paper traces creative links between the serial paintings of these two artists across the shared thematic of loneliness and psychological extremity mediated by the legacy of Friedrich Nietzsche. | en |
dc.publisher | Wydawnictwo Uniwersytetu Łódzkiego | en |
dc.relation.ispartofseries | Text Matters;7 | en |
dc.rights | This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. | en |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/3.0 | en |
dc.subject | Edvard Munch | en |
dc.subject | Charlotte Salomon | en |
dc.subject | subjectivity | en |
dc.subject | painting | en |
dc.subject | loneliness | en |
dc.subject | Friedrich Nietzsche | en |
dc.title | Staging Subjectivity: Love and Loneliness in the Scene of Painting with Charlotte Salomon and Edvard Munch | en |
dc.page.number | 114-144 | en |
dc.contributor.authorAffiliation | University of Leeds | en |
dc.references | Agamben, Giorgio. “Aby Warburg and the Nameless Science.” Potentialities: Collected Essays in Philosophy. Trans. Daniel Heller-Roazen. Stanford: Stanford UP, 2000. 89–103. Print. | en |
dc.references | Bal, Mieke. Quoting Caravaggio: Contemporary Art, Preposterous History. Chicago: U of Chicago P, 1999. Print. | en |
dc.references | Bal, Mieke. Travelling Concepts in the Humanities: A Rough Guide. Toronto: U of Toronto P, 2002. Print. | en |
dc.references | Benjamin, Walter. “The Storyteller.” Illuminations. Ed. Hannah Arendt. Trans. Harry Zohn. London: Fontana, 1973. 83–110. Print. | en |
dc.references | Breuer, Josef, and Sigmund Freud. Studies in Hysteria. Trans. Nicola Luckhurst. London: Penguin, 2004. Print. | en |
dc.references | Cavarero, Adriana. Relating Narratives: Storytelling and Selfhood. Trans. Paul A. Kottman. London and New York: Routledge, 2000. Print. | en |
dc.references | Chun, Young-Paik. “Melancholia and Cézanne’s Portraits: Faces Beyond the Mirror.” Psychoanalysis and the Image: Transdisciplinary Perspectives. Ed. Griselda Pollock. Malden, MA: Blackwell, 2006. 94–126. Print. | en |
dc.references | Didi-Huberman, Georges. Atlas: How to Carry the World on One’s Back? Madrid: Museo Reina Sofía and TF Editores, 2010. Print. | en |
dc.references | Didi-Huberman, Georges. L’Image-survivante: Histoire de l’Art et temps des fantômes selon Aby Warburg. Paris: Editions de Minuit, 2002. Print. | en |
dc.references | Foucault, Michel. The History of Sexuality Vol. I: An Introduction. Trans. Robert Hurley. London: Allen Lane, 1978. Print. | en |
dc.references | Garrels, Gary, et al. Edvard Munch: Between the Clock and the Bed. London and New Haven: Yale UP, 2017. Print. | en |
dc.references | Heller, Reinold. “Form and Formation of Edvard Munch’s Frieze of Life.” Edvard Munch: “The Frieze of Life.” Ed. Mara-Helen Wood. London: National Gallery, 1992. Print. | en |
dc.references | Kennedy, Maev. “Strange Bedfellows: How Edvard Munch and Jasper Johns Painted Sex and Death.” Guardian.co.uk. The Guardian 24 June 2016. Web. 10 March 2017. | en |
dc.references | Kottman, Paul A. Translator’s Introduction. Relating Narratives: Storytelling and Selfhood. By Adriana Cavarero. Trans. Paul A. Kottman. London and New York: Routledge, 2000. vii–xxxi. Print. | en |
dc.references | Lösel, F. A. G. “Friedrich Nietzsche’s ‘Venice’: An Interpretation.” Hermathena 105 (Autumn 1967): 60–73. Print. | en |
dc.references | Orton, Fred. Figuring Jasper Johns. London: Reaktion, 1994. Print. | en |
dc.references | Orton, Fred, and Griselda Pollock. Vincent van Gogh: Artist of His Time. Oxford: Phaidon, 1979. Print. Reprinted as: “Rooted in the Earth: A Van Gogh Primer.” Avant-Gardes and Partisans Reviewed. Manchester: Manchester UP, 1996. 1–52. Print. | en |
dc.references | Pollock, Griselda. “Artists, Mythologies and Media: Genius, Madness and Art History.” Screen 21.3 (1980): 57–96. Print. | en |
dc.references | Pollock, Griselda. Charlotte Salomon in the Theatre of Memory. London and New Haven: Yale UP, 2017. Print. | en |
dc.references | Pollock, Griselda. “Crimes, Confession and the Everyday: Challenges in Reading Charlotte Salomon’s Leben? oder Theater? 1941–1942.” Journal of Visual Culture 13.2 (2014): 200–35. Print. | en |
dc.references | Pollock, Griselda. Encounters in the Virtual Feminist Museum: Time, Space and the Archive. London: Routledge, 2007. Print. | en |
dc.references | Pollock, Griselda. “Is Feminism a Trauma, a Bad Memory, or a Virtual Future?” differences: Journal of Feminist Cultural Studies 27.2 (2016): 27–61. Print. | en |
dc.references | Pollock, Griselda. “Mapping the ‘Bios’ in Two Graphic Systems with Gender in Mind: Van Gogh and Charlotte Salomon.” Biographies and Space. Ed. Dana Arnold. London: Routledge, 2008. 115–38. Print. | en |
dc.references | Pollock, Griselda. “The Object’s Gaze in the Freudian Museum.” Encounters in the Virtual Feminist Museum: Time, Space and the Archive. London: Routledge, 2007. 67–88. Print. | en |
dc.references | Segarde, Manuel. Narciso Fin del Siglo. Santa Cruz de Tenerife: Melusina, 2008. Print. | en |
dc.references | Stawser II, Michael J. “Dionysian Painting: A Nietzschean Interpretation.” Konsthistorisk Tidskrift/Journal of Art History 61.4 (1992): 161–72. Print. | en |
dc.references | Warburg, Aby. Der Bilderatlas Mnemosyne. Ed. Martin Warnke. Berlin: Akademie Verlag, 2003. Print. | en |
dc.references | Watson, Julia. “Charlotte Salomon’s ‘Postscript’ to Life? or Theatre?.” Signs: Special Issue on Gender and Cultural Memory 28.2 (2002): 421–29. Print. | en |
dc.contributor.authorEmail | g.f.s.pollock@leeds.ac.uk | en |
dc.identifier.doi | 10.1515/texmat-2017-0007 | en |