Francesca Woodman and the Kantian sublime

著者

    • Raymond, Claire

書誌事項

Francesca Woodman and the Kantian sublime

Claire Raymond

Ashgate, c2010

  • : hardcover

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注記

Includes bibliographical references (p. 145-149) and index

内容説明・目次

内容説明

In her feminist inquiry into aesthetics and the sublime, Claire Raymond reinterprets the work of the American photographer Francesca Woodman (1958-1981). Placing Woodman in a lineage of women artists beginning with nineteenth-century photographers Julia Margaret Cameron and Clementina, Viscountess Hawarden, Raymond compels a reconsideration of Woodman's achievement in light of the gender dynamics of the sublime. Raymond argues that Woodman's photographs of decrepit architecture allegorically depict the dissolution of the frame, a dissolution Derrida links to theories of the sublime in Kant's Critique of Judgement. Woodman's self-portraits, Raymond contends, test the parameters of the gaze, a reading that departs from the many analyses of Woodman's work that emphasize her dramatic biography. Woodman is here revealed as a conceptually sophisticated artist whose deployment of allegory and allusion engages a broader debate about Enlightenment aesthetics, and the sublime.

目次

  • Contents: Introduction: geometry of time: Francesca Woodman and the Kantian sublime
  • Mistresses
  • Woodman's mirror is an enlightenment mirror
  • Shaken sublime
  • Inner force , or, the revelatory body
  • Mechanics of evanescence
  • Among the ruins: vertigo, philobats, and statues
  • Epilogue: the question of Narcissism
  • Works cited
  • Index.

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