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43 Cards in this Set
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Edward Said |
Concept of labeling someone as the "Other" in order to control them |
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Homi Bhabba |
*Mimicry=colonizers compel the colonized to imitate them *Hybridity=what happens when cultures come into contact with each other (colonial situations) |
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Stuart Hall |
*Argues that people are simultaneously makers and consumers of culture, participating in it according to their place in economic and political structures *People shape culture: Institutions encode certain ideas in mass media which audiences then decode *Identity in being=offers a sense of unity and commonality *Identity in becoming=a process of identification which shows the discontinuity in our identity formation *Identities of race or gender are not unchanging ->Positioning=unstable points of suture within the discourses of history and culture
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Sigmund Freud |
*Developed therapeutic method for analyzing the unconscious through the interpretation of dreams, verbal slips, jokes, etc. and through the use of free association *Argues that repressed desire was at the root of all human civilization *Revolutionized how people thought about desire (sexual and otherwise), the workings of the mind, basic human interaction, and the human sense of self *His theory rests on the idea that humans have to work to survive and so must repress our tendencies to pleasure and gratification = key to human psyche *Unconscious=place in ourselves where we store unfulfilled desires because we are unaware of them *Reality principle=necessity of work; represses the... *Pleasure principle=desire to have fun *Human have to learn through childhood how to repress their unfulfilled desires *Oedipus complex (boys) / Electra complex (girls) *Penis envy and its counterpart, boy's castration anxiety *Repressed desired have a way of leaking out *"Freudian Slips"=traced to unconscious wishes and intentions |
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Carl Jung |
*Argued that the unconscious was not individual, but collective and shared by all humanity *Collective Unconscious=a knowledge we are all born with, though we are never aware of it *Psychoanalysis, for Jung, is an exploration of archetypes so we can heal by understanding how they shape our emotional and spiritual lives |
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Judith Butler (challenges to Freud) |
*Feminist critic of Freud's theories of the body, sexuality, and individual development *She challenged the ways that Freud privileges heterosexuality by making it the normative model for all sexualities and sexual identities, with homosexuality, a "deviation" from the norm |
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Melanie Klein and D. W. Winnicott |
Klein: *closely examined artistic creativity in the context of human psyche development; infant experiences contradictory "phantasies" about the maternal body (distinguishable from ordinary fantasies/daydreaming *phantasies about erotic possession and violent dismemberment *The phantasies create a profound psychic conflict in the infant that it carries with it throughout life
Winnicott: *Located the origins of creativity in the early pre-oedipal relationship of mother and child *Babies become attached to transitional object - it enables the baby to separate from its mother as the object is a representation of her in some way *Transitional objects form basis for creative pursuits later in life - serves as a template - all art has a transitional function, standing in for something else |
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Lacan |
*Reinterpreting Freud's work through semiotics, linguistics, and structuralism *Ego=nothing but an illusion of the unconscious *Unconscious=true foundation of all existence; structured like a language *Similarities between dreams and language - both rely on metaphor (condensing meanings together) and metonymy (displacing one meaning on to another) *Focused on relations between signifiers alone - elements in the unconscious (wished, desires, images) all form signifiers -> form a "signifying chain" *Process of becoming a "self" is the process of trying to stabilize the chain of signifiers so that meaning becomes possible *Three stages of development from infant-adult: 1. The Real=fullness/completeness; there's no need that can't be satisfied *no language - you only need words when the object of desire is gone *Idea of "other" is created - baby becomes aware of its separation from its mother -> created anxiety/loss -> baby shifts from having needs to having demands 2. The Imaginary=Mirror image - baby will see itself in a mirror, idea that its an image of the baby is reinforced by its mother ("look! it's you!") *Ideal ego=the whole person the baby mistakes for itself; a perfect self who has no insufficiency; becomes internalized - build our sense of "self" by (mis)identifying with ideal ego 3. The Symbolic=Realm of culture and language *Occurs once the baby has formulated some idea of Otherness *Rules of language: "Law-of-the-Father" - another term for the Other, for the center of the system, the things that govern the whole structure *Social Recognition=the historical specificity of art; art isn't only private fantasy, it belongs also to the public arena of history and culture |
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Gombrich, Kris, Bloom, Arnheim and Kemp |
Gombrich: *the "beholder's share"=the stock of images stored in the viewer's mind that she brings to the process of viewing art *Argued that the essentially social character of art imposes limits upon what psychoanalysis can explain *His basic question: how style comes into being - the idea that that everything is possible in every period *Duck/Rabbit diagram - demonstrates how complex even such a simple visual ruse is, much less a complex narrative painting
Kris: *Proposed theory of creativity and artistic experience that was important in the development of reception theory. He argued that, through art, the artist (vicariously the spectator too) secure psychic gratification that tare unavailable in daily life via a process of regression *Noted that the creation of a work of art is not a narrowly individualistic activity, it requires the participation of both artist and spectator
Bloom: *The idea of artistic influence beyond identifying sources for motifs and images to consider the complex ways in which artists respond to the art of the past *Argues that new poems originate mainly from old poems because the primary struggle of the young poet is against the old masters *Only gifted poets can overcome anxiety of influence -> lesser artists become derivative flatterers and never achieve greatness
Arnheim: *Challenged the idea that vision is a mechanical and primarily physiological function, and argued vehemently against the idea that vision and thought are 2 separate processes *Gestalt ("shape" or "form") experiments in sensory perception *Traced how vision becomes the apprehension of significant structural patters *Verbally articulates thought precedes perception
Kemp: *Argues that the context of reception has to be taken into account in any interpretation of a work of art *"forms of address" = the ways in which elements or figures in the image interrelate with each other and with the viewer *Ex: some paintings have a figure that makes eye contact with the viewer to draw them into the image; these figures are known as focalizers |
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Bryson |
*Artistic tradition; negotiated the promise of tradition *Tradition can gives every cause for celebration when it inspires and excites us -> at the same time, an artist who is obliged to be a stylistic consensus to imitate the art of the past/sees themself as a latecomer to the tradition of art-making he admires, tradition can be inhibiting and anxiety-producing, threatening the artist's sense of self |
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Heidiger and Gadamer |
Heidiger: *"What does it mean to be?" - concerned that modern industrial society had fostered nihilism, depriving human life of meaning *Argues that human beings don't exist apart from the world - the world isn't just out there somewhere, waiting to be analyzed and contemplated from the distant heights of rationality *We emerge and exist in the world and can only know it, and ourselves as part of it, as being-in-the-world - "Pre-understanding" *Understanding is part of human existence, emerging from the assumptions and opinions generated by our concrete experiences in the world *Language: human beings are linguistic in nature *Calculative Language= scientific/representative language; informational; pretends to describe things as they are *Essential Language=Doesn't pretend to deal directly with objects, instead, it deals with being, reality, via the intricate relationships of language *Art is a "being in the Open" and "opens up a world"; Open=cultural space created by a particular understanding of what it is to be a being *Art is about experience, not about feeling
Gadamer: *Argues the meaning of literature isn't limited to the creator's intentions *Art takes on new meanings as it passes into different time periods and different cultures, meanings that could never have been anticipated by the creator *Interpretation is the process of language and communication; dialogue *The contemporary interpreter can never perfectly re-create the artist's original intentions |
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Roman Jakobson |
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Claude Lévi-Strauss |
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Roland Barthes |
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Kristeva |
*Argues that maternal regulation is the law before Paternal law, before Freud's Oedipal complex or Lacan's mirror stage *Suggests that the maternal function cannot be reduced to "natural" ideas about the mother, the feminine, or womanhood *To some extent, anyone can fulfill the maternal function, men or women *"subject-in-process" - we are always negotiating the "other" within, that which is repressed; we are never completely the subjects of our own experience |
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Irigary |
*Neither Freud nor Lacan had an adequate way of talking about women's sexuality and women's bodies because they are wrapped up in this idea of the penis and can define women's sexuality only in terms of male bodies *We must find specifically female imaginary and symbolic realms *Female sexual pleaser is vastly different from male sexual pleasure |
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Bakhtin |
*Different ways of speaking to the random people you encounter on a daily basis (waiter vs. policeman) *Structures are fictions that we create in order to be able to interpret the world around us |
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Foucault |
*Who are we today? ; How did we get to be this way? *Trace from present to the past (backwards) *Examine the choices and accidents that resulted in the present *History is a process of leaps, gaps, accidents, ruptures, and disjunctures |
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Derrida |
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Mulvey |
*Challenged patriarchal models of viewing *Argued that viewers derive pleasure from films in 2 ways: 1.Through scopophilia (voyeurism) - the pleasure in looking 2. Through identification with the ideal ego, represented by the on-screen hero *In film, the hero is male and active and possesses the gaze *Film treats women as objects of desire, not heroes: they are passive, and rather than possessing the gaze, they are the object of it |
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Rosalind Krauss |
*Employs psychoanalytic theory as a way of rethinking the history of modern art *Examines the "optical unconscious" of modern art, focusing on the way in which a number of different modern artists construed their work "as a projection of the way that human vision can be thought to be less than a master of all its surveys, in conflict as it is with what is internal to the organism that houses it" *Argues that the formalist history of modern art, has focused on formal and optical works of art at the expense of art generated from the unconscious. She labels this art "modernism's repressed other" |
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Solomon-Godeau |
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Subjectivity |
How human subjects are formed by the social and cultural forces around them, and how they experience their lives in culture and society |
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Orientalism |
Employed Foucault's ideas about discourse and power to assert that the West, via Orientalism, represented the East as exotic, mysterious, distant, unknowable, as a way of controlling it *There was never an "Orient", just an inventions of the west to subjugate the region |
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the "Other" |
Labeling something as the "Other" enabled you to control it |
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"Self-Othering" |
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Subaltern studies |
The discipline of a loose collective of scholars who study colonial and post-colonial history (mostly South Asia) *"Subaltern"="Subordinate" (based on Gramsci's Marxist work); Used to indicate the ways in which proletarian voices are deliberately silenced by dominant, bourgeois capitalist narratives *Emphasizes that powerful institutions and individuals (gov't, religious institutions, business leaders) control the ability and opportunity to tell history and represent what's going on in society |
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Transnationalism |
*Idea that boundaries between nations have receded in economic, social, and cultural importance; people are able to move freely between locations *Distinct feature of recent globalization *Positive and negative aspects: -It can facilitate the flow of people and ideas (elite benefit) -Poor laborers may migrate more often and more freely, yet without economic or social benefit |
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id, ego and superego |
As a child grows, pressure of dealing with repressed desires splits the mind into: *Id=Basic desire; "Uncivilized" *Ego=Recognizes it's safer to delay gratification; with the formation of the ego, the individual becomes a "self" *Superego=Punishes the id with guilt, self-reproach -Conscience=Tells us what is right and wrong and forces ego to inhibit the id in pursuit of morally acceptable goals (not pleasurable/realistic) -Ego Ideal=Aims individual's path of life toward the ideal, perfect goal instilled by society |
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the pathographic approach (Freud) |
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Jungian archetypes |
Key symbols/images that appear in the arts, histories, philosophies, myths, and dreams of all cultures: *The shadow *The animus and anima *The mother *The divine couple *The trickster *The child *The maiden *Because archetypes are not under conscious control, we may fear them - those with mental disturbances/illnesses are haunted by them |
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Object-Relations Theory (transitional object and the nature of creativity) |
Klein: Argues that making art is a way to atone for the fantasies of hatred and destruction that an infant harbors about the maternal body; creative impulse stems from a desire to make reparation
Winnicott: Babies become attached to transitional object - blanket, stuffed animal, pacifier, etc; it enables the baby to separate from its mother because the objects represent her in some way; these objects form the basis for creative pursuits later in life; art has a transitional function, standing in for something else |
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"The Gaze" |
*Use "Gaze" to refer to the process of looking, which constitutes a network of relationship, and "gaze" (lower-case g) to refer to a specific instance of looking *Freud observed that desire is crucially involved in the process of looking *Lacan saw the Gaze as one of the main manifestations of the 4 fundamental concepts of psychoanalysis: the unconscious, repetition, transference, and drive *There are various ways for both men and women to possess the gaze or to be excluded from it due to such factors as sexual orientation, class, or race |
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Reception Theory and Reader-Response theory
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Reception Theory=Shifts attention from the artist to the viewer
Reader-Response Theory=meaning HAPPENS through reading - it doesn't exist as a pre-given element of the text *Reader has to make connections, fill in gaps, draw inferences, make hypotheses *Without active participation of the reader, there would be no text *Text=nothing more than a series of schemata (predictable patterns) which the reader then interprets and shapes into meaningful language *3 Interconnected Worlds: 1.The world of the author 2.The world of the text 3.The world of the reader |
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Hermeneutic circle |
*Interpretation is NOT linear (from starting point to end point), but rather a circular, a constant process that we are always already engaged *Governs all knowledge *All understanding begins somewhere in the middle of things, with some sort of pre-understanding already in place *All truths are relative (ex: previous knowledge before first art history class, but not as in depth) *There is no such thing as an unchanging, eternally correct interpretation |
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Death of the Author |
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intertextuality |
Each text exists in relation to other texts, to other cultural expressions |
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monologic and heteroglossic |
Monologic: *Theories of language have always postulated an isolated, single speaker, whose utterances create unique meaning *Comes from a single, unified source *Speaker is trying to push all varied elements and forms of language into one single form/utterance, coming from one central point *Requires one standard language
Heteroglossic: *Multiple forms of speech that people use in the course of their daily lives *Centrifugal; moving language toward multiplicity by including a wide variety of different ways of speaking, different rhetorical strategies and vocabularies |
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Power and Discourse |
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Representation (Re-presentation) and mimesis Deconstruction |
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Derrida's différance |
*it is "neither a word, nor a concept", as well as the fact that the meaning of the term changes depending upon the particular context in which it is being employed *Differ and Defer |
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"repetition as representation" (understand Krauss's argument regarding originality, and be able to answer the questions on the powerpoint) |
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Be able to identify methodologies and how they are used in Solomon-Godeau's "Going Native" |
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