지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
이용수
초록· 키워드
오류제보하기
Constantly conscious of connection to artistic tradition, Cezanne had a great ambition to create monumental compositions of nude figures, His bather paintings intimate a space where sexual phantasy directly meets traditional forms and compositions, which represent sexuality, constructed in the historical and cultural context of the nineteenth century. Through the ways in which Cezanne adjusted to, negotiated with or transgressed these conventions, one can glimpse at not only his anxiety and distress towards the female nude in particular - the object of his erotic phantasy - but also a different vision of sexual difference, emerging through the process of representation, What Cezanne did often looks radically different from and therefore signifies differently from the ways in which the traditional forms represented.
When we focus on the issue of sexuality (sexual identity and sexual difference), Cezanne’s motivation to have contact with artistic tradition (pose, iconography, etc.) is especially difficult to interpret. It is as if Cezanne were not a “language user” of the nineteenth-century French art world. Cezanne seems to have been distanced from the “standard” system for codifying sexual difference in his time; a time which set out cultural instructions and historical guides for representation of the female body. Cezanne adopted the traditional iconography of the female nude, constructed by old masters in a most active and obvious manner. However, he borrowed only their poses and gestures, not their attributes or the sensations habitually associated with them. When they were transposed into his work, those attributes or sensations would often be reversed or simply expelled, thereby separating them from the meanings initially associated with them.
Cezanne’s adoption of the temptress pose is a good example to explore through such concern. In attempting to re-read the ‘dreaming figure’ as T.J. Clark calls a particular figure in the temptress pose of Cezanne’s Large Batbers in Barnes Foundation, I seek to trace different ways in which he shifted certain meanings habitually attached to the traditional form which is symbolic of lust. My hypothesis is that, in Cezanne’s else, the symptomatic structure of melancholia allows him to be relatively independent of the signs and codes that the phallic order sets out for those figurative subjects. Deeply engaged in
his way of representing sexual difference, melancholia seems to have given Cezanne an access to a privileged relation with the ‘feminine dimension’ in Bracha Litchtenberg Ettinger’s terms; offering a space in which his name can be established, apart from the Father’s.
As opposed to the Barnes Bathers, which is thought to be pervaded by the castration phantasy, I propose to examine the other phantasy of the Philadelphia Bathers, Cezanne’s final Large Bathers. This painting, I believe, offers a conclusive representation on the issues of subjectivity, melancholia and feminine difference. I suggest that a structural analysis for the Philadelphia Bathers is found in Lacan’s theoretical formulation of perception in his theory of the gaze. It is not my intention to naively impose a theoretical diagram upon the pictorial structure of Cezanne’s painting, which entails more than the meanings relevant to a psychoanalytic study of the gaze. Rather, it is the mechanism of looking and its relation to subjectivity, structuring and underlying his painting that needs to be juxtaposed to Lacan’s theory of the gaze, which offers a dynamic way of apprehending the enigmatic aspects of Cezanne’s Philadelphia Bathers.
My reading of Cezanne’s work from a psychoanalytic perspective focuses on a way in which “original” anxieties emerge through the decorum of artistic tradition during the moments in which the artist’s control over his unstable psychical state loosens, thereby allowing his unconscious desire to inscribe itself into the representation. This, in this essay, is explored through the intimate relationship among the formation of subjectivity, entry into language, and the fundamental loss (of the mother), which, I think, leads Cezanne’s Large Bathers to gain access to sublimation through the semiotic realm of colour.
When we focus on the issue of sexuality (sexual identity and sexual difference), Cezanne’s motivation to have contact with artistic tradition (pose, iconography, etc.) is especially difficult to interpret. It is as if Cezanne were not a “language user” of the nineteenth-century French art world. Cezanne seems to have been distanced from the “standard” system for codifying sexual difference in his time; a time which set out cultural instructions and historical guides for representation of the female body. Cezanne adopted the traditional iconography of the female nude, constructed by old masters in a most active and obvious manner. However, he borrowed only their poses and gestures, not their attributes or the sensations habitually associated with them. When they were transposed into his work, those attributes or sensations would often be reversed or simply expelled, thereby separating them from the meanings initially associated with them.
Cezanne’s adoption of the temptress pose is a good example to explore through such concern. In attempting to re-read the ‘dreaming figure’ as T.J. Clark calls a particular figure in the temptress pose of Cezanne’s Large Batbers in Barnes Foundation, I seek to trace different ways in which he shifted certain meanings habitually attached to the traditional form which is symbolic of lust. My hypothesis is that, in Cezanne’s else, the symptomatic structure of melancholia allows him to be relatively independent of the signs and codes that the phallic order sets out for those figurative subjects. Deeply engaged in
his way of representing sexual difference, melancholia seems to have given Cezanne an access to a privileged relation with the ‘feminine dimension’ in Bracha Litchtenberg Ettinger’s terms; offering a space in which his name can be established, apart from the Father’s.
As opposed to the Barnes Bathers, which is thought to be pervaded by the castration phantasy, I propose to examine the other phantasy of the Philadelphia Bathers, Cezanne’s final Large Bathers. This painting, I believe, offers a conclusive representation on the issues of subjectivity, melancholia and feminine difference. I suggest that a structural analysis for the Philadelphia Bathers is found in Lacan’s theoretical formulation of perception in his theory of the gaze. It is not my intention to naively impose a theoretical diagram upon the pictorial structure of Cezanne’s painting, which entails more than the meanings relevant to a psychoanalytic study of the gaze. Rather, it is the mechanism of looking and its relation to subjectivity, structuring and underlying his painting that needs to be juxtaposed to Lacan’s theory of the gaze, which offers a dynamic way of apprehending the enigmatic aspects of Cezanne’s Philadelphia Bathers.
My reading of Cezanne’s work from a psychoanalytic perspective focuses on a way in which “original” anxieties emerge through the decorum of artistic tradition during the moments in which the artist’s control over his unstable psychical state loosens, thereby allowing his unconscious desire to inscribe itself into the representation. This, in this essay, is explored through the intimate relationship among the formation of subjectivity, entry into language, and the fundamental loss (of the mother), which, I think, leads Cezanne’s Large Bathers to gain access to sublimation through the semiotic realm of colour.
목차
Ⅰ. 멜랑콜리아의 프리즘으로 보는 반스 수욕도의 ‘꿈꾸는 인물’
Ⅱ. 필라델피아 수욕도: 주체, 언어 그리고 상실
Ⅲ. 필라델피아 수욕도와 라캉의 응시의 이론(the theory of the gaze)
참고문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
세잔의 신화, 그 의미와 진실
현대미술사연구
2006 .06
-
「세잔의 회의」에 대한 현상학적 분석
현대미술학 논문집
2014 .12
-
1920~1930년대 한국의 후기인상주의 수용 양상 : 김주경의 폴 세잔에 대한 인식을 중심으로
미술사논단
2019 .12
-
파리 근대사회, 근대미술, 호쿠사이(葛飾北齋)와의 만남 : 자연에 대한 경의
미술사연구
2009 .12
-
세기말과 20세기 회화
서양미술사학회논문집
1990 .12
-
드가와 발라동의 목욕하는 여성 이미지
미술사논단
1998 .03
-
하인두의 초기 작품세계 연구 : 모뉴멘탈리티와 오토마티즘의 추구를 중심으로
한국근현대미술사학
2014 .12
-
한국 근대회화에서의 누드
서양미술사학회논문집
1993 .12
-
19C 이후 시각예술에 나타나는 누드경향 연구 - 춤과 회화를 중심으로 -
무용예술학연구
2006 .01
-
청소녀의 성적 재현에 관한 연구 : 2000년대 한국영화를 중심으로
영화연구
2013 .06
-
몸의 확장성과 섹슈얼리티 이미지 연구
무용예술학연구
2012 .01
-
1990년대 한국화 읽기를 위한 제언 : 박생광 이후 채색화의 부흥과 영향
미술사논단
2018 .06
-
아동화에 나타난 형태와 의미의 연관성에 대한 현상학적 연구
조형교육
2009 .01
-
기혼 생활체육 참여자의 성(性) 욕구에 대한 대처행동 요인 분석
한국체육과학회지
2014 .04
-
회화의 위기, 회화의 대안
미술이론과 현장
2004 .01
-
繪畵의 動的 구조론 : 근대 서양 원근법 이론을 넘어서
미술사논단
2004 .12
-
프란시스 베이컨 회화의 리얼리즘 연구 : 이미지의 二重性에 대한 논의를 중심으로
미술사연구
2009 .12
-
동양회화(東洋繪畵)에서 형상(形象)의 심미작용(審美作用)
조형예술학연구
2005 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
확장된 영역의 미술사 : 로잘린드 크라우스 미술이론의 시각과 변천
전영백
현대미술사연구
2003
.12
영국의 형식주의 비평과 블룸즈버리(Bloomsbury) 그룹의 모더니즘 작품 연구
전영백
미술사학
2003
.08
도플갱어(Doppelganger) 이미지의 자기 증식성 : 고든/그리너웨이의 더블 이미지
김수현
서양미술사학회논문집
2004
.12
메를로-퐁티와 세잔 : 지각으로서의 회화
신인섭
철학
2008
.08
『실재의 귀환』 이후 : 실재를 향한 열망, 상상계의 복권, 재난의 시대에 이미지의 심리적 위상에 대한 고찰
최종철
현대미술학 논문집
2015
.06
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-609-017268020