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From The Art and Popular Culture Encyclopedia
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| - | <div style="float:left;margin-right:0.9em"> "A 64 ans, [[Nobuyoshi Araki]] continue à jouer au lutin lubrique. Adulé chez lui au Japon comme un dieu vivant, il en est aussi le produit culturel d'exportation le plus embarrassant. Surnommé le [[Toulouse Lautrec]] nippon, ce photographe aujourd'hui exposé dans les plus grands musées du monde a commencé il y 40 ans à publier ses clichés érotiques dans des revues pornos. Son talent: avoir rendu artistique une culture de ghetto, celle du [[bondage]] et du [[sadomasochism]]e." [http://www.arte.tv/fr/art-musique/tracks/a-z/538556.html arte Tv tracks (france) 2004.05.27] [http://www.youtube.com/watch?v=bHsu_TvUh7I youtube] | + | <div style="float:left;margin-right:0.9em"> The body is the inscribed surface of events (traced by language and dissolved by ideas), the locus of a dissociated self (adopting the illusion of substantial unity), and a volume in disintegration. Genealogy, as an analysis of descent, is thus situated within the articulation of the body and history. Its task is to expose a body totally imprinted by history and the process of history's destruction of the body. |
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| + | —Michel Foucault, "''Nietzsche, Genealogy, History''" (1971) | ||
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| + | Is not the erotic portion of the body where the garment gapes? In perversion (which is the realm of textual pleasure) there are no "erogenous zones" (a foolish expression, besides); it is intermittence, as psychoanalysis has so rightly stated, which is erotic: the intermittence of skin flashing between two articles of clothing (trousers and sweater), between two edges (the open-necked shirt, the glove and the sleeve); it is this flash itself which seduces, or rather: the staging of an appearance-as-disappearance. | ||
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| + | —Roland Barthes, ''The Pleasure of the Text'' (1973) | ||
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| + | The problem with the body as a positive slogan [of the irreducible, material real] is that the body itself, as a unified entity, is an Imaginary concept (in Lacan's sense); it is what Deleuze calls a "body without organs," an empty totality that organizes the world without participating in it. We experience the body through our experience of the world and of other people, so that it is perhaps a misnomer to speak of the body at all as a substantive with a definite article, unless we have in mind the bodies of others, rather than our own phenomenological referent. | ||
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| + | —Fredric Jameson, "''The End of Temporality''" (2003) | ||
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Revision as of 21:30, 17 October 2007
—Michel Foucault, "Nietzsche, Genealogy, History" (1971)
Is not the erotic portion of the body where the garment gapes? In perversion (which is the realm of textual pleasure) there are no "erogenous zones" (a foolish expression, besides); it is intermittence, as psychoanalysis has so rightly stated, which is erotic: the intermittence of skin flashing between two articles of clothing (trousers and sweater), between two edges (the open-necked shirt, the glove and the sleeve); it is this flash itself which seduces, or rather: the staging of an appearance-as-disappearance.
—Roland Barthes, The Pleasure of the Text (1973)
The problem with the body as a positive slogan [of the irreducible, material real] is that the body itself, as a unified entity, is an Imaginary concept (in Lacan's sense); it is what Deleuze calls a "body without organs," an empty totality that organizes the world without participating in it. We experience the body through our experience of the world and of other people, so that it is perhaps a misnomer to speak of the body at all as a substantive with a definite article, unless we have in mind the bodies of others, rather than our own phenomenological referent.
—Fredric Jameson, "The End of Temporality" (2003)
