Post-Holocaust Jewish Aniconism and the Theological Significance of Barnett Newman’s Stations of the Cross

IF 0.2 2区 哲学 0 PHILOSOPHY
C. Cuthill
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引用次数: 0

Abstract

This paper challenges the widespread emphasis on the absence of God in post- Holocaust historiography, theology, and art by suggesting that Barnett Newman’s Stations of the Cross may have been conceived under the theological category of the apophatic rather than the aesthetic category of the sublime. This paper focuses on the “anti-realist” position of Newman and other artists for whom the Holocaust necessitated a renewed aniconic tendency in Jewish aesthetics. His work, I suggest, holds out a tension between absolute absence and redemptive presence that at once resists and affirms a negative aesthetic of God’s solidarity with suffering.
大屠杀后犹太人的反神论和巴奈特·纽曼的《十字架站》的神学意义
本文对后大屠杀史学、神学和艺术中普遍强调上帝缺席的观点提出了挑战,认为巴尼特·纽曼的《十字架站》可能是在神学范畴的冷静而不是美学范畴的崇高下构思的。本文关注纽曼和其他艺术家的“反现实主义”立场,对他们来说,大屠杀需要一种新的犹太美学的非标志性趋势。我认为,他的作品在绝对缺席和救赎存在之间呈现出一种张力,这种张力既抵制又肯定了上帝与苦难团结一致的消极美学。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.40
自引率
25.00%
发文量
12
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