Enclaves existenciales: la enfermedad terminal en la pantalla

IF 0.3 0 PHILOSOPHY

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico Pub Date : 2017-07-12 DOI:10.7764/AISTH.61.5

B. Amorós

引用次数: 0

Abstract

Este ensayo explora los recorridos filmicos que viven los sujetos protagonistas a partir de dos casos de estudio: Lightning Over Water (1979) y Sick, The Life and Death of Bob Flanagan, Supermasochist (1996). En ambos films los protagonistas viven una experiencia limite derivada de la enfermedad, que se convierte en un dispositivo activo y generador de conocimiento. En esta experiencia radical se pone de manifiesto el vinculo entre autorrepresentacion y una voluntad de autodestruccion, que nos lleva a preguntarnos sobre los margenes normativos de la racionalidad. Partiendo de los estudios de Jean-Luc Nancy, Jean Baudrillard y Clement Rosset, este texto pretende arrojar una nueva lectura sobre la enfermedad terminal, la autorrepresentacion en el contexto del dolor y el proceso voyeuristico actual de la muerte como espectaculo.

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存在的飞地:屏幕上的绝症

本文通过两个案例研究:《水上闪电》(1979)和《超级受虐狂鲍勃·弗拉纳根的生与死》(1996)，探讨了主角的电影旅程。在这两部电影中，主人公生活在一种由疾病引起的有限体验中，这种体验成为一种主动的、产生知识的装置。这种激进的经验揭示了自我表征和自我毁灭意志之间的联系，这让我们质疑理性的规范边缘。本文以Jean- luc Nancy、Jean Baudrillard和Clement Rosset的研究为基础，对绝症、痛苦背景下的自我表征以及当前作为一种奇观的死亡偷窥过程进行了新的解读。

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

Aisthesis-Pratiche Linguaggi e Saperi dell Estetico PHILOSOPHY-

CiteScore

0.30

自引率

0.00%

发文量

审稿时长

40 weeks

期刊介绍： The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.