{"title":"Facingness meets mindedness","authors":"Michael Fried","doi":"10.1086/709256","DOIUrl":"https://doi.org/10.1086/709256","url":null,"abstract":"Friedrich von Siemens S Dr. Heinrich Meier, dire there as well as for a gen Ruth Leys to live and wo My thanks also to Ann W Collection in the Depart University, for her assista 1. P. Mantz, “Salon d Translation: “M. Manet a if he has something to say revealed his secret either 2. The most useful b catalogue to the major M and Charles S. Moffett, t Metropolitan Museum o Cachin in Manet, 1832– and 302–7 (cat. nos. 109 Facingness meets mindedness","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"184 - 202"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709256","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48541576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Menacing laughter in sixteenth-century pitture ridicole","authors":"F. Alberti","doi":"10.1086/711327","DOIUrl":"https://doi.org/10.1086/711327","url":null,"abstract":"The awareness of laughter’s artistic value is perhaps one of the greatest contributions of the Renaissance to Lachenkultur (the culture of laughter). As Mikhail Bakhtin observed, laughter at that time passed “from an almost elemental condition to a state of artistic awareness and purposefulness.” A similar statement was made by Robert Klein in a seminal essay on folly and irony published in 1963. Klein studied the new “techniques” of comedy that appeared in the Renaissance together with an ever-increasing selfawareness: from the medieval figure of the fool, accepted for his social functions, to the emergence of irony, practiced by humanists and considered the ultimate and most complex form of mirth, able to express critical attitudes toward reality. Following these paths, and Paul Barolsky’s groundbreaking Infinite Jest (1978), I tried to define the specificity of certain forms and processes of laughter in images from the early modern period, which I described as “facetious” (facétieuse). With this term, I meant to refer to the playfulness that developed within a circle of people sharing similar values. To exist, facetious laughter needs a certain connivance since it plays on equivocation and ambiguity and relies largely on the unspoken; it also requires decryption, which is part of its pleasure. My use of the expression “facetious painting” (peinture facétieuse) refers to an “art of jest” that gained a new importance during the fifteenth and sixteenth centuries in accord with the playfulness that Johan Huizinga recognized as one of the major elements of humanistic","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"41 - 59"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/711327","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45565351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A celebrated stone","authors":"C. Dean","doi":"10.1086/709036","DOIUrl":"https://doi.org/10.1086/709036","url":null,"abstract":"Research Institute and su California, Santa Cruz. 1. “L’ethnographie e et mexicain, est aussi un cailloux, les flèches, les la voie des missions que Duranty is perhaps best Manet, who challenged 2. The 1878 exhibiti Muséum Ethnographique museum opened to the p 3. Originally intende collections from Central and the Celebes were ad rooms in the palace, wit by itself (Hamy 1890, 55 4. Hamy (1890, 60) pressa dans les trois salle A celebrated stone","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"307 - 324"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709036","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45610549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The animation of sameness","authors":"Florian Fuchs","doi":"10.1086/711766","DOIUrl":"https://doi.org/10.1086/711766","url":null,"abstract":"It is well known that Bertolt Brecht’s Lehrstücke or “learning plays” were meant to instruct the actors before the eyes of the audience. To achieve this, the actors need to master a particular tension of gazes: they not only need to absorb those gazes directed at them from the audience but also control those that they themselves may return to the audience, all the more if the absorbed gazes are underlaid with affect. This tense thicket of charged glances is Brecht’s provocation of all theatrical conventions. Diderot had defined conventional theater staging as centered on the “actor’s paradox,” which dictates that the actor must induce the audience’s emotions and reactions while suppressing any gazes or displays of affect during the play. Brecht’s returned gaze takes down this “inner fourth wall” of the actor and makes use of an inversion of Diderot’s premise. The social sciences know this inversion as the “observer’s paradox,” according to which the mere presence of the observer’s gaze may influence the observed in their actions. It was Brecht’s innovation to implement the observer’s paradox as a motivating structure at the ground of his Lehrstücke. While this figuration of returned gazes was absent from theater before Brecht, there is, however, one notable older form of the performing arts in which the fourth wall had to be constitutively absent: performances by acrobats, clowns, and other makeshift acts that directly engage with the viewer in streets, building entrances, and other provisional spaces. The returned gaze often initiates such performances, and it is this very constitution of the returned gaze that creates the particular tension and attraction between audience and stage in the Brechtian learning play. Brecht insisted that the instructional character of the actors’ performances must not be interrupted, even if this means that the gaze of the onlookers shall be left unanswered as they are instructed. The fourth wall of the theatrical stage, therefore, does not completely disappear but is made","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"238 - 246"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/711766","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47212909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From the mark of Kane to the artistic signature","authors":"E. Peretz","doi":"10.1086/711585","DOIUrl":"https://doi.org/10.1086/711585","url":null,"abstract":"A costume beard masking most of his face—lending him the stylized appearance of an ancient Babylonian sovereign—Orson Welles, in the role of Gregory Arkadin (fig. 1), gives the petty criminal turned fortune hunter Guy Van Stratten an assignment with Oedipean echoes: “I want you to make an investigation and prepare me a report . . . all about Gregory Arkadin. . . . It’s me I want you to investigate. . . . Who was I? . . . That is my real secret . . . I do not know who I am.” In a dark projection room, their faces shadowed, a group of journalists is discussing a newsreel about the life and death of Charles Foster Kane. “How about it, Mr. Rawlston? How do you like it, boys? Well, seventy years in a man’s life. . . . That’s a lot to try to get into a newsreel. It’s a good short, Thompson, but what it needs is an angle. . . . It isn’t enough to tell us what a man did, you’ve got to tell us who he was.” The editor continues: “What were Kane’s last words? . . . Maybe he told us all about himself on his deathbed.” The film cuts to the speaker and a journalist in silhouette against the blank screen (fig. 2): “All we saw on that screen was a big American. . . . When Charles Foster Kane died, he said just one word—‘Rosebud.’ . . . Now what does that mean? . . . Find out about ‘Rosebud.’” The question of “who?” (as in the “Who’s there?” with which Hamlet famously opens, or Montaigne’s “Qui suis-je?”) and the enjoinder to get to the bottom of its mystery stand at the center of Orson Welles’s life and work. The most celebrated enigma in cinema— what “Rosebud” means and who Charles Foster Kane is—evokes the equally fascinating and enduring question of Orson Welles himself: Was he a genius or a fake, a failure or the fulfillment of the art of filmmaking? Of course, these are first and foremost questions for Welles himself—who, no less than his viewers, was fascinated by his own life and work, or","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"247 - 255"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/711585","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43995008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Transvestism","authors":"C. Cappelletto","doi":"10.1086/710704","DOIUrl":"https://doi.org/10.1086/710704","url":null,"abstract":"I was a flat-chested teenager. Still, wanting to be like my friends, I bought a bra, a soutien-gorge which, of course, I didn’t need. My mother, who possessed a magnificent bosom and a sharp wit, called it my “soutien-rien”—my support-nothing. I can still hear her words today. Over the years that followed, my chest slowly pushed out. Nothing to write home about, though. Suddenly, in 1992, a transformation occurred. In the space of six months, spontaneously, I had proper tits: no treatments, no operations. A miracle. I swear. I was thrilled, but not really surprised. I put this feat down to twenty years of frustration, envy, dreams and sighs. —Sophie Calle, The Breasts, 2013","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"294 - 303"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710704","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41993017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Time-chaste damsels","authors":"Marika Takanishi Knowles","doi":"10.1086/711842","DOIUrl":"https://doi.org/10.1086/711842","url":null,"abstract":"ion (New York, 1976), 140–84. For a discussion of Ingres’s line and eroticism, see C. Ockman, Ingres’s Eroticized Bodies: Retracing the Serpentine Line (New Haven, CT, 1995). is a formal feature of neoclassicism, with its “frieze-like” arrangements of figures. Ingres recognized this clarity of contour particularly in Greek art; he praised the preference of the ancients for figures spaced at a distance from one another, resulting in an effect of “simplicity,” an expression of beauty through the “developments of lines.” The crisp silhouette is also an attribute of early Renaissance gold-ground painting, as well as Flemish primitivism, styles “innocent” of chiaroscuro and sfumato as ways to render porous the boundaries between a figure and its ground. In a conscious archaism, Raphael cultivated clarity of contour in many of his paintings of the Virgin Mary, including La Belle Jardinière (ca. 1507), which is often Figure 1. Jean-Auguste-Dominique Ingres, Mademoiselle Caroline Rivière, 1806. Oil on canvas, 100 x 70 cm. Paris, Musée du Louvre, Inv. 1447. Photo: Erich Lessing / Art Resource, NY. Color version available as an online enhancement. Figure 2. Henri Lehmann, Faustine Léo, 1842. Oil on canvas, 100 x 81.3 cm. New York: The Metropolitan Museum of Art, Purchase, Wolfe Fund and Mr. and Mrs. Frank E. Richardson Gift, 2004.243. Photo: www.metmuseum.org. Color version available as an online enhancement. 9. J.-A.-D. Ingres, Ingres: Écrits sur l’art, ed. A. Goetz (Paris, 2013), 48: “Cette règle d’espacer les objets en peinture et dans les bas-reliefs tenait au désir d’exprimer pleinement la beauté et de la montrer dans les développements des lignes.” Ingres’s “writings,” which consist of notes from journals and records of conversations in the atelier, were assembled posthumously by Henri Delaborde. 11. G. de Nerval, Les Filles du feu; Les Chimères; et autres textes, ed. M. Brix (Paris, 1999), 230: “sans tenir compte de l’ordre des temps.” All translations, unless otherwise noted, are my own. 12. This is not a particularly empowering role for the female subject. Indeed, Ingres’s Caroline Rivière models the “virgin” who serves as counterpart to the “dark woman” or “whore” of the emergent Romantic mythology of dark and light femininities, “black” and “white” Venuses. On this binary, see G. Pollock, Differencing the Canon: Feminist Desire and the Writing of Art’s Histories (New York, 1999), 247–57. 13. As Sarah Betzer has recently argued, Ingres did not view the practice of portraiture as incompatible with an engagement with history. While portraiture was not “history painting” in the academic sense, it was nevertheless both historical and historically aware. S. Betzer, Ingres and the Studio: Women, Painting, History (University Park, PA, 2012), 17–67. Susan Siegfried has also insisted on the historical and geographical “imaginary” embedded in Ingres’s portraits of women, including the portraits of Caroline and Sabine Rivière. S. L. Siegfried, Ingres: Pain","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"140 - 154"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/711842","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49441115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Porcelain white","authors":"A. Powell","doi":"10.1086/710960","DOIUrl":"https://doi.org/10.1086/710960","url":null,"abstract":"Wue, as well as Frances 1. The print exists in Amsterdam, and the Kup only about one half of th be the two halves of a si out that they have a ship center of the frieze, and differs. E. Haverkamp Be Etchings (The Hague, 19 Hercules Segers: Painter 232. 2. “The ship is the h without boats, dreams d and the police take the p Spaces,” trans. J. Miskow 3. “If the figure is an response to other figures Knowles and C. S. Wood in this issue. Porcelain white","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"60 - 75"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710960","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47769801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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