AMERICAN IMAGO最新文献

{"title":"Contributors","authors":"","doi":"10.1353/aim.2023.0010","DOIUrl":"https://doi.org/10.1353/aim.2023.0010","url":null,"abstract":"","PeriodicalId":44377,"journal":{"name":"AMERICAN IMAGO","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135288925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sieg Maandag and Holocaust Art","authors":"Daniel P. Stone","doi":"10.1353/aim.2023.0001","DOIUrl":"https://doi.org/10.1353/aim.2023.0001","url":null,"abstract":"Abstract:According to Sarah Gendron, following Terrence Des Pres's notion of \"Holocaust etiquette\", there are two forms of art which government sponsored museums and memorials feel to be \"safe\" in representing the Holocaust: pure abstraction or direct, realist representation. The former is permissible since, with its \"perceived capacity to sidestep misrepresentation\", it \"does not seek to portray the event or those involved in a figural way\"; the latter is acceptable for precisely the opposite reason, because they \"present themselves as re-presentations, portraying moments 'as they were' without intervention, manipulation, or interpretation.\" The artist appears to bear witness to the event, \"providing proof of its 'having definitely been.'\" Art which does not fall into these two categories offers more of a challenge to the post-Holocaust world's ability to grapple with the meaning and representation of the genocide of the Jews. One thinks of the photorealism, or blurred \"photorealism\" of Gerhard Richter; the symbolic art of Józef Szajna where thumbprints, for example, stand in for human beings at roll call; or the anonymous mass of Menashe Kadishman's shalechet (fallen leaves), each representing a human face, all the same but all different. Sieg Maandag's paintings cannot be regarded as falling squarely into any one genre; some are abstract (increasingly so over time), some naïve or surreal figuralism or landscape. Maandag's paintings are reflections of moments of his life and by no means all obviously \"Holocaust art.\" In this paper I argue, however, using Susan Suleiman's notion of the \"1.5 generation\", that it was his experience as a boy in Bergen-Belsen that stamped Maandag's career as an artist. Through an analysis of several paintings, especially the unfinished and untitled work of a perpetrator who has a fork emerging from his eye pushing into the mouth of a child opposite; Het mooie hemd (the beautiful shirt, 1986); three faces; and the 1983 self portrait where Maandag's crumpled face and an empty speech bubble betray an inability to speak, I suggest that Maandag's concentration camp childhood and subsequent knowledge of the Holocaust are, as Raymond Federman says of his fiction, the \"gap\" in him that \"controls my work and gives it its urgency.\" Sieg Maandag, famous as the boy walking past the laid out corpses in George Rodger's photograph after the liberation of the camp, deserves greater recognition as a \"Holocaust artist\" not only because of the subtext of his works but because his oeuvre is in its own right a significant contribution to the field of art perse.","PeriodicalId":44377,"journal":{"name":"AMERICAN IMAGO","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44167727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Intersectionality and Relational Psychoanalysis: New Perspectives on Race, Gender, and Sexuality ed. by Max Belkin and Cleonie White","authors":"Deborah Shilkoff","doi":"10.1353/aim.2023.0009","DOIUrl":"https://doi.org/10.1353/aim.2023.0009","url":null,"abstract":"","PeriodicalId":44377,"journal":{"name":"AMERICAN IMAGO","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47558757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"The Northern Suburbs Seem to be Quite Frequently Afflicted by Raging Elephants\": Identity Fluidity in Beatrix Potter's Tales and Life","authors":"J. Rosegrant","doi":"10.1353/aim.2023.0006","DOIUrl":"https://doi.org/10.1353/aim.2023.0006","url":null,"abstract":"Abstract:Central to the effect of Beatrix Potter's tales is her talent at creating fluidity in the boundary between human and animal identities, manifested by her characters' clothing, behavior, and conflicts, as well as by her styles of drawing and writing. This talent flowed from Potter's developmental experience of several jolts to her own identity while her deep connection to animals remained a lifelong constant. The fluidity she depicts between human and non-human identities is consistent with what Loewald (1951, 1952) identified as Freud's implicit theory about the nature of reality—that ego and reality are one during the phase of primary narcissism and gradually separate from each other, entailing a primal relatedness.","PeriodicalId":44377,"journal":{"name":"AMERICAN IMAGO","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43379153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Transformation of Aesthetic Precedent in the Art of Sieg Maandag","authors":"A. Tutter","doi":"10.1353/aim.2023.0005","DOIUrl":"https://doi.org/10.1353/aim.2023.0005","url":null,"abstract":"Abstract:The oeuvre of the Dutch artist and Holocaust victim Sieg Maandag constitutes an important addition to the psychoanalytic discourse around the art of trauma. The author enumerates and underlines the cumulative traumatic losses that mark Maandag's experience as a child in the Bergen-Belsen Nazi concentration camp, including the loss of much of his family, and argues that these losses factor significantly among those traumas that could not sustain articulation, but pressed for figurative and symbolic expression and representation in visual art. The author identifies art-historical references that Maandag adapted, including works of his prominent aesthetic influences, Giorgio De Chirico, Jean Dubuffet, Edvard Munch and Francis Bacon. The subsequent revision and synthesis of these references marks them as part of a transformative attempt at mastery over trauma, including shattering loss.","PeriodicalId":44377,"journal":{"name":"AMERICAN IMAGO","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46241032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Drawing a Blank: Bion Speaking on Chinese Writing","authors":"J. Hecht","doi":"10.1353/aim.2023.0008","DOIUrl":"https://doi.org/10.1353/aim.2023.0008","url":null,"abstract":"Abstract:Wilfred Bion briefly discussed Chinese writing some dozen times, attributing to it various counter-intuitive features. A review of these passages suggests they were part of Bion's larger effort to evoke the challenges of bridging communication gaps with patients, where Bion held that the very means of communication itself was at issue. Chinese also helped evoke a sense of mystery in listeners who, like Bion, knew no Chinese. The main source of Bion's Sinology, an influential 1908 essay by Ernest Fenollosa, was broadly discredited by the 1950's, yet Bion propounded it in five countries through the 1970's. Psychoanalysis, not linguistics, was his subject as he used a mystifying intellectual fantasy (of a Chinese cognitive Other) to discuss incomprehension—a state of unknowing common to clinical impasse and to a philosophical mindset. That Bion induced (deliberately or not) a receptively confused mental state in listeners as he discussed written Chinese, is consistent with discerning observations of Bion's presentations by Leo Rangel and Donald Meltzer. Bion's claims about Chinese are largely false; more interestingly, they are largely incoherent, yet he used them again and again. That they have evaded critical scrutiny these fifty years may be due to the same effects they produced in performance.","PeriodicalId":44377,"journal":{"name":"AMERICAN IMAGO","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49260283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Seeing and Doing: A Meditation on an Afterlife in Art","authors":"R. Ost, Laura S. Levitt","doi":"10.1353/aim.2023.0002","DOIUrl":"https://doi.org/10.1353/aim.2023.0002","url":null,"abstract":"Abstract:This two part meditation begins with a reading of Sieg Maandag's life and work, and then moves to a sustained exploration of a doubled portrait of the artist in a painting and a photograph. We explore how Skorczewski and Maandag-Ralph become witnesses to the witness as they locate Sieg Maandag's art on the \"aching dark terrain of life after trauma and violence\" (Levitt, 2020, 9).","PeriodicalId":44377,"journal":{"name":"AMERICAN IMAGO","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47149514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"As Torches: On Humanity and the Humanities in the Works of Léon Wurmser","authors":"David Pickus","doi":"10.1353/aim.2022.0040","DOIUrl":"https://doi.org/10.1353/aim.2022.0040","url":null,"abstract":"Abstract:Leon Wurmser (1931–2020) produced an extensive body of work covering a wide range of theory and psychoanalytic practice. Yet, little has been written on him, perhaps because he is not easily subsumed in traditional academic categories. This essay studies one of the most challenging aspects of Wurmser’s oeuvre, namely his polyglot invocation of culture as a means for the deeper expression of psychoanalytic understanding. I explore the logic to Wurmser’s exposition of literature, philosophy, and other arts, arguing it goes beyond commonplaces about relationships between psychoanalysis and culture. In fact, Wurmser presents a call to the psychoanalytic world, and, indirectly, lay reader, that multi-lingual “torches” are more than embellishments, but necessary spurs to attentiveness and attunement. Making this case invites the integration of Wurmser into further discussion of the place of humanistic learning in psychoanalytically informed introspection.","PeriodicalId":44377,"journal":{"name":"AMERICAN IMAGO","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47602084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Apocalyptic Psychic Landscapes, Haunting Internal Objects, and the Murderousness of Group Dynamics in Julius Caesar","authors":"C. Miller","doi":"10.1353/aim.2022.0035","DOIUrl":"https://doi.org/10.1353/aim.2022.0035","url":null,"abstract":"Abstract:Julius Caesar (1599) presents a progressive shaping of the group mindset through projective identification. Cassius, envious of Caesar, fuels a murderous desire in Brutus and the co-conspirators, culminating in Caesar’s assassination. After the murder, Antony and Brutus attempt to sway collective opinion toward their respective interpretations of the event. Antony astutely pushes the crowd to vindictive rage, leading to further murderous action. Characters have great difficulty thinking together, the content of their internal worlds becoming foreign, frightening elements that are split-off, projected, or “controlled” through omniscience/omnipotence. Such defenses collapse when figures need to re-introject or grieve disavowed parts of themselves.","PeriodicalId":44377,"journal":{"name":"AMERICAN IMAGO","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48226454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Writing Cure by Emma Lieber (review)","authors":"Melissa Skepko","doi":"10.1353/aim.2022.0031","DOIUrl":"https://doi.org/10.1353/aim.2022.0031","url":null,"abstract":"","PeriodicalId":44377,"journal":{"name":"AMERICAN IMAGO","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47799665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}