回归理智:索菲·卡勒的《瑞秋》中的日记和哀悼的物质性

S. Wilson
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摘要

妇女死后,通常被称为“个人财产”的某些实物会留下。日记有时就是其中之一。这篇文章特别关注一位母亲的日记所走的轨迹,研究了这些日记在传给女儿的环境下以及随后在2012年出现在女儿的作品中所产生的意义变化。自2006年母亲去世以来,国际知名的作家、摄影师和装置艺术家索菲·卡勒(Sophie Calle)推出了一系列由哀悼物质标记组成的装置作品。这些日记于2012年进入这个装置系列。本文探讨了Calle对日记的参与是如何与《母亲日记》现有的文化表征对话的,并探讨了日记的展示对哀悼习俗和展览实践的影响。本文于2015年8月29日提交给EJLW,并于2017年4月27日发布。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Coming to One's Senses: Diaries and the Materiality of Mourning in Sophie Calle's Rachel, Monique
After a woman's death certain material objects, commonly referred to as 'personal effects', remain. Diaries are sometimes among these. This essay focuses on the trajectory taken by one mother's diaries in particular, examining the shifts in meaning effected by the circumstances in which they are passed on to the daughter and by their subsequent emergence into the daughter's work in 2012. Since her mother's death in 2006, the internationally established writer, photographer and installation artist Sophie Calle has staged a series of installations consisting of material markers of mourning. The diaries enter this installative series in 2012. This essay investigates how Calle's engagement with the diaries dialogues with existing cultural representations of The Mother's Diaries and explores the effects of their display on conventions of mourning and exhibiting practices. This article was submitted to EJLW on 29th of August 2015 and pubkished on 27th of April 2017.
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