{"title":"r.b.基塔伊《如果不是,不是》(1976)中的大屠杀碎片","authors":"H. Frankel","doi":"10.5325/soundings.103.4.0449","DOIUrl":null,"url":null,"abstract":"Abstract:This article discusses R. B. Kitaj's painting If Not, Not (1976) with reference to issues of aesthetic representation of the Holocaust, in which Kitaj creates a cultural site for bearing witness for the Jewish victims. Striving to depict the unimaginable, Kitaj's method endorses meaning. Juxtaposing ambiguous, discordant images, he evokes a broken modern world and serves traumatic memory.","PeriodicalId":231294,"journal":{"name":"Soundings: An Interdisciplinary Journal","volume":"8 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Shards of the Shoah in R. B. Kitaj's Painting If Not, Not (1976)\",\"authors\":\"H. Frankel\",\"doi\":\"10.5325/soundings.103.4.0449\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:This article discusses R. B. Kitaj's painting If Not, Not (1976) with reference to issues of aesthetic representation of the Holocaust, in which Kitaj creates a cultural site for bearing witness for the Jewish victims. Striving to depict the unimaginable, Kitaj's method endorses meaning. Juxtaposing ambiguous, discordant images, he evokes a broken modern world and serves traumatic memory.\",\"PeriodicalId\":231294,\"journal\":{\"name\":\"Soundings: An Interdisciplinary Journal\",\"volume\":\"8 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-10-21\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Soundings: An Interdisciplinary Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5325/soundings.103.4.0449\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Soundings: An Interdisciplinary Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5325/soundings.103.4.0449","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
摘要:本文从基塔伊(R. B. Kitaj)的绘画《如果不是,不是》(If Not, Not, 1976)的审美再现问题出发,探讨基塔伊为犹太受害者创造的文化场所。努力描绘难以想象的事物,基塔伊的方法支持意义。他将模糊、不和谐的图像并列,唤起了一个破碎的现代世界,并服务于创伤记忆。
Shards of the Shoah in R. B. Kitaj's Painting If Not, Not (1976)
Abstract:This article discusses R. B. Kitaj's painting If Not, Not (1976) with reference to issues of aesthetic representation of the Holocaust, in which Kitaj creates a cultural site for bearing witness for the Jewish victims. Striving to depict the unimaginable, Kitaj's method endorses meaning. Juxtaposing ambiguous, discordant images, he evokes a broken modern world and serves traumatic memory.