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ART AND TRAUMA

机译:艺术与创伤

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摘要

The authors of this paper attempt to show that 'the art of trauma', because of its indirect, unaestheticised and dialogic nature, may be the only possible medium for effective representations of trauma. The real witnessing presence created in the art of trauma can act as an antidote to the annihilation of the internal 'other' that occurs in the traumatic experience and to the resulting absence, which both constitutes the core of trauma and precludes its representation. Important elements of the art of trauma are illustrated using the work of Paul Celan, Anselm Kiefer, Claude Lanzmann, Art Spiegelman, and Anne-Marie Levine and texts by Aharon Appelfeld. Examining more closely what Holocaust survivors say in their testimonies, the authors contend that survival itself should be considered as a type of art of trauma when it is made possible by a creative comprehension of reality analogous to that which characterises more conventional forms of the art of trauma. The authors proceed to explore both the possible limits to the extent that trauma may be represented and the continuous struggle involved in attempting to 'know' trauma. They also discuss how art dealing with trauma may circumscribe a double locus: one of witnessing as well as one of emptiness or execution.
机译:本文的作者试图证明“创伤的艺术”由于其间接的,没有审美的和对话的性质,可能是有效表示创伤的唯一可能的媒介。创伤领域创造的真正的见证存在可以作为消除创伤经历中发生的内部“他者” an灭以及所导致的缺席的解毒剂,后者既构成创伤的核心,又阻止了创伤的表现。保罗·塞兰(Paul Celan),安塞姆·基弗(Anselm Kiefer),克劳德·兰兹曼(Claude Lanzmann),斯皮格曼(Art Spiegelman)和安妮·玛丽·莱文(Anne-Marie Levine)的著作以及阿哈隆·阿佩尔费尔德(Aharon Appelfeld)的著作都阐明了创伤艺术的重要元素。作者更仔细地检查了大屠杀幸存者在证词中所说的话,他们认为,当通过对现实的创造性理解(类似于刻画人类传统艺术形式的特征)使生存成为可能时,应将生存本身视为一种创伤艺术。外伤。作者们继续探索可能代表创伤的程度的可能限制,以及试图“知道”创伤所涉及的持续斗争。他们还讨论了处理创伤的艺术如何界定双重场所:见证之一以及空虚或处决之一。

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