spectral—fragile—(un)homely: the haunting presence of francesca woodman in the house and space2 series

Clicks: 312
ID: 168370
2017
Free PDF
Article Quality & Performance Metrics
Overall Quality
Not rated
Combines reader engagement with the AI quality analysis. This article has not been analysed, so there is no overall score — reader engagement is measured and shown alongside.
AI Quality Assessment
Not analyzed
Readership in this journal
Emerging

Ranked #4 of 34 articles by views in journal of the chemical society, faraday transactions 1: physical chemistry in condensed phases

Most read Least read

Bar heights use a square-root scale.

Mint this article as an NFT
Not yet minted

Create a permanent, verifiable on-chain record of this article on the Scimatic Network. The NFT is held in your Journament account, and you can withdraw it to your own wallet at any time.

5 SUSD one-off · no wallet required
Sign in to mint
Abstract
In the House and Space2 photographic series, Francesca Woodman captures the environments that may be considered disruptive; still, it is a female model—in her inconstant poses, always partially blurred or hidden—that holds the viewer’s attention. The pictures therefore evoke a twofold sense of obscurity, since their unfriendly interiors are occupied by the uncanny, semi-absent yet ceaselessly present, dis-appearing woman, who turns out to be Woodman herself. Woodman’s spectral presence and the unhomely locations she haunts—being simultaneously the photographer and the object of her photographs—are examined in this article by means of Bracha L. Ettinger’s matrixial theory. Ettingerian psychoanalysis, juxtaposed with Roland Barthes, Sigmund Freud, and Jacques Lacan, provides the tools to challenge the dominant non-affirmative understanding of Woodman’s self-portraits as works of disappearing and failing subjectivity: an understanding whose obvious point of support is found in the artist’s biography. Instead, Ettinger’s system makes it possible to look at this oeuvre through the prisms of fragility, homeliness, and the potential emergence of blurry, ghostly subjectivity. Moreover, the article examines the ways in which Woodman resists the divisions imposed on her and the medium she uses (such as the Barthesian triad of Operator, Spectator, and Spectrum, and the dichotomies of me / the Other and subject / object).
Reference Key
kisiel2017avant:spectralfragile(un)homely: Use this key to autocite in the manuscript while using SciMatic Manuscript Manager or Thesis Manager
Authors ;Anna Kisiel
Journal journal of the chemical society, faraday transactions 1: physical chemistry in condensed phases
Year 2017
DOI
10.26913/80202017.0112.0011
URL
http://avant.edu.pl/wp-content/uploads/Kisiel-Spectral-Fragile-Unhomely.pdf
Keywords
photography biological psychiatry

Citations

No citations found. To add a citation, contact the admin at info@scimatic.org

Comments

No comments yet. Be the first to comment on this article.