Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 107 Heft: 2 Seiten: 659-690.

ABSTRACT This article aims to analyze, from a Bakhtinian perspective, the grotesque construction of Mexican artist Frida Kahlo’s body through a religious worldview. Therefore, we analyze two of her self-portraits, taking into account the dialogic relations constructed between the grotesque representations and Catholic symbology. The analyzed utterances, in which the specificities of the creative competence of the author-creator in her aesthetic activity are inferred, showed that a dialogue is established between the painting El venado herido and Catholic Saint Sebastian and (...) between the painting Las dos fridas and the image of the Sacred Heart of Jesus. (shrink)

Frida Kahlo (1907–1954) was a Mexican artist who is remembered for her self-portraits, pain and passion, and bold, vibrant colors. This work aims to use her life story and her artistic production in a longitudinal study to examine with quantitative tools the effects of physical and emotional pain (rage) on artistic expression. Kahlo suffered from polio as a child, was involved in a bus accident as a teenager where she suffered multiple fractures of her spine and had 30 operations throughout (...) her lifetime. She also had a tempestuous relationship with her painter husband, Diego Rivera. Her physical and personal troubles however became the texture of her vivid visual vocabulary—usually expressed through the depiction of Mexican and indigenous culture or the female experience and form. We applied color analysis to a series of Frida's self-portraits and revealed a very strong association of physical pain and emotional rage with low wavelength colors (red and yellow), indicating that the expression of her ailments was, consciously or not, achieved by increasing the perceived luminance of the canvas. Further quantitative analysis that used the fractal dimension identified “The broken column” as the portrait with higher compositional complexity, which matches previous critical acclaim of this portrait as the climax of her art. These results confirm the ability of color analysis to extract emotional and cognitive features from artistic work. We suggest that these tools could be used as markers to support artistic and creative interventions in mental health. (shrink)

À travers l’analyse d’une œuvre de Frida Kahlo, Autorretrato con Pelo Cortado (« Autoportrait aux Cheveux Coupés »), datée de 1940, nous nous proposons d’extraire la réflexion féministe de l’artiste sur le genre et l’ambiguïté sexuelle. Avec ses nombreux autoportraits, l’artiste nous a livré une fine analyse du statut et de la condition des femmes de son époque. En tant que femme artiste et femme d’artiste, Kahlo a toute sa vie cherché sa place socialement et professionnellement. Elle a mené une (...) œuvre dichotomique et pertinente quant aux relations hommes-femmes. Son visage et son corps sont progressivement devenus les instruments de sa critique. Autorretrato con Pelo Cortado atteint un haut degré critique, l’œuvre joue sur les complexités de la personnalité de Kahlo. En cela, elle nous apparaît être une œuvre manifeste reflétant la résistance de l’artiste face aux lois patriarcales du Mexique des années 1930-1950. (shrink)

This article turns a critical eye on the indigenista movement that flourished in Latin America in the first half of the twentieth century, specifically as it relates to gender, race, and the visual...

In recent years feminist scholarship has increasingly focused on the importance of the body and its representations in virtually every social, cultural, and intellectual context. Many have argued that because women are more closely identified with their bodies, they have access to privileged and different kinds of knowledge than men. In this landmark new book, Paula Cooey offers a different perspective on the significance of the body in the context of religious life and practice. Building on the pathbreaking work of (...) Elaine Scarry in The Body in Pain, Cooey looks at a wide range of evidence, from the Argentine prison narrative of Alicia Partnoy, to the novels of Toni Morrison and the paintings of Frida Kahlo. Drawing on current social theory and critique, cognitive psychology, contemporary fiction and art, and women's accounts of religious experience, Cooey relates the reality of sentience to the social construction of reality. Beginning with an examination of the female body as a metaphor for alternative knowledge, she considers the significance of physical pain and pleasure to the religious imagination, and the relations between sentience, sensuality, and female subjectivity. Cooey succeeds in bringing forward a sophisticated new understanding of the religious importance of the body, at the same time laying the foundations of a feminist theory of religion. (shrink)

In an age in which anthropocentrism is increasingly under fire, the investment of the artistic tradition in that paradigm deserves particular attention. Portraiture is especially significant, as it seems to be the anthropocentric art form par excellence. It seems to reinforce key features of anthropocentrism: the distinction of the human from the nonhuman and the superiority of the former over the latter. We can pursue these questions most effectively if we distinguish descriptive (“weak”) anthropocentrism from normative (“strong”) anthropocentrism. The former (...) involves some sort of focus on humans, the latter combines this with claims about their superiority over the nonhuman. Certain works by influential portraitists, such as Pablo Picasso, Frida Kahlo, and Ana Mendieta, contest both weak and strong anthropocentrism. Other portraits seem to be involved in weak anthropocentrism, but not necessarily strong anthropocentrism. Considering the artwork of Alice Neel and the philosophy of Judith Butler, I argue that such works have an important ethical role to play in orienting us in our relationships with humans, precisely in resisting strong anthropocentrism even in expressing weak anthropocentrism. (shrink)

This chapter presents the text of a lecture on the legacies of surrealism in Latin America given at the 2009 British Academy Lecture Series. This text discusses the tensions between surrealist internationalism and local cultural nationalisms, the contested relationship between surrealism and Magic Realism, and the enduring surrealist fascination with Pre-Columbian art and architecture. It analyzes the works of Mexican artists Frida Kahlo and Gunther Gerzso and works of contemporary Brazilian artist Cildo Meireles. It contents that art from Latin America (...) has flourished in recent years without claiming surrealism as an exclusive source. (shrink)

Music to create a universe -- Theme, Part 1: the haunting melody -- Theme, Part 2: creativity -- Theme, Part 3: Freud and Mahler -- Coda -- Interlude -- Tender is the night -- Interlude -- Ingmar Bergman's persona -- Coda: Saraband -- Music and alchemy : Beethoven -- Gallery of the soul : Munch, Kahlo, Rivera -- To the lighthouse -- The fisher king and the handless maiden -- Prelude: the Alexandria quartet -- The Alexandria quartet -- Interlude: industrialization (...) as seen by Antonioni and Lawrence -- Gustav Mahler -- Epilogue -- The end of boundaries -- Georgia O'Keeffe: the touch of desire -- Music in film : introduction to chapters 14 & 15 -- The piano -- Tim winton's the riders -- Maeterlinck, Ibsen, Strindberg -- Pelleas and Melisande -- Finale: why I wrote this book. (shrink)

The Art Experience: An Introduction to Philosophy and the Arts takes readers on an engaging and accessible journey that explores a series of fundamental questions about the nature of art and aesthetic value. Three of these questions serve as the major sections for the book's 12 chapters: What makes something a work of art? How should we experience art in order to get the most out of it? And once we understand art, how should we evaluate whether it is good (...) or bad? Philosophical theory is illustrated with concrete examples: the paintings of Frida Kahlo, the music of Johann Sebastian Bach, the masks of the Nso people, and many others. Classic questions are balanced with cutting-edge challenges, such as Linda Nochlin's work on the exclusion of women from the artistic canon. The Art Experience presupposes no prior knowledge of philosophy or art, and it will be of interest to any reader seeking an accessible and engaging introduction to this field. Along the way, readers learn how philosophical theories can affect our real-world experiences with painting, music, theater, and many more art forms. Key Features Accessible for any college student and assumes no knowledge of philosophy, art theory, or any artistic medium Organizes topics conceptually, rather than historically, allowing students to more easily grasp the core issues themselves rather than tracing their historical evolution Offers readers a large number of contemporary examples and a consistent focus on the way theory can affect people's real-world experiences with art Explores questions about bias - for example, whether the artistic canon has excluded some groups unfairly and whether definitions of art are Western-biased. (shrink)

Volume 21 of _The Annual of Psychoanalysis_ is especially welcome for bringing to English-language readers timely contributions from abroad in an opening section on "Psychoanalysis in Europe." The section begins with a translation of Helmut Thomae's substantial critique of the current state of psychoanalytic education; Thomae's proposal for comprehensive reform revolves around a redefinition of the status of the training analysis in analytic training. Diane L'Heureux-Le Beuf's clinical diary of an analysis focusing on the narcissistic elements of oedipal conflict probes (...) the degree to which the analytic method can be applied to "nonstructured" analysands. And Nella Guidi shows the clinical value of supplementing Freud's notion of unobjectionable positive transference with the complementary notion of unobjectionable negative transference. Section II, on "Psychoanalysis and Hysteria," offers original contributions to Freud scholarship in the form of Jules Glenn's reconsideration of Dora's "Dynamics, Diagnosis, and Treatment"; William McGrath's analysis of the way Freud's hostility to religious superstition gained expression in his early work on hysteria; and Marian Tolpin's self-psychological reprise on the case of Anne O. The section concludes with Elisabeth Young-Bruehl and Sarah Cummin's provocative "What Happened to 'Anorexie Hysterique'?" which questions the contemporary separation of anorexia from hysteria and explore the sociohistorical reasons the separation came about. Section III, "Clinical and Theoretical Studies," begins with Nancy Kobrin's discussion of Freud's ideas about autonomy, including the terms Freud used and the way Strachey translated them into English. Her goal is to deepen our understanding of how Freud spoke and thought about an individual's sense of self. Frank Summers shows how object relations principles, which are shared by various object relations theories, can inform the conduct of analysis at all levels of pathology, including neurosis. And Henry Smith examines the meaning and value of the "analytic surface," a metaphor that highlights the relationship between the analyst's attention and the patient's attention. A final section on "Applied Psychoanalysis" offers contemporary examples of applied analytic inquiry in anthropology, art, and literature. Roy Grinker, III and Roy Grinker, Jr., in a methodological contribution to psychoanalytic anthropology, examine what is revealed when a native people are asked to retell a story introduced by them by their Western observers. Danielle Knafo explores the art and life of the Mexican surrealist Frida Kahlo through the concepts of the mirror, the mask, and the masquerade. And David Werman closes the volume with a comparative study of Edgar Allan Poe's and James Ensor's obsession with revenge, and the role it played in Poe's writing and Ensor's etchings, respectively. Bringing readers the influential reform proposals of Thomae, a rich sampling of recent Freud scholarship, applied contributions traversing three disciplines, and original clinical contributions reflecting American and European sensibilities, Volume 21 of _The Annual_ is true to the spirit of this distinguished series. It testifies to the scope of analytic inquiry, and it exemplifies the yield of such inquiry in the hands of gifted scholars and clinicians. (shrink)

“Talking Back to Frida: Houses of Emotional Mestizaje” is, in part, a historical meditation on the silencing of three women, Frida Kahlo, Maria Enríquez, a Mexican woman who was sexually assaulted in 1924, and me. Written in an innovative historical fashion that joins techniques drawn from fiction, journalism, and history, the article attempts to understand specific assaults on women’s voices by drawing readers into the historical worlds of the protagonists. “Talking Back” also seeks to respond to Hans Kellner’s incisive theoretical (...) challenge: how do historians’ person histories affect their historical choices? The article’s organization depends on my understanding of language, color, and physicality, as the emotional architecture of the Deep Southern and Mexican places tend to both enclose and partially free the protagonists. The essay begins by leading the reader into my own past in the Deep South, a past where German Jewish and Russian Jewish relatives engaged in a cultural battle over form, personal style, and will. Confronting a German Jewish world where only things—never feelings—seemed to matter, I found solace in the friendship of a black servant. That friendship, in turn, helped prompt a particularly empathic historical voice. The southern section is followed by a journey into Frida Kahlo’s Mexican world. In that world, Kahlo’s severe physical pain and solitude construct inner and outer universes. The people who populate these worlds are friends, lovers, husband, and the Mexican poor. Kahlo’s artistic renditions of these people reflect, the article suggests, both the depth of her love for them and a tendency to use them in response to her despair. Finally, “Talking Back” reconstructs the world of María Enríquez, a Michoacán peasant woman assaulted in public by her former boyfriend. Abandoned by friend, sister, and Catholic women on the way to church, Enríquez develops a voice laced with generosity, cultural insight, and a rare self-possession. (shrink)

The paper is an example of interdisciplinary research. It combines aspects of mythology, philosophy, psychoanalysis, aesthetics and feminism to support the analysis of images of water associated with woman and seduction, mainly in visual art. The author’s question is as follows: What are the basic characteristics of woman, water and seduction that have enabled them, throughout the world’s history, to fuse into a complex that can be found in myths, fairy tales, philosophical treatises, psychoanalysis and especially in works of art? (...) Is it a kind of Jungian archetypal image? To answer this question the author searches for a philosophical explanation of seduction in Jean Baudrillard’s On Seduction, and for an explanation of women’s identity in the works of Helene Cixous and Julie Kristeva. Further, an explanation of the development of the image of the mermaid is offered. The main emphasis is put on the interpretation of several works of art: What a Water Gave Me by Frida Kahlo, The Seduction and The Collective Invention by Rene Magritte, Queen of the Fish by Mimi Parent, and Bathing Nymphs by Paul Delvaux. (shrink)

This paper undertakes an analysis of the distinctive forms of self-consciousness, self-representation and existential-therapeutic work characteristic of the ex-voto paintings in Mexican folk art, and examines the appropriation thereof in Kahlo's Self-Portrait with Cropped Hair.

In lieu of an abstract, here is a brief excerpt of the content:Speculative ReproductionBiotechnologies and Ecologies in Thick TimeAstrida NeimanisEveryone loves me, Frida and the Abortion that fetus So Much Larger Than Life. Everyone loves that one. irrigation channelsthese waters as thick as blood (There is another painting I did, I called it “Roots.”) You the golden beets the potato bugs We are eating our young. Signed,—Frida Kahlo, Posthuman Gardener1 [End Page 108]IntroductionBirth has never been a “natural” matter. In the (...) context of proliferating new reproductive biotechnologies, we might be tempted to reconstitute a past when ushering new lives into this world only ever happened “naturally.” Yet reproduction has always been more than a simple question of fertilization, gestation, and delivery, whereby bodies might enact some natural biological destiny.2 Every reproduction is what we might call, after Donna Haraway, a “naturalcultural” one: that is, an inextricable entanglement of “natural” forces, matters, and processes, with “cultural” systems, values, and institutions (Haraway 2004, 2, 212–18) that together constitute a birthing ecology. Every human reproduction is thus not only a birthing of a human body, but also an event within certain conditions of possibility—a reaffirmation of, challenge to, and/or intervening otherwise in the structures, institutions, cultures, and ecologies of human and more-than-human bodies and technologies. On this view, a failure to birth, a decision not to birth, or a direction of one’s reproductive body or matter toward other kinds of births (not necessarily of one’s “own” child) are also “reproductions” within birthing ecologies. This is not at all to say that the reproductions we facilitate are always deliberate political choices or purposeful acts of compliance/subversion, even if in some cases they might be. Rather, it is to underline that all births are a co-configuration of naturalcultural bodies in context. What is birthed is also the affirmation of certain kinds of births, certain kinds of life, and certain value systems according to which life and reproduction are understood. Within this frame, we might also understand birth as the creation or reproduction of certain social and cultural imaginaries within which our values are oriented. Concomitant with such naturalcultural reproductions, then, might also be a speculation about what other sorts of births and birthing ecologies are possible—ones that might engender values and relations in which the technologies and naturecultures of reproduction can be imagined anew.In this paper, I contrast two very different versions of a reproductive imaginary—both birthed through the matter of our reproductive tissues, and both worth our consideration in the present moment. The first is the birthing of a neoliberal, individualistic reproductive imaginary of commodification and amnesiac bioscientific progress. Using terminology unpacked in more detail below, we might call this an autologous imaginary, where reproduction is disentangled from any obligation to other bodies in a polity of mutual care and concern. This imaginary promotes an erasure of the thick past of bodies and labors that produce reproductive tissues, and is focused primarily on preservation of the self and direct kin. This is what we find in dominant contemporary biobanking trends that divert human reproductive matter (here, [End Page 109] embryos, amniotic fluid, and umbilical cord blood) in the service of speculative “biological venture capital[ism]” (Waldby and Mitchell 2006, 123).In contrast, I consider a different kind of contemporary birthing imaginary, wherein one invests one’s reproductive matter in the service of both human and more-than-human reproductive ecologies. Drawing on two different artworks, I suggest that these creative interventions offer alternative “speculative reproductions.” Like contemporary biobanking regimes, these artworks speculate on what new kinds of bodies the reinvestment of reproductive matter (in this case, amniotic fluid and menstrual blood) might engender. Unlike the neoliberal regimes, however, these artworks confirm rather than repudiate a feminist ethics of corporeal generosity, and in fact, extend this ethics even further, through an imaginary of what I call posthuman gardening. Here, the literal resowing and reseeding of one’s reproductive matter establishes an extended, more-than-human birthing ecology that includes not only human bodies, but ecological bodies of various kinds. In this productive troubling of our commonplace Western and humanist understandings of the spacetimes of birth, we... (shrink)

This essay gives a situated introduction to body hacking, an underground surgical process that seeks to transform the body’s architecture, offering an ethnographic account of the affects that drive this corporeal intervention for performance artist Cheto Castellano, and later, for the author. A brief history of recent body modification movements is offered. Through these situated stories of corporeal transformation there is an exploration of Eva Hayward’s concept of transbecoming, exploring the perpetual change of the body in transition, particularly in relation (...) to posthumanistic transformations. The article closes with a speculative cyborg feminist body modification project titled 10,000 Generations Later, which explores how a subdermal archive of silicone implants stored under the author’s skin may assist her in a posthumanist transbecoming after the death of her companions species toy poodle Luk Kahlo, and perhaps even in a distant future. The author argues that this project becomes an apparatus of mestizaje between speculative cyborg feminism and significant otherness. (shrink)

The essay addresses the rise of what we elect to call ‘the religious left’. Documenting the collapse between radicality and religiosity as identity politics embraces moral absolutism, the essay offers a critique of the culture wars and the ensuing flight from political confrontation. Attending in particular to the failures of the left, which we recognise as being a failure of the political imagination, so we turn a critical eye on claims of authenticity and the accelerated embrace of narratives of vulnerability (...) and victimisation in a post-liberal world. The result is an inward-looking political imaginary, which is as suffocating as it is debilitating. (shrink)