Download Art in the Offertorium: Narcissism, Psychoanalysis, and by Harvey Giesbrecht, Charles Levin PDF

By Harvey Giesbrecht, Charles Levin

This ebook proposes a brand new method of the matter of aesthetic adventure in Western tradition. Noting how paintings global phenomena evoke traditional psychoanalytic speculations approximately narcissism, the authors flip the tables and "apply" aesthetic questions and issues to psychoanalytic thought. Experimenting with Freudian and post-Freudian strategies, they suggest a non-normative idea of the psychic force to handle and include deep tensions within the post-Renaissance aesthetic venture, the increase of modernism, and the modern paintings global. it's argued that those tensions replicate valuable conflicts within the improvement of patriarchal civilization, which the emergence of the cultured area, as a really good variety of perform, exposes and subverts. The postmodern period of aesthetic mirrored image is interpreted because the final result of a posh narcissistic dialectic of idealization and de-idealization that's major for the knowledge of up to date tradition and its old clients.

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Additional resources for Art in the Offertorium: Narcissism, Psychoanalysis, and Cultural Metaphysics (Contemporary Psychoanalytic Studies, Volume 15)

Example text

This seems to be related to the way in which the Madonna can be used to mediate the coldness of the patriarchal religion with personal warmth. The saviour dies to wash away our sins, but the mother suffers in order to give us a sense of self. None of this seems to correspond to what is going on in the art world today. Indeed, the art world seems to want to question the notion of a self by challenging the concept of “thing-in-itself ” experience. The offertorium, in other words, places in question the whole metaphysics of transformation as such.

In the offertorium, the submissive transformation of narcissistic energy and self-love into the anti-libidinal force of civilized power is unfurled, like a magnificent baroque painting of a knot undoing itself, revealing the dead ram inside its god-like shell, then Isaac hidden inside the ram, then Abraham’s mangled self-love and hatred and Sarah’s pain, also our own, burned into the heart of Isaac: the narcissistic drive condition of humanity. BALDESSARI’S BOX Glimpses of the historical unfolding of the beautiful-ugly structures of human self-love, the vicissitudes of the narcissistic drive, refer to a quality of the art world that is not specific to any individual work.

262–263) This is a “‘time of the now’ which is shot through with chips of Messianic time” (p. 263), not un-like Bion’s transformation in O. The time of the offertorium is outside the time of the ego, outside “progress” and civilization, praeter legem; it is in but not of this world. Benjamin described progress, or ego time, as a “homogeneous, empty” (p. 261) medium, an opportunity for omnipotent control in which progress is understood not merely as a reasonable advance in human abilities or knowledge, but as the grandiose authoritarian (civilized) phantasy of “the progress of mankind itself .

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