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Norman Bryson - The Gaze in the Expanded Field

Norman Bryson - The Gaze in the Expanded Field

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Published by Daniel Dorall

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Categories:Topics, Art & Design
Published by: Daniel Dorall on Mar 03, 2012
Copyright:Attribution Non-commercial

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11/05/2012

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ARTCRITICISM
I
Jacqueline
Rose
SEXUALITYNUMBER
2
DiuArtFoundation
~
.
~":J.;ii-.
it
.
.,;
-
..
,.
EDITEDBY
HalFoster
 
f
.
.
.
'"
LibraryofCongressCataloging-in-PublicationData
DiscussionsinContemporaryCulture.No.2edited
by
HalFoster.Includesbibliographies.Contents:no.2.VisionandVisuality.I.Artandsociety.2.Aesthetics,Modern20thcentury.I.Foster,Hal.II.DiaArtFoundation.N72.S6D571987700'.1'0387·71579ISBN1-56584-461-0
TheNewPresswasestablishedin1990asanot-far-profitalternativetothelarge,commercialpublishinghousescurrentlydominatingthebookpublishingindustry.TheNewPressoperatesinthepublicinterestratherthanforprivategain,andiscommittedtopublishing,ininnovativeways,worksofeducational,cultural,andcommunityvaluethatareoftendeemedinsufficientlyprofitable.www.thenewpress.comDesignbyBethanyJohnsPrintedintheUnitedStatesofAmerica987654321
CONTENTS
HalFoster
ix
F'REFACE
MartinJay
SCOPICREGIMESOFMODERNITY
JanathanCrary
MODERNIZINGVISION
RosalindKrauss
THEIM/F'ULSETOSEEGENERALDISCUSSION
NormanBryson
THEGAZEINTHEEXF'ANDEDFIELD
JacquelineRose
SEXUALITYANDVISION:SOMEOUESTIONS
13t
j
GENERALDISCUSSION
 
Figure
I.
Jiun.Thecharacter"Man."
NormanBryson
THE
GAZE
INTHE
EXPANDED
FIELD
InthispaperIwillbeexaminingatermthathasbecomeimpor-tantincontemporarydiscussionsofpaintingandofvisuality:
lereaard,
"theGaze."FirstofallIwilldowhatIcantotracetheconceptoftheGazeasitpassesfromSartretoLacan,fromSartre'sdescriptionoftheGazeoftheotherin
BeinaandNoth-ingness
toLacan'sreworkingofthatdescriptioninthefirsttwosectionsof
TheFourFundamentalConcepts
if
Psycho-analysis.
Tosomethiswillbefamiliarterritory,toothersitwillbelessfa-miliar;IwilldomybesttoproceedasclearlyasIcan.Butoncethataccountof
Ieregard,
theGaze,isstatedIwanttomovetowhatmayseematfirstSightaquiteunconnectedaccountofvi-sion,theonethatemergesinthemeditationonWesternphi-
losophy
conductedinJapanprincipallybyKitaroNishidaandthenbyNishida'sstudentKeijiNishitani.ThereasonIwishtoinvokeishidaandNishitaniisthattheirtheoreticaldevelop-mentseemsinmanyrespectstogofurtherthanSartreandLacantowardsaradicalreformulationofourthoughtonvisu-alitv,andasaconsequenceofthisourthoughtonpainting.MyargumentwillbethatthelineofthinkingthatpassesfromSartretoLacanincrucialrespectsremainsheldwithinaconceptualenclosure.wherevisionisstilltheorizedfromthestandpointofasubjectplacedatthecenterofaworld.AlthoughthatcentralizedsubjectisprogressivelydismantledbySartreandLacan-andthedirectionoftheirthoughtisunmistakeablyto-wardsaradicaldecenteringofthesubject-thereseemtometobeareasinwhichthestandpointofthesubjectascenterisactu-
,;:u
IIIII
87

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