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Gravity-bound: the articulation of t...

State University of New York at Binghamton., Comparative Literature.

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Gravity-bound: the articulation of the body in art and the possibility of community.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Gravity-bound: the articulation of the body in art and the possibility of community./
Author:	Schnabl, Ruth.
Description:	167 p.
Notes:	Adviser: William Haver.
Contained By:	Dissertation Abstracts International69-05A.
Subject:	Fine Arts. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3310732
ISBN:	9780549589563

Gravity-bound: the articulation of the body in art and the possibility of community.
Schnabl, Ruth.

Gravity-bound: the articulation of the body in art and the possibility of community. - 167 p.

Adviser: William Haver.

Thesis (Ph.D.)--State University of New York at Binghamton, 2008.

This dissertation focuses on the body, not as an abstract concept or object for representation, but in its irreducible materiality. I look at various attempts at articulating this body in art, focusing on performance artist Diamanda Galas, painter Francis Bacon, and fictional composer Adrian Leverkuhn, the protagonist of Thomas Mann's novel Doctor Faustus; each artist strives to say---whether in music, language, or paint---the body without reducing it to a mere object for discourse or representation. I also consider to what extent such a saying of the body necessitates that the artist him/herself become body and abandon conscious control of what s/he is doing. Here Jean-Francois Lyotard's work on the sublime is pertinent to my discussion. I then consider these various articulations of the body in art as they relate, or rather, refuse to be related, to politics, which raises the question of the aestheticization of the political. My discussion follows Jacques Ranciere, for whom the relationship between art and politics hinges on bodies in space---what he calls the distribution of the sensible. Bodies in space are also the building blocks for Jean-Luc Nancy's inoperative community---for him, the condition of possibility for the political, which he is careful to distinguish from any actual politics; Nancy defines community, not as an identity-based group that would mirror the self-present individual, but as being together of singular bodies. Taking Nancy's inoperative community as my point of departure, I consider the implications of the body---the affects and passions---for community and communication. Here Jean Genet, Jean-Luc Nancy, and Diamanda Galas, who each, in his/her distinct way, suggest the importance of being affective when relating to other beings, are especially pertinent to my argument. Finally, I consider the risks entailed by ignoring the body, by not doing justice to the fact that we are not just many, but many bodies. I conclude with a discussion of Susan Griffin's "Our Secret," which makes a powerful plea for the importance of heeding the life of the body and demonstrates the disastrous consequences of a misguided life of the mind.

ISBN: 9780549589563Subjects--Topical Terms:

891065
Fine Arts.

Gravity-bound: the articulation of the body in art and the possibility of community.
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100 1 $a Schnabl, Ruth. $3 1043122
245 1 0 $a Gravity-bound: the articulation of the body in art and the possibility of community.
300 $a 167 p.
500 $a Adviser: William Haver.
500 $a Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1771.
502 $a Thesis (Ph.D.)--State University of New York at Binghamton, 2008.
520 $a This dissertation focuses on the body, not as an abstract concept or object for representation, but in its irreducible materiality. I look at various attempts at articulating this body in art, focusing on performance artist Diamanda Galas, painter Francis Bacon, and fictional composer Adrian Leverkuhn, the protagonist of Thomas Mann's novel Doctor Faustus; each artist strives to say---whether in music, language, or paint---the body without reducing it to a mere object for discourse or representation. I also consider to what extent such a saying of the body necessitates that the artist him/herself become body and abandon conscious control of what s/he is doing. Here Jean-Francois Lyotard's work on the sublime is pertinent to my discussion. I then consider these various articulations of the body in art as they relate, or rather, refuse to be related, to politics, which raises the question of the aestheticization of the political. My discussion follows Jacques Ranciere, for whom the relationship between art and politics hinges on bodies in space---what he calls the distribution of the sensible. Bodies in space are also the building blocks for Jean-Luc Nancy's inoperative community---for him, the condition of possibility for the political, which he is careful to distinguish from any actual politics; Nancy defines community, not as an identity-based group that would mirror the self-present individual, but as being together of singular bodies. Taking Nancy's inoperative community as my point of departure, I consider the implications of the body---the affects and passions---for community and communication. Here Jean Genet, Jean-Luc Nancy, and Diamanda Galas, who each, in his/her distinct way, suggest the importance of being affective when relating to other beings, are especially pertinent to my argument. Finally, I consider the risks entailed by ignoring the body, by not doing justice to the fact that we are not just many, but many bodies. I conclude with a discussion of Susan Griffin's "Our Secret," which makes a powerful plea for the importance of heeding the life of the body and demonstrates the disastrous consequences of a misguided life of the mind.
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