In Response to Echo (Paperback)
B. Baert
Sold by Grand Eagle Retail, Bensenville, IL, U.S.A.
AbeBooks Seller since 12 October 2005
New - Soft cover
Condition: New
Ships within U.S.A.
Quantity: 1 available
Add to basketSold by Grand Eagle Retail, Bensenville, IL, U.S.A.
AbeBooks Seller since 12 October 2005
Condition: New
Quantity: 1 available
Add to basketPaperback. In his Metamorphoses, Ovid (43 BC - AD 17) tells the story ofEcho and Narcissus. Echo's love for Narcissus ended in a cruel twist offate. Already punished with an echo for a voice, the nymph sufferedfurther as she petrified and her bones became stones. The study of arthas long focused on the Narcissus-mirror syndrome as a paradigm forpainting (Leon Battista Alberti (1404-1472)). Echo had no place in thismasculine scopic discipline. Recent approaches have rehabilitated Echofrom a visual, cultural and gendered point of view. Echo cries; shecries for an alternative to the mirror paradigm and oculocentrism. Shehelps us break free from Narcissus in favour of visual modalities suchas dissolution, camouflage and contamination, in short, disappearance asan alternative to the scopic regime. In this essay I treat the impact ofEcho on art history through the lenses of: gender, speech and hearing;Echo as textilisation and sacrifice; Echo as chthonic art; and, finally,Echo and le desir mimetique. With this approach, Idevelop a new hermeneutic to reintegrate the sonoric senses, camouflagetheory, gender epistemology, and the anthropological substrata ofnature, love and death into our Western obsession for mimetic thinking. In his Metamorphoses, Ovid (43 BC - AD 17) tells the story of Echo and Narcissus. Echo's love for Narcissus ended in a cruel twist of fate. This essay treats the impact of Echo on art history through the lenses of gender, speech and hearing; Echo as textilization and sacrifice; Echo as chthonic art; and, finally, Echo and le desir mi Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
Seller Inventory # 9789042933460
In his Metamorphoses, Ovid (43 BC - AD 17) tells the story of Echo and Narcissus. Echo's love for Narcissus ended in a cruel twist of fate. Already punished with an echo for a voice, the nymph suffered further as she petrified and her bones became stones. The study of art has long focused on the Narcissus-mirror syndrome as a paradigm for painting (Leon Battista Alberti (1404-1472)). Echo had no place in this masculine scopic discipline. Recent approaches have rehabilitated Echo from a visual, cultural and gendered point of view. Echo cries; she cries for an alternative to the mirror paradigm and oculocentrism. She helps us break free from Narcissus in favour of visual modalities such as dissolution, camouflage and contamination, in short, disappearance as an alternative to the scopic regime. In this essay I treat the impact of Echo on art history through the lenses of: gender, speech and hearing; Echo as textilisation and sacrifice; Echo as chthonic art; and, finally, Echo and le désir mimétique. With this approach, I develop a new hermeneutic to reintegrate the sonoric senses, camouflage theory, gender epistemology, and the anthropological substrata of nature, love and death into our Western obsession for mimetic thinking.
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