Facing the Faceless: The Erased Face as a Figure of Aesthetic and Historical Experience

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F15%3A10319993" target="_blank" >RIV/00216208:11210/15:10319993 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Facing the Faceless: The Erased Face as a Figure of Aesthetic and Historical Experience

Popis výsledku v původním jazyce

In 1919, two unique texts that are crucial for the cultural history of the face were published: "The Uncanny" by Sigmund Freud and the short story "Erased Face" by Czech author Richard Weiner. While Freud depicts his failure to recognize his own face inthe mirror, Weiner's text focuses on the image of a headlike "oval stub" devoid of any human features except the eyes. The paper deals with the phenomenon of disfiguration, both in the context of the peculiar aesthetics of the "formless" and in relationto the "broken faces" (gueules cassées) who suffered massive facial injuries in World War I. The central image of a face without a face is interpreted as an intermedial figure which connects literary, visual and historical memory while heralding the aesthetics of the postmodern portrait, especially in the paintings by Francis Bacon, rendering identity through deformation. The narrative and images of losing one's face are further discussed in connection with contemporary psychoanalysis.

Název v anglickém jazyce

Facing the Faceless: The Erased Face as a Figure of Aesthetic and Historical Experience

Popis výsledku anglicky

In 1919, two unique texts that are crucial for the cultural history of the face were published: "The Uncanny" by Sigmund Freud and the short story "Erased Face" by Czech author Richard Weiner. While Freud depicts his failure to recognize his own face inthe mirror, Weiner's text focuses on the image of a headlike "oval stub" devoid of any human features except the eyes. The paper deals with the phenomenon of disfiguration, both in the context of the peculiar aesthetics of the "formless" and in relationto the "broken faces" (gueules cassées) who suffered massive facial injuries in World War I. The central image of a face without a face is interpreted as an intermedial figure which connects literary, visual and historical memory while heralding the aesthetics of the postmodern portrait, especially in the paintings by Francis Bacon, rendering identity through deformation. The narrative and images of losing one's face are further discussed in connection with contemporary psychoanalysis.

Druh

J_x - Nezařazeno - Článek v odborném periodiku (Jimp, Jsc a Jost)

CEP obor

AJ - Písemnictví, mas–media, audiovize

OECD FORD obor

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Projekt

<a href="/cs/project/GP13-23756P" target="_blank" >GP13-23756P: Beztvaré psaní: vizualita jako inspirace k myšlení literatury</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2015

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Czech and Slovak Journal of Humanities

ISSN

1805-3742

e-ISSN

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Svazek periodika

5

Číslo periodika v rámci svazku

1

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

16

Strana od-do

104-119

Kód UT WoS článku

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EID výsledku v databázi Scopus

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