Luigi Pirandello and Francis Bacon: Sensation and Representation
Identifikátory výsledku
Kód výsledku v IS VaVaI
<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F21%3A10435340" target="_blank" >RIV/00216208:11210/21:10435340 - isvavai.cz</a>
Výsledek na webu
<a href="https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=6auTmYNxTC" target="_blank" >https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=6auTmYNxTC</a>
DOI - Digital Object Identifier
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Alternativní jazyky
Jazyk výsledku
angličtina
Název v původním jazyce
Luigi Pirandello and Francis Bacon: Sensation and Representation
Popis výsledku v původním jazyce
The article has looked into the issue of the violence of representation and its self-sustaining nature through juxtaposition of Francis Bacon's triptychs and painting of George Dyer and the analysis of Luigi Pirandello's Uno, nessuno e centomila. The analysis of the dynamics of the gaze has foregrounded face as a space of one's engagement with the nature of representation. The application of the term sensation as used in visual arts has revealed the dynamics of de-validating and de-authenticated image production as the space of fluidity. By using the theoretical framework of Slavoj Žižek, Judith Butler, Jacques Lacan, and Gilles Deleuze, and comparing Bacon's portraits of George Dyer to the case of Moscarda explored by Pirandello, it has been demonstrated that the modalities of the violence of representation are interdependent. Using Jean-Francois Lyotard's proposition of a regulatory element produced within such interaction, it has been shown that both Pirandello and Bacon oppose theoretical abstraction as violence to lived experience.
Název v anglickém jazyce
Luigi Pirandello and Francis Bacon: Sensation and Representation
Popis výsledku anglicky
The article has looked into the issue of the violence of representation and its self-sustaining nature through juxtaposition of Francis Bacon's triptychs and painting of George Dyer and the analysis of Luigi Pirandello's Uno, nessuno e centomila. The analysis of the dynamics of the gaze has foregrounded face as a space of one's engagement with the nature of representation. The application of the term sensation as used in visual arts has revealed the dynamics of de-validating and de-authenticated image production as the space of fluidity. By using the theoretical framework of Slavoj Žižek, Judith Butler, Jacques Lacan, and Gilles Deleuze, and comparing Bacon's portraits of George Dyer to the case of Moscarda explored by Pirandello, it has been demonstrated that the modalities of the violence of representation are interdependent. Using Jean-Francois Lyotard's proposition of a regulatory element produced within such interaction, it has been shown that both Pirandello and Bacon oppose theoretical abstraction as violence to lived experience.
Klasifikace
Druh
J<sub>ost</sub> - Ostatní články v recenzovaných periodicích
CEP obor
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OECD FORD obor
60205 - Literary theory
Návaznosti výsledku
Projekt
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Návaznosti
S - Specificky vyzkum na vysokych skolach
Ostatní
Rok uplatnění
2021
Kód důvěrnosti údajů
S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů
Údaje specifické pro druh výsledku
Název periodika
Pirandello Studies
ISSN
1471-9363
e-ISSN
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Svazek periodika
41
Číslo periodika v rámci svazku
2021
Stát vydavatele periodika
IE - Irsko
Počet stran výsledku
18
Strana od-do
128-145
Kód UT WoS článku
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EID výsledku v databázi Scopus
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