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008 230103t20092009nyu fo d z eng d
020 _a9780823227334
_qprint
020 _a9780823237647
_qPDF
024 7 _a10.1515/9780823237647
_2doi
035 _a(DE-B1597)9780823237647
035 _a(DE-B1597)555218
035 _a(OCoLC)1099113913
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPER000000
_2bisacsh
082 0 4 _a155.9/35
_222
084 _aonline - DeGruyter
100 1 _aHarries, Martin
_eautore
245 1 0 _aForgetting Lot's Wife :
_bOn Destructive Spectatorship /
_cMartin Harries.
264 1 _aNew York, NY :
_bFordham University Press,
_c[2009]
264 4 _c©2009
300 _a1 online resource (192 p.) :
_b22 Black & White and color illustrations
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tList of Figures --
_tList of Plates --
_tPreface --
_tIntroduction --
_tChapter One Artaud, Spectatorship, and Catastrophe --
_tChapter Two Hollywood Sodom --
_tChapter Three Anselm Kiefer’s Lot’s Wife: Perspective and the Place of the Spectator --
_tCoda Lot’s Wife on September 11, 2001; or, Against Figuration --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aCan looking at disaster and mass death destroy us? Forgetting Lot’s Wife provides a theory and a fragmentary history of destructive spectatorship in the twentieth century. Its subject is the notion that the sight of historical catastrophe can destroy the spectator. The fragments of this history all lead back to the story of Lot’s wife: looking back at the destruction of the cities of Sodom and Gomorrah, she turns into a pillar of salt. This biblical story of punishment and transformation, a nexus of sexuality, sight, and cities, becomes the template for the modern fear that looking back at disaster might petrify the spectator. Although rarely articulated directly,this idea remains powerful in our culture. This book traces some of its aesthetic, theoretical, and ethical consequences. Harries traces the figure of Lot’s wife across media. In extended engagements with examples from twentieth-century theater, film, and painting, he focuses on the theatrical theory of Antonin Artaud, a series of American films, and paintings by Anselm Kiefer. These examples all return to the story of Lot’s wife as a way to think about modern predicaments of the spectator. On the one hand, the sometimes veiled figure of Lot’s wife allows these artists to picture the desire to destroy the spectator; on the other, she stands as a sign of the potential danger to the spectator. These works, that is, enact critiques of the very desire that inspires them.The book closes with an extended meditation on September 11, criticizing the notion that we should have been destroyed by witnessing the events of that day.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 03. Jan 2023)
650 0 _aAudiences
_xPsychology.
650 0 _aInfluence (Psychology).
650 0 _aMemory.
650 0 _aRecollection (Psychology).
650 0 _aSpectators
_xPsychology.
650 0 _aSuffering.
650 0 _aViolence.
650 4 _aCinema & Media Studies.
650 4 _aLiterary Studies.
650 4 _aPhilosophy & Theory.
650 7 _aPERFORMING ARTS / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780823237647?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9780823237647
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780823237647/original
942 _cEB
999 _c201798
_d201798