The spectator on the image’s meantime of The ballad of sexual dependency
Autor(a) principal: | |
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Data de Publicação: | 2011 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Galáxia (São Paulo) |
Texto Completo: | https://revistas.pucsp.br/index.php/galaxia/article/view/7035 |
Resumo: | By attempting to the intermedial character Nan Goldin’s several works - and specifically of her slide show The ballad of sexual dependency (1979-), this paper intends to indicate the peculiar way in which the artist dialectize images of her personal collection, mobilizing the spectator for an active work in the meantime and intervals of the photographs displayed. The consideration of the intermedial aspects of her work and the return to the Didi Huberman´s concept of dialectical images (1998) allow us to think about the process by which the photographer gives legibility to the pictures of her archive and invokes the spectators to draw their own set of associations and dissociations. We retake, at this point of our argument, to the theme of “spectator’s emancipation” as raised by Jacques Rancière (2008). |
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The spectator on the image’s meantime of The ballad of sexual dependencyO espectador no entretempo das imagens de The ballad of sexual dependencyNan Goldinintermedialitydialectical imagesspectatorNan Goldinintermidialidadeimagens dialéticasespectadorAbstractBy attempting to the intermedial character Nan Goldin’s several works - and specifically of her slide show The ballad of sexual dependency (1979-), this paper intends to indicate the peculiar way in which the artist dialectize images of her personal collection, mobilizing the spectator for an active work in the meantime and intervals of the photographs displayed. The consideration of the intermedial aspects of her work and the return to the Didi Huberman´s concept of dialectical images (1998) allow us to think about the process by which the photographer gives legibility to the pictures of her archive and invokes the spectators to draw their own set of associations and dissociations. We retake, at this point of our argument, to the theme of “spectator’s emancipation” as raised by Jacques Rancière (2008).Ao atentar para o caráter intermedial formador de várias obras de Nan Goldin e, em específico, do diaporama The ballad of sexual dependency (1979), o presente artigo procura indicar o modo peculiar como a artista dialetiza as imagens de seu acervo pessoal, mobilizando o espectador para um trabalho ativo nos intervalos e entretempos das fotografias exibidas. A consideração dos aspectos intermidiáticos de sua obra e o retorno ao conceito de imagens dialéticas proposto por Didi-Huberman (1998) permitem-nos compreender o processo pelo qual a fotógrafa dá legibilidade a suas fotografias de arquivo, bem como convoca o espectador a elaborar seu próprio jogo de associações e dissociações. Retomamos, neste ponto de nosso argumento, o tema da “emancipação do espectador” conforme suscitado por Jacques Rancière (2008).PEPG COS-PUC-SP2011-11-15info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/galaxia/article/view/7035Galaxia; No. 22 (2011)GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 22 (2011)1982-2553reponame:Galáxia (São Paulo)instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPporhttps://revistas.pucsp.br/index.php/galaxia/article/view/7035/6055Siqueira, Juliana SallesMendonça, Carlos Magnoinfo:eu-repo/semantics/openAccess2024-05-15T14:01:09Zoai:ojs.pkp.sfu.ca:article/7035Revistahttps://www.pucsp.br/pos-graduacao/mestrado-e-doutorado/comunicacao-e-semioticaPRIhttps://old.scielo.br/oai/scielo-oai.phpcos@pucsp.br||aidarprado@gmail.com1982-25531519-311Xopendoar:2024-05-15T14:01:09Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.none.fl_str_mv |
The spectator on the image’s meantime of The ballad of sexual dependency O espectador no entretempo das imagens de The ballad of sexual dependency |
title |
The spectator on the image’s meantime of The ballad of sexual dependency |
spellingShingle |
The spectator on the image’s meantime of The ballad of sexual dependency Siqueira, Juliana Salles Nan Goldin intermediality dialectical images spectator Nan Goldin intermidialidade imagens dialéticas espectadorAbstract |
title_short |
The spectator on the image’s meantime of The ballad of sexual dependency |
title_full |
The spectator on the image’s meantime of The ballad of sexual dependency |
title_fullStr |
The spectator on the image’s meantime of The ballad of sexual dependency |
title_full_unstemmed |
The spectator on the image’s meantime of The ballad of sexual dependency |
title_sort |
The spectator on the image’s meantime of The ballad of sexual dependency |
author |
Siqueira, Juliana Salles |
author_facet |
Siqueira, Juliana Salles Mendonça, Carlos Magno |
author_role |
author |
author2 |
Mendonça, Carlos Magno |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Siqueira, Juliana Salles Mendonça, Carlos Magno |
dc.subject.por.fl_str_mv |
Nan Goldin intermediality dialectical images spectator Nan Goldin intermidialidade imagens dialéticas espectadorAbstract |
topic |
Nan Goldin intermediality dialectical images spectator Nan Goldin intermidialidade imagens dialéticas espectadorAbstract |
description |
By attempting to the intermedial character Nan Goldin’s several works - and specifically of her slide show The ballad of sexual dependency (1979-), this paper intends to indicate the peculiar way in which the artist dialectize images of her personal collection, mobilizing the spectator for an active work in the meantime and intervals of the photographs displayed. The consideration of the intermedial aspects of her work and the return to the Didi Huberman´s concept of dialectical images (1998) allow us to think about the process by which the photographer gives legibility to the pictures of her archive and invokes the spectators to draw their own set of associations and dissociations. We retake, at this point of our argument, to the theme of “spectator’s emancipation” as raised by Jacques Rancière (2008). |
publishDate |
2011 |
dc.date.none.fl_str_mv |
2011-11-15 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://revistas.pucsp.br/index.php/galaxia/article/view/7035 |
url |
https://revistas.pucsp.br/index.php/galaxia/article/view/7035 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistas.pucsp.br/index.php/galaxia/article/view/7035/6055 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
PEPG COS-PUC-SP |
publisher.none.fl_str_mv |
PEPG COS-PUC-SP |
dc.source.none.fl_str_mv |
Galaxia; No. 22 (2011) GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 22 (2011) 1982-2553 reponame:Galáxia (São Paulo) instname:Pontifícia Universidade Católica de São Paulo (PUC-SP) instacron:PUC_SP |
instname_str |
Pontifícia Universidade Católica de São Paulo (PUC-SP) |
instacron_str |
PUC_SP |
institution |
PUC_SP |
reponame_str |
Galáxia (São Paulo) |
collection |
Galáxia (São Paulo) |
repository.name.fl_str_mv |
Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP) |
repository.mail.fl_str_mv |
cos@pucsp.br||aidarprado@gmail.com |
_version_ |
1799129329659019264 |