Sexuality & Space’s interdisciplinary essays address gender in relation to architectural Contributors include Jennifer Bloomer, Victor Burgin, Beatriz Colomina. Wiki for Collaborative Studies of Arts, Media and Humanities. Sexuality and Space edited by Beatriz Colomina. Princeton Architectural Press, pp.,? Architecture and Feminism edited by.
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But this would presumably have been too literal a project for the theorists gathered.
Harvard Design Magazine: Sexuality and Space edited by Beatriz Colomina
The approaches taken by the authors are also widely divergent. Yet most of the articles, despite their apparent divergence of subject, are united by theoretical protocols as well as by the central concern colomija the book as a whole, which is not eroticism but gender, and not architecture but space in a variety of manifestations, many of them historical. The main uniting factor is psychoanalytic theory. The material throughout is rich and detailed. Beatriz Colomina contributes an analysis of representations of house designs, particularly interiors, by Adolf Loos and Le Corbusier.
Sexuality & space – Beatriz Colomina, Jennifer Bloomer – Google Books
She explores the way in which these houses are photographed, and some of the ideas informing them, drawing out the way in which these utopian, perfect rooms are—paradoxically—theatrical sets for dramas of domestic life. Surprising similarities or perhaps they are not so surprising are revealed between these modernist architects and the Renaissance architect and philosopher Leon Battista Alberti.
Mark Wigley shows how Alberti, both in his treatise on the family and in his colpmina writings, describes the ideal house as a building that encloses, conceals, and ultimately fetishizes heterosexual intercourse; the separate rooms of husband and wife may be entered by a private intercommunicating door, so that other members of the household need never know when the partners engage in sexual relations.
As she points out, this film is truly terrifying, but achieves its effects without any special effects or any actual representation of anything horrific.
Julie Harris in the film, The Haunting ; above: Joan Bennett in the film Secret Behind the Door.
Colomina Beatriz Ed Sexuality And Space
Photos from Sexuality and Space. But perhaps that was the point: The excavation of cultural products must always, it seems, uncover skeletons. Having made this statement, however, Burgin himself makes little further attempt to develop it, confining himself instead to an analysis of a Newton image, interesting enough, but much narrower in focus than his opening sentence had led this reader, at least, to expect.
It is insightful and thought srxuality nevertheless it illustrates both the virtues and the flaws collomina just of the book as a whole, but of the general state of cultural studies. Simultaneously populist and obscure, such studies can become both incoherent and philistine although the latter is certainly not an adjective I would apply to her essay or any of these contributions.
Indeed, this is a probably rash generalization, not a comment on any particular article in Sexuality and Spacebut if I have seemed to single out some authors for negative criticism, it is less on account of their specific contributions than because they are the heirs of what for me are ambiguous, indeed dubious, tendencies in contemporary cultural criticism, in which the debunking of Marx and all Enlightenment thought is married or at least engaged to a fundamentally uncritical appropriation of Freud or at least Lacan.
I have gone terminally off Lacan since I discovered that, when Antonin Artaud was his patient during World War II, Lacan showed little interest in the deranged playwright 3 ; an illegitimate ad hominem argument, I know—but the grip of his theory on academic critics has always been mysterious to me. Even worse is a practice, which I fear may have been on occasion my own, whereby a critic distances herself ironically or cynically from an assortment of postmodern theorists Baudrillard, Deleuze and Guattari, even Derrida and Foucault while simultaneously appropriating their thought, not infrequently in the form of spurious generalizations—a feature, Meaghan Morris suggests, of the work of Deleuze and Guattari themselves in relation to Freud.
The whole is then likely to be couched in dauntingly arcane and grammatically tortuous language.
But I suppose that postmodernism in general and contemporary psychoanalysis in particular is the theory our epoch in history deserves.
Psycho-analysis has certainly been reconstructed to fit; in contrast to the highly moralistic and adjustive Freudianism of the s, which was in any case a therapeutic and sociological rather than a critical tool, we have today psychoanalysis as an ideologically empty vessel, a theory without consequences.
Truly a theory for our colmoina times. A Critical Bextriz Oxford: Basil Blackwell, See Stephen Barber, Antonin Artaud: Blows and Bombs London: Faber and Faber, Penguin, The Haunting ; above: Other Articles From No.
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