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• W3131468131 abstract "This is one of Bracha L. Ettinger’s most important statements on the role of art, on the aesthetics of Beauty and the Sublime, on the relation between Beauty as a deflection of the encounter with the limit of life—death—and the correlation in psychoanalytical thinking between death—or rather the Death drive—and the feminine. She is engaging at once with Jewish theology, with classical Western aesthetics, with Kant on Beauty and the Sublime, and with Lacan’s reading of Beauty as a limit that concerns Ethics. In anticipation of her longer study of Lacan’s seminar on Ethics in which he discusses Beauty in relation to the figure of Antigone in Sophocles’ tragedy, which follows as Chapter 8, this chapter works across the Lacanian vocabulary of the cluster Ettinger has termed Woman/Other/Thing to propose a series of terms that loosen the connection between the Death drive and the feminine because she reveals how the feminine now extends beyond the limit of life—which is death or unthinkability—toward another limit that is gestation and pre-birth in ‘cross-scription’ of traces of shared events. New concepts explored in this chapter include: the time-space of non-life (which is the not-yet-human life, and is not ‘death’) in relation to feminine borderswerving, borderlinking and borderspacing by means of a different kind of woman-archaic-m/Other-Thing where the primary psychic Thing does not turn into object but into encounter-event. This chapter will elaborate the opening statement about how art can engender a transubjective space ‘by way of experiencing with an object or a process of creation’. The emphasis moves away from classic oppositions between artist and viewer/spectator/reader to the space engendered in the encounter, inside the artwork, between artworks in a series and, to begin with, in-between artist with the world when she paints or writes. Then the space of such encounter is a space of wit(h)nessing whose affective charge and meaning depends upon the capacity of wit(h)ness viewer/reader to fragilize her/himself so that the limit, the frontier between subject and subject, subject and object, is transgressed and becomes a borderspace and a threshold for transmission of traces of trauma. Transmission cannot, however, be predicted or presumed since the transmission comes from one transubjective encounter-event that generated the art where the artist is self-fragilized and relies on evoking another with the potential wit(h)ness viewer/reader whose frontiers may be fragilized." @default.
• W3131468131 created "2021-03-01" @default.
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• W3131468131 date "2020-01-01" @default.
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• W3131468131 title "Chapter 7 ART AS THE TRANSPORT-STATION OF TRAUMA ([1999] 2000)" @default.
• W3131468131 doi "https://doi.org/10.1057/978-1-137-34516-5_8" @default.
• W3131468131 hasPublicationYear "2020" @default.
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