期刊名称：Avant : Journal of Philosophical-Interdisciplinary Vanguard
印刷版ISSN：2082-7598
电子版ISSN：2082-6710
出版年度：2017
卷号：VIII
期号：2
页码：145
出版社：Centre for Philosophical Research
摘要：In the House and Space2 photographic series, Francesca Woodman captures the environmentsthat may be considered disruptive; still, it is a female model—in her inconstantposes, always partially blurred or hidden—that holds the viewer’s attention. The picturestherefore evoke a twofold sense of obscurity, since their unfriendly interiors are occupiedby the uncanny, semi-absent yet ceaselessly present, dis-appearing woman, who turns outto be Woodman herself. Woodman’s spectral presence and the unhomely locations shehaunts—being simultaneously the photographer and the object of her photographs—areexamined in this article by means of Bracha L. Ettinger’s matrixial theory. Ettingerianpsychoanalysis, juxtaposed with Roland Barthes, Sigmund Freud, and Jacques Lacan, providesthe tools to challenge the dominant non-affirmative understanding of Woodman’sself-portraits as works of disappearing and failing subjectivity: an understanding whoseobvious point of support is found in the artist’s biography. Instead, Ettinger’s systemmakes it possible to look at this oeuvre through the prisms of fragility, homeliness, andthe potential emergence of blurry, ghostly subjectivity. Moreover, the article examines theways in which Woodman resists the divisions imposed on her and the medium she uses(such as the Barthesian triad of Operator, Spectator, and Spectrum, and the dichotomiesof me / the Other and subject / object).
关键词：Francesca Woodman; Bracha L. Ettinger; matrixial theory; the uncanny;homeliness; fragility; photography; blurry subjectivity.
