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Painted Eroticism: Sex and Death in Cain and Abelâs Story
in Biblical InterpretationSearch for other papers by Julián Andrés González HolguÃn in
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Abstract
Using George Batailleâs concepts of continuity/discontinuity, eroticism, and death, I read the stories of Genesis 3â4 to demonstrate how these notions provide a hermeneutical framework to understand the myths of creation. I present a unique perspective around the idea of continuity/discontinuity, the role of work, and the possibility of killing latent in all humanity. I demonstrate how eroticism is part of the semantical potential of the stories and how the artistic renderings of Cain and Abelâs tale by Albrecht Dürer, Jan Harmensz, Daniele Crespi, and Alexandre Falguière actualize it. I analyze how in the paintings the experience of pleasure in eroticism is tightly bound together with states of fear and pain. I demonstrate how the visual representations can contribute to decentering closed models of subjectivity and spirituality that emerge within the history of interpretation. Finally, I offer an alternative reading of Cainâs mark using Batailleâs notions.
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| Insgesamt | Letzte 365 Tage | In den letzten 30 Tagen | |
|---|---|---|---|
| Aufrufe von Kurzbeschreibungen | 1228 | 0 | 0 |
| Gesamttextansichten | 1612 | 380 | 49 |
| PDF-Downloads | 2069 | 526 | 48 |
Painted Eroticism: Sex and Death in Cain and Abelâs Story
in Biblical InterpretationSearch for other papers by Julián Andrés González HolguÃn in
Current site
Google Scholar
PubMed
Abstract
Using George Batailleâs concepts of continuity/discontinuity, eroticism, and death, I read the stories of Genesis 3â4 to demonstrate how these notions provide a hermeneutical framework to understand the myths of creation. I present a unique perspective around the idea of continuity/discontinuity, the role of work, and the possibility of killing latent in all humanity. I demonstrate how eroticism is part of the semantical potential of the stories and how the artistic renderings of Cain and Abelâs tale by Albrecht Dürer, Jan Harmensz, Daniele Crespi, and Alexandre Falguière actualize it. I analyze how in the paintings the experience of pleasure in eroticism is tightly bound together with states of fear and pain. I demonstrate how the visual representations can contribute to decentering closed models of subjectivity and spirituality that emerge within the history of interpretation. Finally, I offer an alternative reading of Cainâs mark using Batailleâs notions.
| Insgesamt | Letzte 365 Tage | In den letzten 30 Tagen | |
|---|---|---|---|
| Aufrufe von Kurzbeschreibungen | 1228 | 0 | 0 |
| Gesamttextansichten | 1612 | 380 | 49 |
| PDF-Downloads | 2069 | 526 | 48 |
