When the male protagonist summons the muse-like presence of the woman in ⦠but the clouds â¦, her face appears only to refuse both his and the viewerâs gaze. Reading the play alongside Bracha Ettingerâs series of paintings, Eurydice, a feminist aesthetic re-engagement with the myth of Orpheus and Eurydice, this article argues that both create aesthetic and affective environments of resistance and refusal that destabilise the figure of the muse and question the Orphic gaze. Working with a YouTube, DVD and VHS recording of the play, this article shows how each generation of recording and digitisation makes this even more apparent.
Lorsque le protagoniste masculin invoque la présence telle une muse de la femme dans ⦠but the clouds â¦, son visage semble apparaître seulement pour refuser son regard et celui du spectateur. En lisant la pièce à côté dâEurydice, une série de peintures de Bracha Ettinger qui réengage le mythe dâOrphée et Eurydice à travers une esthétique féministe, cet article soutient que les deux créent des environnements esthétiques et affectifs de résistance et de refus qui déstabilisent la figure de la muse et remettent en question le regard Orphique. Travaillant avec des enregistrements YouTube, DVD et VHS de la pièce, cet article montre comment chaque génération dâenregistrement et de numérisation rend cette idée encore plus évidente.
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Beckett, Samuel, â⦠but the clouds â¦,â in The Complete Dramatic Works (London: Faber, 2006), 415â422.
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When the male protagonist summons the muse-like presence of the woman in ⦠but the clouds â¦, her face appears only to refuse both his and the viewerâs gaze. Reading the play alongside Bracha Ettingerâs series of paintings, Eurydice, a feminist aesthetic re-engagement with the myth of Orpheus and Eurydice, this article argues that both create aesthetic and affective environments of resistance and refusal that destabilise the figure of the muse and question the Orphic gaze. Working with a YouTube, DVD and VHS recording of the play, this article shows how each generation of recording and digitisation makes this even more apparent.
Lorsque le protagoniste masculin invoque la présence telle une muse de la femme dans ⦠but the clouds â¦, son visage semble apparaître seulement pour refuser son regard et celui du spectateur. En lisant la pièce à côté dâEurydice, une série de peintures de Bracha Ettinger qui réengage le mythe dâOrphée et Eurydice à travers une esthétique féministe, cet article soutient que les deux créent des environnements esthétiques et affectifs de résistance et de refus qui déstabilisent la figure de la muse et remettent en question le regard Orphique. Travaillant avec des enregistrements YouTube, DVD et VHS de la pièce, cet article montre comment chaque génération dâenregistrement et de numérisation rend cette idée encore plus évidente.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 162 | 162 | 20 |
| Full Text Views | 4 | 4 | 0 |
| PDF Views & Downloads | 13 | 13 | 0 |