@article{ART002233377},
author={HAN EUI JUNG},
title={Expression of Disappearing Faces: Deleuze’s becoming-animal and becoming-imperceptible},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2017},
number={41},
pages={95-117},
doi={10.17057/kahoma.2017..41.004}
TY - JOUR
AU - HAN EUI JUNG
TI - Expression of Disappearing Faces: Deleuze’s becoming-animal and becoming-imperceptible
JO - Journal of History of Modern Art
PY - 2017
VL - null
IS - 41
PB - 현대미술사학회
SP - 95
EP - 117
SN - 1598-7728
AB - Traditionally, the face has been functioned as a place where the concept of self or identity is shown. The authors of modern physiognomy had written the ontology of rational subject by reading faces and expressions which show individual’s sprit and nature. But they didn’t deny the correlation between physiognomy and emotions. Then the emotion meant something irrational, and the human capacity de-formalized. Therefore, the physiognomy has included the inhuman form, especially the comparing image of animal and human. This study considers this aspect of the physiognomy as symptom of disappearing face of rational subject.
Deleuze also reads the face as a place of subjectivation and signification, and criticizes the operational method of faciality that differences are integrated to identification. By deconstructing the human face, he establishes the strategy of ‘becoming-animal’. Becoming-animal is not an evolution by descent and filiation. It is always a different order by alliance, contagion and infection. Finally, Deleuze’s becoming-animal comes to ‘becoming-imperceptible’. This study proposes schizophrene’s expressions as an example of disappearing face. The becoming-animal in art brut artists’ expressions such as Auguste Forestier and Friedrich Schröder-Sonnenstern, and the becoming-imperceptible in self-taught artist’s expressions such as Scottie Wilson and Michel Nedjar, can verify the creative activity of face returning back to potentiality.
KW - physiognomy;art brut;Gilles Deleuze;becoming-animal;becoming-imperceptible;faciality;expression
DO - 10.17057/kahoma.2017..41.004
ER -
HAN EUI JUNG. (2017). Expression of Disappearing Faces: Deleuze’s becoming-animal and becoming-imperceptible. Journal of History of Modern Art, 41, 95-117.
HAN EUI JUNG. 2017, "Expression of Disappearing Faces: Deleuze’s becoming-animal and becoming-imperceptible", Journal of History of Modern Art, no.41, pp.95-117. Available from: doi:10.17057/kahoma.2017..41.004
HAN EUI JUNG "Expression of Disappearing Faces: Deleuze’s becoming-animal and becoming-imperceptible" Journal of History of Modern Art 41 pp.95-117 (2017) : 95.
HAN EUI JUNG. Expression of Disappearing Faces: Deleuze’s becoming-animal and becoming-imperceptible. 2017; 41 : 95-117. Available from: doi:10.17057/kahoma.2017..41.004
HAN EUI JUNG. "Expression of Disappearing Faces: Deleuze’s becoming-animal and becoming-imperceptible" Journal of History of Modern Art no.41(2017) : 95-117.doi: 10.17057/kahoma.2017..41.004
HAN EUI JUNG. Expression of Disappearing Faces: Deleuze’s becoming-animal and becoming-imperceptible. Journal of History of Modern Art, 41, 95-117. doi: 10.17057/kahoma.2017..41.004
HAN EUI JUNG. Expression of Disappearing Faces: Deleuze’s becoming-animal and becoming-imperceptible. Journal of History of Modern Art. 2017; 41 95-117. doi: 10.17057/kahoma.2017..41.004
HAN EUI JUNG. Expression of Disappearing Faces: Deleuze’s becoming-animal and becoming-imperceptible. 2017; 41 : 95-117. Available from: doi:10.17057/kahoma.2017..41.004
HAN EUI JUNG. "Expression of Disappearing Faces: Deleuze’s becoming-animal and becoming-imperceptible" Journal of History of Modern Art no.41(2017) : 95-117.doi: 10.17057/kahoma.2017..41.004
