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A woman, subject of love and her inner life : focusing on Shirin Neshat's the trilogy of video

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2013, 39(), pp.95-118
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Published : October 31, 2013

Ihn-Sook Nam 1

1홍익대학교

Accredited

ABSTRACT

This paper is to examine the meaning of Shirin Neshat's video trilogy; Rapture, Turbulent, Fervor(1998-2000). Through the examination, this paper try to answer what is the woman in Lacanian locution. A woman means Love or Poet, because lacanian woman is a sort of ‘dehors(exterior)’ of subjectivity. ‘Dehors’ of subjectivity means what is impossible to imagine through our faculty, also there are no words to represent it in our mind. And Love is a supplement of lack, or to supply a clue to impossibility to represent as lack in the symbol, or the chain of signifiant. So love covers the lack of being, woman. Because a woman, a kind of impossibility to represent, is dehors of subjectivity, there is no place of being woman in the social codes. But this ‘dehors’ is not to divide absolutely within interior concerning subjectivity. Therefore, like to Möbius strip, exterior is to be interior in subjectivity problem of woman. A woman as exterior or impossibility is printed at the hole as lack of being in the stage of love, and so It is to say that a woman is a crucial constituent in a paradox of constitution of subjectivity. Shirin Neshat's video trilogy represents well this structure of ‘dehors’ in woman's subjectivity or sexuation.

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