Download Lethal Love: Feminist Literary Readings of Biblical Love by Mieke Bal PDF

By Mieke Bal

Feminist readings of biblical love sotires

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Extra resources for Lethal Love: Feminist Literary Readings of Biblical Love Stories (Indiana Studies in Biblical Literature)

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And Sherrie Levine’s astutely engineered deflations of overblown masculine myths of authoritative creative genius, her deftly phallic appropriations of works by modernist masters and reinscription of them as her own, are reduced to nonspecific critiques of the institution of authorship. ’’≤∏ Even Cindy Sherman’s incisive critiques of the visual construction of the feminine—as em-bodied object, photographically frozen within gendered positions of vulnerability in her untitled film stills; or as, in her more recent works, monstrously overblown in the very clichéed ‘‘darkness’’ of her sexual unknown, barely visible as reflected, for example, in the lenses of sunglasses, lying on dirty ground strewn with nasty 18 M/E/A/N/I/N/G signs of sex and human excretions—these are construed as ‘‘universal’’ laments on the condition of humanity.

Yet their language manipulates the reader into accepting these terms that call so innocently for a return to a ‘‘simpler’’ previous state. ’’ Finally the article confirms the sensibleness of the supposed rejection of feminism by explaining that, after all, ‘‘hairy legs haunt the feminist movement, as do images of being strident and lesbian. Feminine clothing is back; breasts are back . . ’’ So it’s all about looks, as usual, when women are the question. ∞≠ This in turn produces the necessity for its obliteration—in order to enable the ‘‘return’’ to a previous state of ‘‘simplicity,’’ once feminism’s shortcomings have revealed themselves.

The history of this period at CalArts has been blurred, for instance in the curating of the CalArts Ten Year Alumni Show (1981), which excluded most women and any of the former Feminist Art Program students. In Craig Owens’s review of that show, he mourned the resurgence of painting by artists nurtured in the supposed post-studio Eden of CalArts. His point may be well taken on the nature of the sellout by certain artists, but he does not probe beneath the given composition of the show to see that the Feminist Art Program, excluded from the retrospective, was truly radical and subversive in daring to question male hegemony of art and art history, whereas poststudio work at CalArts often simply continued an a√ectless commentary on art history.

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