![]() Moreover, his despairing solipsism is premised upon a deeply racialized, gendered, and classed form of white normativity operating throughout the seams of his theory. ![]() This will, this possessive grief, leads him to a profoundly asocial stance on photography writ large. Hortense Spillers, “Mama’s Baby, Papa’s Maybe: An American Grammar Book” 1 5.įrom the vantage of more than forty years since Camera Lucida’s publication, of what use is Barthes’s punctum given the studium these days? The punctum, as the first part of this essay shows, serves Barthes’s willfully ahistorical appropriation of photographs to expressly private ends driven by the vagaries of affect and the penetrating force of grief. ![]() Even though the captive flesh/body has been “liberated,” and no one need pretend that even the quotation marks do not matter, dominant symbolic activity, the ruling episteme that releases the dynamics of naming and valuation, remains grounded in the originating metaphors of captivity and mutilation so that it is as if neither time nor history, nor historiography and its topics, shows movement, as the human subject is “murdered” over and over again by the passions of a bloodless and anonymous archaism, showing itself in endless disguise. ![]()
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