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| 1934 Magritte Le Viol 72x54 cm |
The following is Susan Gubar's interpretation of Magritte's painting (above) in her article "Representing Pornography: Feminism, Criticism, and Depictions of Female Violation" (1987). Do you have a different take on the image?
Endowed with blind nipples replacing eyes, a belly button where her nose should be, and a vulva for a mouth, the female face is erased by the female torso imposed upon it, as if Magritte were suggesting that anatomy is bound to be her destiny. That the face associated with the body is sightless, senseless, and dumb implies, too, that Magritte may be subscribing to the view of one of William Faulkner's fictional surrogates, a man who celebrates the feminine ideal as "a virgin with no legs to leave me, no arms to hold me, no head to talk to me" and who therefore goes on to define woman generically as "merely [an] articulated genital organ."
While an anatomical surprise turns the female into a bearded lady, the articulation of the woman as genital organ makes her inarticulate, closing down all of the openings that ordinarily let the world enter the self so that Magritte's subject seems monstrously impenetrable or horrifyingly solipsistic. Paradoxically, even as it fetishizes female sexuality, Le Viol denies the existence of female genitalia, for the vulva-mouth here is only a hairy indentation. In this reading of the painting's title, the represented figure-robbed of subjectivity and placed on display like a freak-deserves to be raped: this is the only consummation which will penetrate her self-enclosure and, given the humiliation of her fleshiness, it is all she is good for. When the female is simultaneously decapitated and recapitated by her sexual organs, the face that was supposed to be a window to the soul embodies a sexuality that is less related to pleasure and more to dominance over the woman who is "nothing but" a body.
(p. 722) (Please note that the discussion of the painting continues for a couple more pages.)
The following images are also mentioned:
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The following images are also mentioned:
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| René Magritte : Tenant L’Evidence Eternelle, 1938. |
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| La Philosophie dans le Boudoir, c.1947 |
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Perceptions of reality
ReplyDeleteReality of perceptions
How can we take
Surrealism at face value
Given its dreamlike transformation
Juxtaposition is not enough
Photoshoping is not enough
Collaging is not enough
Like poetry
The Surreal is revealing
Of Paradox and the ineffable
Surprising us
startling us
Revealing what we know
And don't know
Melting our perceptions
Melting our conceptions
Opening the drawers
Of our unconscious
To the symbolic meanings
We prefer to ignore
And Sexuality
What a scary place
To expose with art
Say or show the wrong images
And the negative accusations fly
But an artist must be brave
To show us who we are
To show us what we won't see
What we can't see
This is where the artist lives
This is where the artist dies
This is where the artist arrives
After exploring deeper and wider
Where we have not been
And mostly don't want to go
And if there is no criticism
The artist has failed
For going over edges
This is forbidden
This is Taboo
This is the artist's work
To show us ourselves
In a new way
That takes us too
Over the edge
Back to a new reality
yamabuki