Aesthetic Wit(h)nessing in the Era of Trauma

創傷時代的美學感同與見證

葛莉賽達．波洛克(Griselda Pollock)；汪盈貝

trauma ； aesthetics ； the matrixial feminine ； contemporary Western painting ； 創傷 ； 美學 ； 母體界陰性 ； 當代西洋繪畫

歐美研究

40卷4期（2010 / 12 / 01）

829 - 886

英文

Israeli/French artist and psychoanalytical theorist, Bracha Ettinger has declared: 〞In art today we are moving from phantasm to trauma. Contemporary aesthetics is moving from phallic structure to matrixial sphere.〞 In analysing the significance of this claim, this article will bring together the legacies of feminist, post-colonial cultural theories in relation to the current focus on trauma, memory and aesthetics in an international context. The understanding of the twentieth century as a century of catastrophe demands theoretical attention be given to concepts such as trauma, as artists with deep ethical commitments bring issues of traumatic legacies to the surface of cultural awareness and potentially provide through the aesthetic encounter a passage from the traces of trauma. This article introduces, explains and analyses the contribution of Bracha Ettinger as a major theoretician of trauma, aesthetics and above all sexual difference. In addition, it elaborates on her parallel concept of a matrixial aesthetic practice, enacted through a post-conceptual painting, that retunes the legacies of technologies of surveillance and documentation/archiving, as a means to effect the passage to a future that accepts the burden of sharing the trauma while processing and transforming it. The article demonstrates the dual functions of Ettingerian theories of a matrixial supplement to the phallocentric Imginary and Symbolic in relation to the major challenges we face as we seek to understand, acknowledge and move on from the catastrophes that render our age post-traumatic.

以色列／法國籍藝術家與精神分析理論家艾亭格爾曾言：「在今日的藝術，我們正從幻象轉移到創傷；當代美學正從陽具崇拜的結構進入母體界思維。」本文分析艾亭格爾這一席話的意義，試圖結合女性主義及後殖民文化理論的發展成果，來討論當今國際社會所關注的創傷、記憶與美學議題。要理解二十世紀作為一個災難的世紀，需要以理論來關注創傷等概念，一如深負倫理責任感的藝術家，以創傷產生的影響之議題，喚起文化上的覺醒，並且經由藝術作品傳遞的美，潛在地提供尋找創傷痕跡的路徑。本文將介紹、闡釋、並分析艾亭格爾作為一個創傷、美學與性別差異理論家的貢獻。此外，文章也深入探討她所同時發展的母體界美學實踐的概念，透過後觀念繪畫，重新改變監控、記錄和存檔等技術的結果，作為通往一個願意接受、分擔、處理並轉化創傷的未來的管道。從我們試圖去瞭解、承認，並走出那導致我們處於後創傷時代的災難所要面對的主要挑戰，本文論證艾亭格爾母體界理論具有對陽具中心主義的想像界和象徵界增補之雙重功能。

1. (2000).Bracha Lichtenberg Ettinger: Artworking 1985-1999.Ghent, Belgium:Ludion.
2. (1995).Bracha Lichtenberg Ettinger: Halala-Autistwork.Jerusalem:Israel Museum.
3. Lacan dot com. (n.d.). Bibliographies: Jacques Lacan. Retrieved from http://www.lacan.com/bibliography.htm
4. Arad, Y. (Ed.)(1990).The pictorial history of the Holocaust.Jerusalem:Yad Vashem.
5. Arato, A.(Ed.),Gebhardt, E.(Ed.)(1978).The essential Frankfurt school reader.Oxford, UK:Basil Blackwell.
6. Batchen, G.(Ed.),Gidley, M.(Ed.),Miller, N. K.(Ed.),Prosser, J.(Ed.).Picturing atrocity: Reading photographs in crisis.London:Reaktion Books.
7. Bauman, Z.(1989).Modernity and the Holocaust.Cambridge, UK:Polity Press.
8. Benjamin, A.(Ed.)(1989).The Lyotard reader.Oxford, UK:Blackwell.
9. Berlant, L. (Ed.)(2004).Compassion: The culture and politics of an emotion.New York:Routledge.
10. Bronfen, E.(1992).Over her dead body: Death, femininity and the aesthetic.Manchester, UK:Manchester University Press.
11. Buchloh, B. H. D.(Ed.)(2009).Gerhard Richter.Cambridge, MA:MIT Press.
12. Cavarero, A.(2009).Horrorism: Naming contemporary violence.New York:Columbia University Press.
13. Clough, P. T.(Ed.),Halley, J.(Ed.)(2007).The affective turn: Theorizing the social.Durham, NC:Duke University Press.
14. Costello, D.(Ed.),Willsdon, D.(Ed.)(2008).The life and death of images.London:Tate.
15. de Zegher, M. C.(Ed.)(1996).Inside the visible: An elliptical traverse of twentieth century art in, of, and from the feminine.Cambridge, MA:MIT Press.
16. Didi-Huberman, G.,Lillis, S. B.(Trans.)(2008).Images in spite of all: Four photographs from Auschwitz.Chicago:University of Chicago Press.
17. Ettinger, B. L.(1995).The matrixial gaze.Leeds, UK:Feminist Arts and Histories Network.
18. Ettinger, B. L.(1992).Matrix and metramorphosis.Differences,4(3),176-208.
19. Ettinger, B. L.,Simas, J.(Trans.)(1993).Matrix Halal(a)-Lapsus: Notes on painting.Oxford, UK:Museum of Modern Art.
20. Felman, S.,Laub, D.(1992).Testimony: Crisis of witnessing in literature, psychoanalysis, and history.New York:Routledge.
21. Folman, A. (Writer/Dirtctor). (2008). Waltz with Bashir [Motion picture]. Israel: Sony Pictures Classics.
22. Freud, S. (1933). New introductory lectures on psychoanalysis (W. J. H. Sprott, Trans.). New York: W. W. Norton.
23. Gallop, J.(1985).Reading Lacan.Ithaca, NY:Cornell University Press.
24. Green, A.(1999).The fabric of affect in the psychoanalytic discourse.London:Routledge.
25. Irigaray, L.,Burke, C.(Trans.),Gill, G. C.(Trans.)(1993).An ethics of sexual difference.London:Athlone Press.
26. Jameson, F.(1978).Imaginary and symbolic in Lacan: Marxism, psychoanalytic criticism, and the problem of the subject.Yale French Studies,55/56,338-395.
27. Johnson, A.(2010).Nomad-Words.Digital and other virtualities: Renegotiating the image,London:
28. Lacan, J.(1966).Écrits.Paris:Editions du Seuil.
29. Lacan, J.,Miller, J. A.(Ed.),Bruce, F.(Trans.)(1998).Seminar XX: Encore, On feminine sexuality.New York:W. W. Norton.
30. Lacan, J.,Miller, J. A.(Ed.),Sheridan, A.(Trans.)(1977).The four fundamental concepts of psychoanalysis.London:Penguin Books.
31. Lacan, J.,Sheridan, A.(Trans.)(1977).Écrits: A selection.London:Tavistock.
32. Lyotard, J.-F.(2004).Scriptures: Diffracted traces.Theory, Culture and Society,21(1),101-105.
33. Lyotard, J.-F.,Van Den Abbeele, G.(Trans.)(1988).The differend: Phrases in dispute.Minneapolis, MN:University of Minnesota Press.
34. Massumi, B.(Ed.),Ettinger, Bracha L.(2006).The matrixial borderspace.Minneapolis, MN:University of Minnesota Press.
35. Morgan, S.(Ed.),Morris, F.(Ed.)(1995).Rites of passage: Art for the end of the century.London:Tate Gallery.
36. Pollock, G.(2009).Art/Trauma/Representation.Parallax,15(1),40-54.
37. Pollock, G.(2004).Thinking the feminine: Aesthetic practice as introduction to Bracha Ettinger and the concepts of matrix and metramorphosis.Theory, Culture and Society,21(1),5-65.
38. Pollock, G.(2007).Encounters in the virtual feminist museum: Time, space and the archive.London:Routledge.
39. Rancière, J.(2009).The future of the image.London:Verso.
40. Resnais, A. (Director). (1955). Nuit et Brouillard/Night and Fog [Documentary short film]. France: Argos Films.
41. Riley, B. (1988, January 25). Interviewed by J. Spalding for the BBC. Retrieved from http://www.bbc.co.uk/bbcfour/audiointerviews/profilepages/rileyb1.shtml
42. Rose, J.(1986).Sexuality in the field of vision.London:Verso.
43. Rugoff, R.(2007).The painting of modern life: 1960s to now.London:Hayward Gallery.
44. Sartre, J.-P. (1940). L’imaginaire: Psychologie phénoménologique de l’imagination. Paris: Gallimard.
45. Sartre, J.-P.,Webber, J.(Trans.)(2004).The imaginary: A phenomenological psychology of the imagination.New York:Routledge.
46. Sedgwick, E. K.(2003).Touching feeling: Affect, pedagogy, performativity.Durham, NC:Duke University Press.
47. Stein, R.(1999).Psychoanalytic theories of Affect.London:Karnac Books.
48. Stein, R.(1991).Psychoanalytic theories of affect.New York:Praeger.
49. Strachey, J.(Ed. Trans.)(1958).The standard edition of the complete psychological works of Sigmund Freud.London:Hogarth Press.
50. Wu, D. (Ed.)(2005).Romanticism: An anthology.Oxford, UK:Blackwell.