Visual Art and Self-Construction / / Katrina Mitcheson.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE Architecture and Design 2022
• VerfasserIn: Mitcheson, Katrina,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2021
• Year of Publication: 2022
• Language: English
• Series: Crosscurrents : CROSS
• Physical Description: 1 online resource (176 p.) :; 8 B/W illustrations
• Other title: Frontmatter --; Contents --; Series Editor’s Preface --; Acknowledgements --; Introduction --; 1. The Self and its Vicissitudes --; 2. Beyond Narrative --; 3. A Corporeal Hermeneutics of the Self --; 4. Refusing What We Are --; 5. An Experimental Hermeneutics of the Self --; Conclusion --; List of Artworks Referenced --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780748693689; 9783110992793; 9783110992816; 9783110993899; 9783110994810; 9783110780406
• DOI: 10.1515/9780748693689
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Katrina Mitcheson.

Demonstrates how visual art can work as a powerful technology of the selfAsks how we can know a decentred and partly unconscious self, and shows how particular artworks can help us to address this challengeIllustrates how both artists and audience members can use artworks as a means of cultivating or controlling specific aspects of the selfDraws on the work of artists including Francisco de Goya y Lucientes, Francis Bacon and Louise BourgeoisDemonstrates the specific contribution that visual art makes to projects of the self by discussing a variety of mediums and contemporary developments in artistic practiceStarting from criticisms of a simple, given self found in Nietzsche, Freud and Foucault, Katrina Mitcheson addresses the problem of how a complex self is constructed, and how a hermeneutics of the self can avoid reproducing a subjugated self.Critically examining Ricoeur’s narrative account of self-construction, Mitcheson makes the case that the narrative model overlooks the variety of processes that can contribute to forming a self and neglects the materiality of these processes. She develops an alternative account of a plural and corporeal hermeneutics of the self: exploring how visual art can operate as a critical technology of the self. Art not only exposes practices that contribute to our subjugation, but can also discover, explore and affect bodily processes, enabling experimentation in self-construction.