lunamonchtuna

[magdalenajandel]

Rolan Bart, Izlazak iz bioskopa

- prvi dio govori o tome kako subjekt voli izlaziti iz kino dvorane jer ima osjećaj spokoja koji se osjeća tek nakon izlaska iz kino dvorane

- kino dvorana daje mu osjećaj hipnoze zbog samog prostora

"Sve se odigrava kao da su, čak i pre nego što uđe u dvoranu, svi klasični uslovi za hiptnozu već tu: praznina, dokolica, besposlica, ne sanja on pred filmom ili pod utjecajem filma, nego nesvesno, čak i pre nego što je postao njegov gledalac"

- imamo drugačiji osjećaj kada gledamo film na televiziji nego u kinodvorani; manje je intiman, poznat nam je prostor, u većini slučajeva drugi ukućani nam smetaju da se skroz uživimo u film

"Sve se odigrava kao da se dugački tračak svjetlosti probio kroz ključanicu, a svi mi zaprepašćeni, gledamo kroz u rupu"

- Bart nadalje postavlja pitanje da li bi se trebali odvojiti od te hipnoze i gledamo filmove, ne zaljubljeno, već kritični. No u isto vrijeme, njemu samome je teško se odvojiti jer toliko voli film.

-> pomalo romantičan, poetski tekst

[magdalenajandel]

Sarat Maharaj, Arachhe's Genre

credit : Material Obsession, Wreath - Stitchery

“Arachne, a Lydian woman renowned for her needlework, sewing, and stitchery, challenges Athena, goddess of the crafts, to a contest of textile skills. Athena, disguised as an old woman, tries to dissuade her. But Arachne persists with her challenge. The test begins, Arachne's hands fly across the taut loom-netting with the shuttle as swiftly, as ably as Athena's. Athena inspects the completed piece, finds it faultless, as lovely as her own. The denouement is best left in Ruskin's words: 'She loses her temper; tears her rival's tapestry to pieces, strikes her four times across the forehead with her boxwood shuttle. Arachne, mad with anger, hangs herself; Athena changes her into a venomous spider.'  “

- Ruskinovo prepričavanje mita projicira normu za izradu tekstila i ženskost, za 'pravilan' tekstilni posao i 'pravilan' seksualni identite (Athena). -> “ Athena' serves as the device through which this feminine/textiles norm is constructed and dramatized. He justifies her wrath by presenting her as a corrective, sobering force exercised in the name of the law, the norm. How she enforces it-the matter of her aggressive jealousy, her violent fury, the all-too-final punishment meted out to Arachne, is side-stepped.“ 

ATHENA - SVE DOBRO, “’PROPER’ GENRE AND GENDER”

ARACHNE - IMPROPER, DEVIANT

- Također, nadalje pokušava prikazati svoju teoriju proučavajući njihove vezove: 

Arachne vez: Ruskin opisuje vez kao 'podno i odvratno'. Demistificirala je živote bogova koji izlažu svoje trikove, nepravde koje su vršili kako bi bilo po njihovome. Nadalje, Arachne prikazuje svoju poantu prikazom "Rape of Europa" i dvadeset drugih epizoda koje uključuju otmicu bogova i povrede prema ženama.

Athenin vez: vijeće bogova- ozbiljna, važna tema. Slavilo je red, obrazložena razmjena, odmjereni diskurs. Sastav se dotaknuo osjećaja građanskih manira, vrline, morala, na civilizacijsku silu, zakon muškarca.

“ What Ruskin subsumes under the term 'textiles' seems surprisingly all-embracing 'good stout clothes to knit and weave but also to make pictures on them'. It seems to take in the spectrum of textiles genres, cutting across all its modes and effectseverything from production of cloth, through commodities and goods, to textiles as art practice, as something which may be read as fine art statement or object. “

- Ruskin prihvaća i “validira” samo Atheninu vrstu veza;  “ He sees its force as essentially institutionalizing-at the four corners of her tapestry she had embroidered 'admonitory panels' depicting the dreadful fate of those who dare question the established order. He favours its capacity to replay received imagery and iconography, to cite and re-cite an approved, accepted system of attitudes and values-a logic encapsulated by the notion of 'sewing sampler'. “ 

-  “ Ruskin's split view of the Lydian as the exquisite or foul is not separate from this tradition of looking. It is tied to his own distinction between the Greek ideal, 'Daedalus work', and what he sees as Indian art's excess and moral inferiority.8 Indian textiles, design and craftwork count as exquisite in his scheme only because he hives if off from the distasteful content he finds in Indian art. “