{"id":623,"date":"2018-12-26T20:48:01","date_gmt":"2018-12-26T23:48:01","guid":{"rendered":"http:\/\/matpsil.com\/revista-lapso\/\/?post_type=avada_portfolio&#038;p=623"},"modified":"2023-12-06T02:45:32","modified_gmt":"2023-12-06T01:45:32","slug":"nusenovich-gonzalez-the-body-image-queen-in-the-history-of-art","status":"publish","type":"avada_portfolio","link":"http:\/\/matpsil.com\/revista-lapso\/portfolio-items\/nusenovich-gonzalez-the-body-image-queen-in-the-history-of-art\/","title":{"rendered":"NUSENOVICH &amp; GONZ\u00c1LEZ | The Body, Image Queen in the History of Art"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-modal modal fade modal-1 david\" tabindex=\"-1\" role=\"dialog\" aria-labelledby=\"modal-heading-1\" aria-hidden=\"true\" style=\"--awb-border-color:#ebebeb;--awb-background:#f6f6f6;\"><div class=\"modal-dialog modal-lg\" role=\"document\"><div class=\"modal-content fusion-modal-content\"><div class=\"modal-header\"><button class=\"close\" type=\"button\" data-dismiss=\"modal\" aria-hidden=\"true\" aria-label=\"Close\">&times;<\/button><h3 class=\"modal-title\" id=\"modal-heading-1\" data-dismiss=\"modal\" aria-hidden=\"true\">Marcelo Nusenovich &amp; David Albano Gonz\u00e1lez<\/h3><\/div><div class=\"modal-body fusion-clearfix\">\n<p><strong>Marcelo Nusenovich<\/strong><br \/>\nCePIA (Arts Research and Production Center) &#8211; SECyT<br \/>\nmnusenovich@gmail.com<\/p>\n<p><strong>David Albano Gonz\u00e1lez<\/strong><br \/>\nCIECS (CONICET y UNC)<br \/>\ndavidalbanogonzalez@gmail.com<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-1 sep-underline sep-solid fusion-title-center fusion-title-text fusion-title-size-two\"><h2 class=\"fusion-title-heading title-heading-center fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:25;--minFontSize:25;line-height:1.5;\">The Body, Image Queen in the History of Art<\/h2><\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-2 fusion_builder_column_1_6 1_6 fusion-flex-column fusion-no-small-visibility\" style=\"--awb-bg-size:cover;--awb-width-large:16.666666666667%;--awb-margin-top-large:0px;--awb-spacing-right-large:11.52%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:11.52%;--awb-width-medium:16.666666666667%;--awb-spacing-right-medium:11.52%;--awb-spacing-left-medium:11.52%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-3 fusion_builder_column_2_3 2_3 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:66.666666666667%;--awb-margin-top-large:0px;--awb-spacing-right-large:2.88%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:2.88%;--awb-width-medium:66.666666666667%;--awb-spacing-right-medium:2.88%;--awb-spacing-left-medium:2.88%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><style type='text\/css'>.reading-box-container-1 .element-bottomshadow:before,.reading-box-container-1 .element-bottomshadow:after{opacity:0.70;}<\/style><div class=\"fusion-reading-box-container reading-box-container-1 fusion-animated\" style=\"--awb-title-color:#333333;--awb-margin-top:0px;--awb-margin-bottom:84px;\" data-animationType=\"fadeInUp\" data-animationDuration=\"0.5\" data-animationOffset=\"top-into-view\"><div class=\"reading-box reading-box-center element-bottomshadow\" style=\"background-color:#ecf0f5;border-width:1px;border-color:#f6f6f6;border-top-width:3px;border-top-color:var(--primary_color);border-style:solid;\"><h2>MARCELO NUSENOVICH &amp; DAVID ALBANO GONZ\u00c1LEZ<\/h2><div class=\"reading-box-additional fusion-reading-box-additional\">\n<div class=\"fusion-aligncenter\"><a class=\"fusion-button button-flat fusion-button-default-size button-custom fusion-button-default button-1 fusion-button-default-span fusion-button-default-type\" style=\"--button_accent_color:#333333;--button_accent_hover_color:#333333;--button_border_hover_color:#333333;--button_border_width-top:1px;--button_border_width-right:1px;--button_border_width-bottom:1px;--button_border_width-left:1px;--button-border-radius-top-left:25px;--button-border-radius-top-right:25px;--button-border-radius-bottom-right:25px;--button-border-radius-bottom-left:25px;--button_gradient_top_color:rgba(181,41,41,0);--button_gradient_bottom_color:rgba(181,41,41,0);--button_gradient_top_color_hover:rgba(0,0,0,0.1);--button_gradient_bottom_color_hover:rgba(0,0,0,0.1);\" target=\"_self\" href=\"#\" data-toggle=\"modal\" data-target=\".fusion-modal.david\"><span class=\"fusion-button-text\"><\/span><i class=\" fa fa-user button-icon-center\" aria-hidden=\"true\"><\/i><\/a><\/div>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-4 fusion_builder_column_1_6 1_6 fusion-flex-column fusion-no-small-visibility\" style=\"--awb-bg-size:cover;--awb-width-large:16.666666666667%;--awb-margin-top-large:0px;--awb-spacing-right-large:11.52%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:11.52%;--awb-width-medium:16.666666666667%;--awb-spacing-right-medium:11.52%;--awb-spacing-left-medium:11.52%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-5 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div style=\"text-align:right;\"><a class=\"fusion-button button-flat button-small button-custom fusion-button-default button-2 fusion-button-default-span fusion-button-default-type\" style=\"--button_accent_color:#333333;--button_border_color:#333333;--button_accent_hover_color:#333333;--button_border_hover_color:#333333;--button_border_width-top:1px;--button_border_width-right:1px;--button_border_width-bottom:1px;--button_border_width-left:1px;--button-border-radius-top-left:0;--button-border-radius-top-right:0;--button-border-radius-bottom-right:0;--button-border-radius-bottom-left:0;--button_gradient_top_color:rgba(181,41,41,0);--button_gradient_bottom_color:rgba(181,41,41,0);--button_gradient_top_color_hover:rgba(0,0,0,0.3);--button_gradient_bottom_color_hover:rgba(0,0,0,0.3);\" target=\"_blank\" rel=\"noopener noreferrer\" href=\"http:\/\/matpsil.com\/revista-lapso\/wp-content\/uploads\/sites\/2\/2023\/12\/NUSENOVICH-GONZALEZ-The-Body-Image-Queen-in-the-History-of-Art.pdf\"><i class=\"fa-download fas button-icon-left\" aria-hidden=\"true\"><\/i><span class=\"fusion-button-text\">PDF<\/span><\/a><\/div><div style=\"text-align:right;\"><a class=\"fusion-button button-flat button-small button-default fusion-button-default button-3 fusion-button-default-span fusion-button-default-type\" style=\"--button-border-radius-top-left:0;--button-border-radius-top-right:0;--button-border-radius-bottom-right:0;--button-border-radius-bottom-left:0;\" target=\"_self\" href=\"http:\/\/matpsil.com\/revista-lapso\/portfolio-items\/nusenovich-gonzalez-el-cuerpo-imagen-reina-en-la-historia-del-arte\/\"><span class=\"fusion-button-text\">VERSI\u00d3N EN ESPA\u00d1OL<\/span><\/a><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-3 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-6 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><style type='text\/css'>.reading-box-container-2 .element-bottomshadow:before,.reading-box-container-2 .element-bottomshadow:after{opacity:0.70;}<\/style><div class=\"fusion-reading-box-container reading-box-container-2\" style=\"--awb-title-color:#333333;--awb-margin-top:0px;--awb-margin-bottom:84px;\"><div class=\"reading-box\" style=\"background-color:#ecf0f5;border-width:1px;border-color:#ecf0f5;border-style:solid;\"><h2>Abstract<\/h2><div class=\"reading-box-additional fusion-reading-box-additional\">\n<p style=\"text-align: justify\">The hypothesis in this essay is to consider the body as Image Queen in the history of art. The concept of \u201cImage Queen\u201d is proposed by Jacques-Alain Miller as an element of the imaginary register of language experience which equates it with the master signifier in the register of the symbolic.<\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-4 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-margin-top:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-7 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-text fusion-text-1\"><p style=\"text-align: justify\"><span class=\"fusion-dropcap dropcap dropcap-boxed\" style=\"--awb-border-radius:8px;--awb-background:#dd3333;\">T<\/span>he power of symbols in culture and in the minds of men and women is not rooted only in its duality and in its capacity to express the inexpressible; its performativity or its \u201csymbolic efficacy\u201d lies, above all, in the possibility of presenting that which is contingent or imaginary as obvious, necessary, and unavoidable.<\/p>\n<p style=\"text-align: justify\">That competence to present as natural that which is, at least partially, imaginary is a particular evidence of the body. This is so much so that nobody doubts its \u201cbiological\u201d nature, its very existence, and the experience of the body is far from the different operations which society or culture have performed\u2014and still perform\u2014on that body. In the style of what Marcel Mauss thought of as \u201ctechniques of the body\u201d in the 1930s, a concept which\u00a0 would be taken up by Michel Foucault (1975 [1991]) and his idea of the body as the meeting place for power relations and knowledge. That is where the vision of the industrial revolution and capitalism building a body specifically made for the machine and for discipline\u2014also demanded by the national state in the battlefields\u2014originates.<\/p>\n<p style=\"text-align: justify\">After these general considerations, in this essay we will present different fragmentary situations in the history of art, articulating their methods and approaches with those of Lacanian psychoanalysis. The conjuncture will be provided by the concept \u201cImage Queen\u201d, in the sense that is given to this expression by Jacques-Alain Miller (1995 [1998]), when he proposes this syntagma as that element of the imaginary register which could be equated with the \u201cmaster signifier\u201d in the symbolic register.<\/p>\n<p style=\"text-align: justify\">Although signifiers are not characterized by occupying a privileged place\u2014we rather speak of equality of the signifiers which are defined by opposition and which are susceptible of metaphor and metonymy\u2014it is by an analytical operation that a signifier is characterized as master, unsuccessfully representing the subject. The subject is an effect of the movement of the chain; it is not an individual, a person, but a subject of the unconscious that is represented by a signifier, for another signifier. If the master signifier is the main element of the symbolic register, the Image Queen will be the main element of the imaginary register.<\/p>\n<p style=\"text-align: justify\">The expression has its difficulties, as Miller explains, because the same movement of proposing it as an element of the imaginary requires its <em>significantization<\/em>. In psychoanalysis, an image reigns when it acquires a symbolic status. The same could be said in general of those objects or situations to which the history of art has directed its attention. However, while it is obvious that images abound in the history of art, the Image Queen has its own characteristics which make it different from the signifier, the main one being that it does not represent the subject.<\/p>\n<p style=\"text-align: justify\">The Image Queen is coordinated with <em>jouissance<\/em>. It is that in which the imaginary is tied to <em>jouissance<\/em>. This is what can be read as an example in Freud\u2019s text (1936 [2008]) <em>Letter to Romain Rolland (A Disturbance of Memory on the Acropolis)<\/em> where he relates an effect of subjective division experienced by himself when he arrived and saw the Acropolis for the first time: he says that there was in him a person who knew that the Acropolis really existed and, at the same time, another person who seemed to doubt it.<\/p>\n<p style=\"text-align: justify\">In psychoanalysis, the images that dominate can be enumerated, and Miller (1995 [1998]) summarizes them in three in <em>Elucidation of Lacan<\/em>: 1. one\u2019s own body, 2. the body of the Other, and 3. the phallus. We suggest reading this text to delve into the concept of the Image Queen.<\/p>\n<p style=\"text-align: justify\">This essay aims to take Miller\u2019s hypothesis to the field of art history, as a game, as a bet, but as a serious matter, to address some Image Queens in art over the centuries.<\/p>\n<p style=\"text-align: justify\">In his text, Miller begins this game and ventures that the prevailing image in Greek antiquity is the face. The Greek word for face is <em>prosopon<\/em> and it designates that which we present to the eye, more precisely \u201cin front of the face or mask.\u201d In Latin it is the origin of the term \u201cperson.\u201d <em>Prosopon<\/em>, then, is in opposition to the rest of the body, which is always more or less dressed, not given to the naked eye.<\/p>\n<p style=\"text-align: justify\">It was the face in ancient Greece, but what are the Image Queens which tied a <em>jouissance<\/em> in the subjectivities of other eras? We will try to give some answers in the following sections.<a href=\"#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-5 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-8 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-2 sep-underline sep-solid fusion-title-text fusion-title-size-three\" style=\"--awb-margin-bottom:30px;--awb-sep-color:#dd3333;\"><h3 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20;line-height:1.5;\"><em>Jouissance<\/em> in the Eternal Present: Hunting<\/h3><\/div><div class=\"fusion-text fusion-text-2\"><p style=\"text-align: justify\">The first bodily representations come from prehistoric caves, almost always coexisting with those of animals. It can be said that the body of the latter, much more powerful than the human, is the Image Queen in that timeless period.<\/p>\n<p style=\"text-align: justify\">When the artist and magician paints the animal, he does it in a formidable scale and with a realism in the representation of movement which was admired by European artists since the late nineteenth century. That does not happen with the human body in the same period, when its representation is simple and schematic.<\/p>\n<p style=\"text-align: justify\">Art is mixed here\u2014as on many other occasions\u2014with magic and the supernatural. Animals, on which they depended for their sustenance and clothing, is identified with the power of nature and, therefore, with the divine and the inexplicable (Giedon, 1981 [1985]). Capturing the image is hunting the animal and also appropriating its vital energy. This is attested to by the arrows painted on their bodies; many times, there are hints of real tips which pierce the image of the beast that has been wounded to death. His superiority places the hunter in a situation of veneration and admiration for his object of desire, which apparently contradicts his intention to kill it. However, it is in fact a ritual sacrifice related to spirits, diffuse at first, which would be later crystallized symbolically in the zoomorphic deities of the first civilizations such as Egypt, Mesopotamia, or America. After the death of the animal, the process of its (in)corporation begins, through its flesh and the skin that covers its body. We also know Freud\u2019s myth about the primal horde and the totem feast: it is thanks to the incorporation of the meat of the dead totem animal that its qualities are acquired; in other words, it is thanks to the identification with the symbol which kills the thing that its significant and imaginary properties are introjected.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-9 fusion_builder_column_1_4 1_4 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:25%;--awb-margin-top-large:0px;--awb-spacing-right-large:7.68%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:7.68%;--awb-width-medium:25%;--awb-spacing-right-medium:7.68%;--awb-spacing-left-medium:7.68%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-10 fusion_builder_column_1_2 1_2 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:50%;--awb-margin-top-large:0px;--awb-spacing-right-large:3.84%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:3.84%;--awb-width-medium:50%;--awb-spacing-right-medium:3.84%;--awb-spacing-left-medium:3.84%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-image-element \" style=\"text-align:center;--awb-liftup-border-radius:0px;--awb-caption-title-font-family:var(--h2_typography-font-family);--awb-caption-title-font-weight:var(--h2_typography-font-weight);--awb-caption-title-font-style:var(--h2_typography-font-style);--awb-caption-title-size:var(--h2_typography-font-size);--awb-caption-title-transform:var(--h2_typography-text-transform);--awb-caption-title-line-height:var(--h2_typography-line-height);--awb-caption-title-letter-spacing:var(--h2_typography-letter-spacing);\"><div class=\"awb-image-frame awb-image-frame-1 imageframe-liftup\"><span class=\" fusion-imageframe imageframe-none imageframe-1\"><a href=\"http:\/\/matpsil.com\/revista-lapso\/wp-content\/uploads\/sites\/2\/2018\/12\/David-01.jpg\" class=\"fusion-lightbox\" data-rel=\"iLightbox[c841ed108aea930a010]\"><img decoding=\"async\" src=\"http:\/\/matpsil.com\/revista-lapso\/wp-content\/uploads\/sites\/2\/2018\/12\/David-01.jpg\" alt class=\"img-responsive\"\/><\/a><\/span><\/div><\/div><div class=\"fusion-text fusion-text-3\"><p style=\"text-align: center\">Hunting Scene (unknown artist), Lascaux Cave (France).\u00a0Cave painting, circa 17,000-15,000 B.C.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-11 fusion_builder_column_1_4 1_4 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:25%;--awb-margin-top-large:0px;--awb-spacing-right-large:7.68%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:7.68%;--awb-width-medium:25%;--awb-spacing-right-medium:7.68%;--awb-spacing-left-medium:7.68%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-12 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-text fusion-text-4\"><p style=\"text-align: justify\">Let\u2019s take as an example the so-called \u201cHunting Scene\u201d in the cave of Lascaux (France). What predominates is the enormous body of the injured animal, which at the same time writhes in pain and attacks its victimizer. Its head turns desperately toward the open wound in its abdomen, through which its viscera hang. However, it will crush the hunter, who is falling in the represented scene. His body is reduced to a few lines. His head has been replaced by that of a bird, perhaps a totem sign, an assumption reinforced by a cane which, whether contemporary with the scene or not, is a fact impossible to verify with precision; it\u00a0 is also an integral part of the scene or, in other words, it forms part of its history and meaning. The cane handle is also a bird. The Image Queen of the animal provides him with life and death, <em>jouissance<\/em> and pain. But also a symbolic notion of the body which places it in a situation of inferiority while allowing it to resolve the apparent opposition between the erotic and the thanatotic, since the image of the hunter is ithyphallic. Even the hunter\u2019s phallus points to the animal, as if pointing out where the phallic value can be found.<\/p>\n<p style=\"text-align: justify\">In this case, the Image Queen privileges the body\u2026 of the Other. Who else than nature, represented by the great animals, the immensity of the sky and the Earth, of the vegetation in its vast territories, could have occupied the place of the Other for the prehistoric caveperson? The body of the animal Other is that which is represented in Lascaux, in great detail and in superiority to that of the human body. An indomitable Other that, in that final moment of being hunted, that instant when its domination is achieved, also crushes the hunter.<\/p>\n<p style=\"text-align: justify\">En este caso, la imagen reina privilegia el cuerpo\u2026 del Otro. \u00bfQui\u00e9n m\u00e1s que la naturaleza, representada por los grandes animales, la inmensidad del cielo y de la tierra, de la vegetaci\u00f3n en sus ampl\u00edsimos territorios, habr\u00e1 ocupado el lugar del Otro para el cavern\u00edcola prehist\u00f3rico? El cuerpo del Otro animal es el que se representa en Lascaux, con sumo detalle y en superioridad a la del cuerpo humano. Un Otro indome\u00f1able que, en ese momento final de ser cazado, ese instante en el que se logra su dominaci\u00f3n, aplasta tambi\u00e9n al cazador.<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-6 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-13 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-3 sep-underline sep-solid fusion-title-text fusion-title-size-three\" style=\"--awb-margin-bottom:30px;--awb-sep-color:#dd3333;\"><h3 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20;line-height:1.5;\">The Naked Man, a Perfect Measure of Desire: The Apollonian Canon<\/h3><\/div><div class=\"fusion-text fusion-text-5\"><p style=\"text-align: justify\">In classical times, the Image Queen of the body is an idea articulated with beauty lacking in materiality, since it is based on a god; Apollo and human perceptual mechanisms are not capable of contemplating it. Plato, although he recognized in eroticism a way to get to truth, distrusted the ability of the senses to grasp the reality of things, among them, their beauty, so linked to both Eros\u2014and, therefore, to the body\u2014and his mother, Aphrodite. And the idea of beauty lay in the male nude, which was not often pointed out from a gender perspective, since the canon, as we said, was based on Apollo, god of supreme beauty (Clark, 1956 [1996]). When Polykleitos applied the rules of the system he had created in \u201cThe Canon\u201d\u2014now lost\u2014to sculpture, he gave symbolic expression to the body of the male citizen (not the female citizen) independent but subordinate to the polis. Respecting the relationship of the parts with the whole or guiding idea, but without their losing their independence, is the founding principle of this poetics or organization of forms. This was articulated with a policy, or an order of forces in Athenian democracy, the obedience of all citizens to the polis, as interchangeable units, but without their losing their individuality. He manages to put into action the Apollonian Image Queen with the revolutionary invention of\u00a0 the <em>contrapposto<\/em>, a pose where Egyptian or Mesopotamian hieratic attitude is altered\u2014societies based on permanence and not on change, unlike the classic, which is presented as a discontinuity\u2014reaching the formal solution to a problem which can be found in the pre-Socratic philosophers of the sixth century B.C.: the relationship between stillness and movement, between that which remains and that which changes. This \u201cvitality\u201d and closeness to Apollo clearly lay in ephebes and not in women, since contrary to what one might think, the nude of the so-called \u201cbeautiful sex\u201d appeared much later. This homoerotic canon has survived surreptitiously in the West, even in Christianity, as for example in the figure of Saint Sebastian. It was resurrected from antiquity and put back into force after the discovery of the \u201cApollo Belvedere\u201d near the sea. The latter is a Hellenistic sculpture that was consecrated as the ideal of beauty in the eighteenth century by Winckelmann, the first thinker who applied scientific rules\u2014mainly based on archeology\u2014to the study of art history. It is no coincidence that this devotee of Greece was homosexual; neither is it that this fact has been generally overlooked by art history. However, the weight that his ideas had in the \u201ccultured\u201d West, his consecration of the ephebic body adjusted to Apollonian rules: a priori formal principles which might make it possible to explain its beauty and impact on the senses, as well as its possible resonance in the absolute idea of beauty. However, it is important to remember that Plato distrusted, above all, the most beautiful objects, since their unreal beauty distanced men from the contemplation of true perfection, which was obviously ideal.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-14 fusion_builder_column_1_4 1_4 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:25%;--awb-margin-top-large:0px;--awb-spacing-right-large:7.68%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:7.68%;--awb-width-medium:25%;--awb-spacing-right-medium:7.68%;--awb-spacing-left-medium:7.68%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-15 fusion_builder_column_1_2 1_2 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:50%;--awb-margin-top-large:0px;--awb-spacing-right-large:3.84%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:3.84%;--awb-width-medium:50%;--awb-spacing-right-medium:3.84%;--awb-spacing-left-medium:3.84%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-image-element \" style=\"text-align:center;--awb-liftup-border-radius:0px;--awb-caption-title-font-family:var(--h2_typography-font-family);--awb-caption-title-font-weight:var(--h2_typography-font-weight);--awb-caption-title-font-style:var(--h2_typography-font-style);--awb-caption-title-size:var(--h2_typography-font-size);--awb-caption-title-transform:var(--h2_typography-text-transform);--awb-caption-title-line-height:var(--h2_typography-line-height);--awb-caption-title-letter-spacing:var(--h2_typography-letter-spacing);\"><div class=\"awb-image-frame awb-image-frame-2 imageframe-liftup\"><span class=\" fusion-imageframe imageframe-none imageframe-2\"><a href=\"http:\/\/matpsil.com\/revista-lapso\/wp-content\/uploads\/sites\/2\/2018\/12\/David-02.jpg\" class=\"fusion-lightbox\" data-rel=\"iLightbox[a6159412cd54c00edfe]\"><img decoding=\"async\" src=\"http:\/\/matpsil.com\/revista-lapso\/wp-content\/uploads\/sites\/2\/2018\/12\/David-02.jpg\" alt class=\"img-responsive\"\/><\/a><\/span><\/div><\/div><div class=\"fusion-text fusion-text-6\"><p style=\"text-align: center\">Apolo Belvedere (unknown artist), Cortile Ottagono, PioClementino Museum, Vatican City, circa 120.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-16 fusion_builder_column_1_4 1_4 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:25%;--awb-margin-top-large:0px;--awb-spacing-right-large:7.68%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:7.68%;--awb-width-medium:25%;--awb-spacing-right-medium:7.68%;--awb-spacing-left-medium:7.68%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-17 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-text fusion-text-7\"><p style=\"text-align: justify\">The phallic logic, from psychoanalysis, is thought as that which privileges measure, symmetry, order, the rational and the countable. It is no coincidence that the epoch when the canon of beauty was male\u2014through the idea of supreme beauty of the god Apollo\u2014was governed by parameters linked to the measurable as a technique to achieve the perfect representation of the body. The Image Queen in this period is then the male human body, founded on Apollo\u2019s unrepresentable beauty.<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-7 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-18 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-4 sep-underline sep-solid fusion-title-text fusion-title-size-three\" style=\"--awb-margin-bottom:30px;--awb-sep-color:#dd3333;\"><h3 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20;line-height:1.5;\">Enlightened Venus<\/h3><\/div><div class=\"fusion-text fusion-text-8\"><p style=\"text-align: justify\">Venus\u2014Aphrodite to the Greeks\u2014was, as we know, the goddess of love in its carnal form. Always accompanied by Eros, she is also distinguished by other attributes, such as roses and a white dove. Fran\u00e7ois Boucher (1703-1790), the favorite painter of the Marquise de Pompadour, who was an influential and enlightened lover of Louis XV, painted several portraits of her. The one we now present, \u201cLa toilette de Venus,\u201d was painted in 1751 and can be clearly contrasted with another where she is portrayed in a wide skirt on which a book rests. Although the female reader is a Rococo genre related to the publishing <em>boom<\/em> and to what Chartier characterizes as an urban use of the printed image, it is remarkable that Jeanne, sponsor of the Encyclopedia, appears accompanied by a book. It is also notable that, in other representations such as this one, she appears personifying Venus, who is not related to the intellect (Boyme, 1987 [1994]). In addition to obvious contrasts related to issues of male domination, possession, and <em>voyeurism<\/em>\u2014monarchical in this case\u2014, it is worth noting, however, that both representations of Madame de Pompadour coincide at a certain point with the project of the Enlightenment, since erotic education was not absent from the program, as the Marquis de Sade\u2019s work shows us, for example. It was an extraordinarily frank and bold century in its erotic practices and representations. That is why it can be thought that this allegory brings to the scene a promise of carnal <em>jouissance <\/em>intimately linked to luxury. The luxurious female body is the Image Queen and Boucher shows us an opulent image of the king\u2019s mistress, who appears surrounded by all imaginable riches and luxuries, willing, like France, to satisfy the absolute monarch\u2019s wishes, whose body, as Foucault points out, was equivalent to that of the State.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-19 fusion_builder_column_1_4 1_4 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:25%;--awb-margin-top-large:0px;--awb-spacing-right-large:7.68%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:7.68%;--awb-width-medium:25%;--awb-spacing-right-medium:7.68%;--awb-spacing-left-medium:7.68%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-20 fusion_builder_column_1_2 1_2 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:50%;--awb-margin-top-large:0px;--awb-spacing-right-large:3.84%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:3.84%;--awb-width-medium:50%;--awb-spacing-right-medium:3.84%;--awb-spacing-left-medium:3.84%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-image-element \" style=\"text-align:center;--awb-liftup-border-radius:0px;--awb-caption-title-font-family:var(--h2_typography-font-family);--awb-caption-title-font-weight:var(--h2_typography-font-weight);--awb-caption-title-font-style:var(--h2_typography-font-style);--awb-caption-title-size:var(--h2_typography-font-size);--awb-caption-title-transform:var(--h2_typography-text-transform);--awb-caption-title-line-height:var(--h2_typography-line-height);--awb-caption-title-letter-spacing:var(--h2_typography-letter-spacing);\"><div class=\"awb-image-frame awb-image-frame-3 imageframe-liftup\"><span class=\" fusion-imageframe imageframe-none imageframe-3\"><a href=\"http:\/\/matpsil.com\/revista-lapso\/wp-content\/uploads\/sites\/2\/2018\/12\/David-03.jpg\" class=\"fusion-lightbox\" data-rel=\"iLightbox[630a564151d2ab085c1]\"><img decoding=\"async\" src=\"http:\/\/matpsil.com\/revista-lapso\/wp-content\/uploads\/sites\/2\/2018\/12\/David-03.jpg\" alt class=\"img-responsive\"\/><\/a><\/span><\/div><\/div><div class=\"fusion-text fusion-text-9\"><p style=\"text-align: center\">Fran\u00e7ois Boucher, La toilette de Venus (1751), Metropolitan\u00a0Museum of Art, New York.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-21 fusion_builder_column_1_4 1_4 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:25%;--awb-margin-top-large:0px;--awb-spacing-right-large:7.68%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:7.68%;--awb-width-medium:25%;--awb-spacing-right-medium:7.68%;--awb-spacing-left-medium:7.68%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-8 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-22 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-text fusion-text-10\"><p style=\"text-align: justify\">It is not a minor fact for psychoanalysis that the canon of beauty began as that of a masculine ideal and that it later moved toward the \u201cbeautiful sex.\u201d There is both an artistic inclination toward the female body in the representation of beauty as the favorite and a shift in the gaze toward the male body. Just as the questioning of the Name of the Father has led\u00a0 different logics grouped in the so-called \u201cfeminization of the world\u201d to become relevant (Miller &amp; Laurent [2005]), the Image Queen of the male body shifts toward the female nude and opulence. From Apollo to Venus, elements of the divine now appear, as well as mundane products which do not respond to an orderly disposition, but which are intermingled, fallen, disordered, in promiscuity with deities, animals, things. Even in what appears to be the interior, one can also find an exterior by paying attention to the background of the image; there is a confusion between what is inside and outside. Order is questioned.<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-9 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-23 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-5 sep-underline sep-solid fusion-title-text fusion-title-size-three\" style=\"--awb-margin-bottom:30px;--awb-sep-color:#dd3333;\"><h3 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20;line-height:1.5;\">Venus Supplanted by the Vagina<\/h3><\/div><div class=\"fusion-text fusion-text-11\"><p style=\"text-align: justify\">The nineteenth century, marked by the Industrial Revolution, nationalism, and colonialism, was extremely important in the consecration of the modern way of life. A century that witnessed opposing movements in its poetic\/political motivations such as Neoclassicism, Romanticism, Realism, Impressionism, and Symbolism was also cut across by different conflicting political and scientific conceptions, mainly liberalism, socialism, and positivism.<\/p>\n<p style=\"text-align: justify\">In the junction of the latter, apparently so far apart from one other, lies Realism, a movement that was led in France by Gustave Courbet (1819-1877). Almost all art historians are familiar with one of his quotes, which sums up his artistic and political commitment: \u201cShow me an angel and I will paint one.\u201d For Courbet, a forerunner of the avant-garde, art should be at the service of reality and not submitted to any canon. This adherence to truth in art led him to explore themes which had been absent from his career, such as the lives of peasants and those who were marginalized from nineteenth-century progress (1973 [1981]). He did so with a fidelity that owes much to technological advances, as one might wonder whether he could have developed\u2014as Degas did, for example\u2014 without the invention of photography.<\/p>\n<p style=\"text-align: justify\">The Image Queen in Courbet\u2019s work is life itself, without bourgeois humanist idealizations. His best-known painting, \u201cA Burial at Ornans,\u201d is often compared in this sense with El Greco\u2019s \u201cThe Burial of the Count of Orgaz\u201d (1588). Courbet offers a stark look of death. The center and the foreground of the scene are occupied by an open grave in a rural burial. A dog snoops nearby, downplaying the importance of the ceremony that is taking place under a leaden sky. To the left and right of the crudely dug hole in the ground are the clergy and the peasants. The composition is markedly horizontal, as if to highlight the impossibility of an \u201cascent.\u201d In contrast, two and a half centuries earlier, the work of El Greco (1541-1614) was markedly vertical, where the soul of the deceased was detached from his body and ascended to heaven\u2014certainly to that of the just.<\/p>\n<p style=\"text-align: justify\">\u201cThe Origin of the World,\u201d painted by Courbet in 1866, shows us a truncated image of a female body lying with the genitals exposed in the foreground. The crudeness of the image\u2014especially considering the time when it was painted\u2014 can be thought of in the general context of the eminently anti-romantic proposal of Realism.<\/p>\n<p style=\"text-align: justify\">\u00a0<\/p>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-24 fusion_builder_column_1_4 1_4 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:25%;--awb-margin-top-large:0px;--awb-spacing-right-large:7.68%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:7.68%;--awb-width-medium:25%;--awb-spacing-right-medium:7.68%;--awb-spacing-left-medium:7.68%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-25 fusion_builder_column_1_2 1_2 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:50%;--awb-margin-top-large:0px;--awb-spacing-right-large:3.84%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:3.84%;--awb-width-medium:50%;--awb-spacing-right-medium:3.84%;--awb-spacing-left-medium:3.84%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-image-element \" style=\"text-align:center;--awb-liftup-border-radius:0px;--awb-caption-title-font-family:var(--h2_typography-font-family);--awb-caption-title-font-weight:var(--h2_typography-font-weight);--awb-caption-title-font-style:var(--h2_typography-font-style);--awb-caption-title-size:var(--h2_typography-font-size);--awb-caption-title-transform:var(--h2_typography-text-transform);--awb-caption-title-line-height:var(--h2_typography-line-height);--awb-caption-title-letter-spacing:var(--h2_typography-letter-spacing);\"><div class=\"awb-image-frame awb-image-frame-4 imageframe-liftup\"><span class=\" fusion-imageframe imageframe-none imageframe-4\"><a href=\"http:\/\/matpsil.com\/revista-lapso\/wp-content\/uploads\/sites\/2\/2018\/12\/David-04.jpg\" class=\"fusion-lightbox\" data-rel=\"iLightbox[ecd138a58c842bb0e7b]\"><img decoding=\"async\" src=\"http:\/\/matpsil.com\/revista-lapso\/wp-content\/uploads\/sites\/2\/2018\/12\/David-04.jpg\" alt class=\"img-responsive\"\/><\/a><\/span><\/div><\/div><div class=\"fusion-text fusion-text-12\"><p style=\"text-align: center\">The Origin of the World (1866), Gustave Courbet, Mus\u00e9e\u00a0d\u2019Orsay, Paris, France.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-26 fusion_builder_column_1_4 1_4 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:25%;--awb-margin-top-large:0px;--awb-spacing-right-large:7.68%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:7.68%;--awb-width-medium:25%;--awb-spacing-right-medium:7.68%;--awb-spacing-left-medium:7.68%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-27 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-text fusion-text-13\"><p style=\"text-align: justify\">It is remarkable that with the passage from the representation of the male body as a canon of beauty to that of the female body, Courbet\u2019s blunt questioning of the idea of canon produced a work showing, in the foreground, what had remained outside the gaze in the \u201cbeautiful female body\u201d: the vagina.<\/p>\n<p style=\"text-align: justify\">It is well known that Lacan had to cover this work, acquired for his country house, with a double-bottomed frame system which allowed it to be hidden or shown, as it made visitors very uneasy.<\/p>\n<p style=\"text-align: justify\">The female body was the Image Queen, but on condition that her female genitals be kept veiled. That horror caused by the exposed vagina is an indication that the image might moor <em>jouissance<\/em>. It is an image which does not show bodily completeness, which is not oriented by the beauty of the female body. On the contrary, it strips the representation of the harmony which ensures contemplation and strikes a blow to the gaze. There is no ostentation or divinity; it removes adjectives from the body to simply show a vagina, a pair of thighs, a breast, and a navel flung on some seemingly white sheets. We cannot even see whether it is a dead or a living body.<\/p>\n<p style=\"text-align: justify\">As we said about \u201cA Burial at Ornans,\u201d Courbet removes the transcendence that a funeral ritual can have in order to show death without a Paradise, without an ascent. There is a step which separates the verticality of the divine from the horizontality of the earthly. From the female body as an idealized whole to the pornographic fragment.<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-10 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-28 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-6 sep-underline sep-solid fusion-title-text fusion-title-size-three\" style=\"--awb-margin-bottom:30px;--awb-sep-color:#dd3333;\"><h3 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20;line-height:1.5;\">From Plausibility to Hyperrealism: The Triumph of Science<\/h3><\/div><div class=\"fusion-text fusion-text-14\"><p style=\"text-align: justify\">Ron Mueck (1958), an Australian sculptor, is known for the striking verisimilitude of his human and animal figures, stylistically and conceptually related to the Hyperrealism of the 1970s. Using scientific and technological resources, he achieves an extreme naturalism in his sculptures, which are always gigantic or tiny, bigger or smaller in comparison with the original model. None of his figures respect the real size of the human or animal body, although they do achieve a verisimilitude which produces a certain ominous feeling in the viewer.<\/p>\n<p style=\"text-align: justify\">Having worked for the film industry, Mueck does not choose to create supernatural or science fiction figures, despite the unlimited availability of special effects today. His sculptures allow the viewer\u2019s eye to meddle in the almost microscopic details of the body, thanks to the instrumental use of scientific technology. The daily poses of his figures, thanks to which his work has become part of <em>costumbrismo<\/em>, do not express anything extraordinary, but rather turn the ordinary and frequent into something of extreme interest to the viewer. More or less like the gesture of Marcel Duchamp (1887-1968) who, by choosing an indifferent and ordinary industrial product for everyone, transforms it into a <em>ready-made<\/em> product worthy of exhibition.<\/p>\n<p style=\"text-align: justify\">His works show a moment of stoppage which does not refer to a clear past or future in the situations they represent, but they do show a gesture which occupies a time lapse. They are like three-dimensional photos taken in the middle of a minimal story which has begun and continues. Like a stopped film, they tell only what they show. In fact, there is no context enriching the story of the figure; there may be an object, a light put in some kind of perspective at best. Perhaps this is what makes them suggestive, disturbing, and attractive, in addition to\u2014naturally\u2014their hyperrealism.<\/p>\n<p style=\"text-align: justify\">The figure we have chosen to present here is \u201cDead Dad\u201d (1996). It is a sculpture which uses the body of his own father as a model. He even used the original hair for the figure. This work is paradigmatic of Mueck\u2019s work. In addition to the obvious connection which can be made with the great philosophical and psychoanalytic theme of the dead Father, there are other reasons: one of them is that he used the image of his dead father to make the sculpture. The reuse of human corpse fragments is a unique feature of our times, made possible by science and the mandate to recycle. In addition, this is another one of his works which focuses on a body that is old and shaped by time and life. But this time it has been struck by death. His sculptures are known to have been branded as looking alive; this one only needs to be actually dead. \u201cDead Dad\u201d does not represent the death of Christ or that of some saint or monarch, like so many horizontal sculptures that can be found in many temples. It is not about the death of God; there is no transcendence in this death; it is that of an ordinary citizen. Is death the impossible challenge for science?<\/p>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-29 fusion_builder_column_1_4 1_4 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:25%;--awb-margin-top-large:0px;--awb-spacing-right-large:7.68%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:7.68%;--awb-width-medium:25%;--awb-spacing-right-medium:7.68%;--awb-spacing-left-medium:7.68%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-30 fusion_builder_column_1_2 1_2 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:50%;--awb-margin-top-large:0px;--awb-spacing-right-large:3.84%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:3.84%;--awb-width-medium:50%;--awb-spacing-right-medium:3.84%;--awb-spacing-left-medium:3.84%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-image-element \" style=\"text-align:center;--awb-liftup-border-radius:0px;--awb-caption-title-font-family:var(--h2_typography-font-family);--awb-caption-title-font-weight:var(--h2_typography-font-weight);--awb-caption-title-font-style:var(--h2_typography-font-style);--awb-caption-title-size:var(--h2_typography-font-size);--awb-caption-title-transform:var(--h2_typography-text-transform);--awb-caption-title-line-height:var(--h2_typography-line-height);--awb-caption-title-letter-spacing:var(--h2_typography-letter-spacing);\"><div class=\"awb-image-frame awb-image-frame-5 imageframe-liftup\"><span class=\" fusion-imageframe imageframe-none imageframe-5\"><a href=\"http:\/\/matpsil.com\/revista-lapso\/wp-content\/uploads\/sites\/2\/2018\/12\/David-05.jpg\" class=\"fusion-lightbox\" data-rel=\"iLightbox[f9f21d8aee408b9beca]\"><img decoding=\"async\" src=\"http:\/\/matpsil.com\/revista-lapso\/wp-content\/uploads\/sites\/2\/2018\/12\/David-05.jpg\" alt class=\"img-responsive\"\/><\/a><\/span><\/div><\/div><div class=\"fusion-text fusion-text-15\"><p style=\"text-align: center\">Ron Mueck, Dead Dad, 1996.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-31 fusion_builder_column_1_4 1_4 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:25%;--awb-margin-top-large:0px;--awb-spacing-right-large:7.68%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:7.68%;--awb-width-medium:25%;--awb-spacing-right-medium:7.68%;--awb-spacing-left-medium:7.68%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-32 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-text fusion-text-16\"><p style=\"text-align: justify\">We said that one effect of his work is that his sculptures seem to be alive, but there is another side effect that unsettles the viewer: it is the question of what a body really is; is it an image, is it the organs and bones, is it a shell, is it something living, is it an object? Mueck\u2019s bodies, in spite of being empty shells inside, exert a mirror fascination which does not appease, but rather leads to one\u2019s being reflected\u2014reflecting on oneself\u2014in that Image Queen.<\/p>\n<p style=\"text-align: justify\">Throughout the selection of works that we have looked at, the Image Queen has acquired predominance over different bodies according to the period.<\/p>\n<p style=\"text-align: justify\">From the body of the animal as a privileged Other to the right phallic measure of the homoerotic body. Later on, from the voluptuous representation of the female body becoming the favorite to the bodily realism stripped of the beautiful ideal. Thus, we arrive at an art that puts the viewer\u2019s body in a state of questioning. The body proves to be an Image Queen in whatever format it is presented, always carrying that fascination which comes with its contemplation.<\/p>\n<p style=\"text-align: justify\">The art which we have seen here shows us a path indicating the attempt to represent otherness\u2014animality, divinity, femininity, even death\u2014the body being the support with which we try to capture it, to point it out as the Other of each epoch in a gesture aspiring to bring it to unity, to identity, opposite to otherness.<\/p>\n<p style=\"text-align: justify\">But there is something else: this Image Queen that produces fascination, fear, contemplation, rejection, or admiration; this Image Queen that is the body becomes an object stripped of its attributes of beauty and vitality in \u201cDead Dad.\u201d This work seems to be shouting: After all, there\u2019s only waste left! But the image reigns.<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-11 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-33 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-7 sep-underline sep-solid fusion-title-text fusion-title-size-three\" style=\"--awb-margin-bottom:30px;--awb-sep-color:#dd3333;\"><h3 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20;line-height:1.5;\">References<\/h3><\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-34 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><ul style=\"--awb-size:15px;--awb-iconcolor:#dd3333;--awb-line-height:25.5px;--awb-icon-width:25.5px;--awb-icon-height:25.5px;--awb-icon-margin:10.5px;--awb-content-margin:36px;\" class=\"fusion-checklist fusion-checklist-1 fusion-checklist-default type-icons\"><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Boyme, A. (1987 [1994]). <em>Historia social del arte moderno.<\/em> Madrid: Alianza.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Clark, K. (1956 [1996]). <em>El desnudo<\/em>. Madrid: Alianza.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Clark, T. J. (1973 [1981]). <em>Imagen del pueblo. Gustave Courbet y la Revoluci\u00f3n de 1848<\/em>. Barcelona: Gustavo Gili.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Foucault, M. (1975 [1991]). <em>Vigilar y castigar<\/em>. M\u00e9xico: Siglo XXI.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Freud, S. (1936 [2008]). \u201cCarta a Romain Rolland (Una perturbaci\u00f3n del recuerdo en la Acr\u00f3polis)\u201d en <em>Obras Completas. Tomo XXII.<\/em> Buenos Aires: Amorrortu.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Giedion, S. (1981 [1985]). <em>El presente eterno: los comienzos del arte.<\/em> Madrid: Alianza.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Miller, J.-A. (1995 [1998]). \u201cLa imagen reina\u201d en <em>Elucidaci\u00f3n de Lacan. Charlas brasile\u00f1as<\/em>.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Miller, J.-A. y Laurent, E. (2005). <em>El Otro que no existe y sus comit\u00e9s de \u00e9tica<\/em>. Buenos Aires: Paid\u00f3s.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Paton, J. &amp; Storr, R. (2013). <em>Ron Mueck.<\/em> Buenos Aires: Fundaci\u00f3n Proa.<\/p>\n<\/div><\/li><\/ul><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","format":"standard","meta":{"footnotes":""},"portfolio_category":[],"portfolio_skills":[],"portfolio_tags":[],"class_list":["post-623","avada_portfolio","type-avada_portfolio","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/avada_portfolio\/623","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/avada_portfolio"}],"about":[{"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/types\/avada_portfolio"}],"author":[{"embeddable":true,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/comments?post=623"}],"version-history":[{"count":1,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/avada_portfolio\/623\/revisions"}],"predecessor-version":[{"id":2023,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/avada_portfolio\/623\/revisions\/2023"}],"wp:attachment":[{"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/media?parent=623"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/portfolio_category?post=623"},{"taxonomy":"portfolio_skills","embeddable":true,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/portfolio_skills?post=623"},{"taxonomy":"portfolio_tags","embeddable":true,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/portfolio_tags?post=623"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}