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3 books match the query 'Suffering in art'

cover of Ecce Homo: The Male-Body-in-Pain as Redemptive Figure

Ecce Homo

The Male-Body-in-Pain as Redemptive Figure

Kent L. Brintnall

University of Chicago Press, 2011

Images of suffering male bodies permeate Western culture, from Francis Bacon’s paintings and Robert Mapplethorpe’s photographs to the battered heroes of action movies. Drawing on perspectives from a range of disciplines—including religious studies, gender and queer studies, psychoanalysis, art history, and film theory—Ecce Homo explores the complex, ambiguous meanings of the enduring figure of the male-body-in-pain.

Acknowledging that representations of men confronting violence and pain can reinforce ideas of manly tenacity, Kent L. Brintnall also argues that they reveal the vulnerability of men’s bodies and open them up to eroticization. Locating the roots of our cultural fascination with male pain in the crucifixion, he analyzes the way narratives of Christ’s death and resurrection both support and subvert cultural fantasies of masculine power and privilege. Through stimulating readings of works by Georges Bataille, Kaja Silverman, and more, Brintnall delineates the redemptive power of representations of male suffering and violence.

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cover of The Second Wave: Reflections on the Pandemic through Photography, Performance and Public Culture

The Second Wave

Reflections on the Pandemic through Photography, Performance and Public Culture

Rustom Bharucha

Seagull Books, 2022

Lessons in resilience in the second wave of the Covid-19 pandemic in India.

Focusing on the second wave of the Covid-19 pandemic in India between April and December 2021, Rustom Bharucha’s timely essay reflects on four interconnected realities that haunted this ongoing crisis—death, grief, mourning, and extinction. How do we cope with multiple deaths and the dislocation of rituals when the act of mourning is either postponed or denied? What roles do political surveillance, censorship, the regulation of lockdowns, and the sheer indifference to the lives of people play in the containment of civil liberties? Through vivid examples of photography, theater, dance, visual arts, and the cultures of everyday life, this meditative essay illuminates both the horror of the pandemic as well as its unexpected intimacies and revelations of shared suffering. Against the destruction of nature and the disrespect for the nonhuman, The Second Wave offers lessons in resilience through its reflections on the ethos of waiting and the need to re-envision breath as a vital resource of self-renewal and resistance.
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cover of Tough Enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil

Tough Enough

Arbus, Arendt, Didion, McCarthy, Sontag, Weil

Deborah Nelson

University of Chicago Press, 2017

This book focuses on six brilliant women who are often seen as particularly tough-minded: Simone Weil, Hannah Arendt, Mary McCarthy, Susan Sontag, Diane Arbus, and Joan Didion. Aligned with no single tradition, they escape straightforward categories. Yet their work evinces an affinity of style and philosophical viewpoint that derives from a shared attitude toward suffering. What Mary McCarthy called a “cold eye” was not merely a personal aversion to displays of emotion: it was an unsentimental mode of attention that dictated both ethical positions and aesthetic approaches.

Tough Enough traces the careers of these women and their challenges to the pre-eminence of empathy as the ethical posture from which to examine pain. Their writing and art reveal an adamant belief that the hurts of the world must be treated concretely, directly, and realistically, without recourse to either melodrama or callousness. As Deborah Nelson shows, this stance offers an important counter-tradition to the familiar postwar poles of emotional expressivity on the one hand and cool irony on the other. Ultimately, in its insistence on facing reality without consolation or compensation, this austere “school of the unsentimental” offers new ways to approach suffering in both its spectacular forms and all of its ordinariness.
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