The Female Nude: Art, Obscenity and Sexuality
The Female Nude: Art, Obscenity and Sexuality
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女性裸体：艺术、淫秽与性
DOI：
10.1057/fr.1994.36
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发表时间：
1994
期刊：
影响因子：
1.8
通讯作者：
C. Evans
中科院分区：
文献类型：
--
作者：
C. Evans
阿米莉亚·G.琼斯在她关于杜尚的文章中认为，解释是被压抑的性行为。与弗洛伊德一样，她说：“对意义的斗争必然是一种性爱交换”（第22页）。我们想要知道、解释或确定意义的欲望是由杜尚伪装成一个女人的模糊性激起的。作为解释批评家，我们把自己置于与分析师同样的权威知识的位置。“像杜尚一样，”她总结道，“通过我的解释性生产，我被牵连到欲望的关系中。”在这里，杜尚的性别伪装的矛盾性与解释的矛盾性密切相关，因为琼斯建立了一个意义，然后用一个矛盾的意义来破坏它，杜尚自己称之为“我和我之间的小游戏”（第30页）。没有这样的游戏，
Hermeneutics and erotics are explictly connected by Amelia G. Jones who, in her essay on Duchamp, argues that interpretation is repressed sexuality. Invoking Freud she says' the struggle for meaning is necessarily an erotic exchange'(p. 22). Our desire to know, to interpret, or to fix meaning is provoked by the ambiguity ofDuchamp masquerading as a woman. As interpretercritics we put ourselves in the same position of authoritative knowledge as the analyst.'Like Duchamp'she concludes,'I am implicated, through my interpretive production, in relations of desire'(p. 27). Here the ambivalence of Duchamp's masquerade with gender is critically related to the ambivalence of interpretation, as Jones sets up one meaning and then proceeds to destabilize it with a contradictory one, in what Duchamp himself called'a little game between" I" and" me"'(p. 30). There are no such games in