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代写:死亡和情欲绘画的艺术表现形式

巴塔耶认为,色情本质上与破坏参与者的自我控制有关,这种自我控制告知参与者不连续的性格。他认为人们渴望失去连续性(Bell 2015)。然而,死亡进一步破坏了个体的连续性,导致个体轻率地走向连续性,包括所有的幸福。巴塔耶的性爱观念随着弗洛伊德对死驱力和性爱之间不确定的区分而彻底瓦解。从巴塔耶的角度来看,与死亡和情欲的不受约束的影响相结合的对位是身体上的实际分离,以及自我控制的内在感觉,从而导致稳定,也被称为自我。因此,保持了绑定和解除绑定的动态;然而,厄洛斯被赋予了一种自我毁灭的特质,而死亡则被赋予了一种性欲。

理解死亡驱动的概念,以及它们与重复的联系,以及巴塔耶对色情化死亡的看法,对于表示在当代和现代摄影中出现的各种死亡视觉化是至关重要的。死亡的情色化是照片所描述和摄影师试图反映的形式之一(Bell 2015)。

生命在它的极限和它的最高强度的时候会导致死亡。痛苦与狂喜相接。因此,难怪弗洛伊德的快乐原则,导致回避痛苦似乎是垂死的,而超越的快乐,导致强烈的生活感觉时,在其最高限度。按照弗洛伊德的观点,祭祀仪式也是死亡驱动力的一种表现。他认为,祭祀仪式是一种帮助体验极限的方式,在那里,人们可以强烈地感受到生命。正如巴塔耶所言,牺牲的受害者描绘了一切事物的存在连续性,而现在受害者与之融合为一体。暴力行为赋予被牺牲的受害者无限的、神圣的事物无限的本性。巴塔耶书中这段引人注目的引言是通过对美学相关性的反思而结束的,他在书中指出,艺术导致了类似的色情,导致了不同对象的融合和融合。这导致了永恒的感觉,导致人们走向死亡,而死亡又反过来导致连续性。提到波洛克,无疑不仅是对他的画作《轮盘》,而且对他早期的作品表达了敬意。将进一步调用特定的绘画。波洛克是形成死亡影像的关键,因为他是一个伟大的画家,承受着疯狂,暴力和自杀的折磨。巴塔耶还顺便写了一篇关于梵高殉葬致残的文章。他认为,这个自残者有最大的死亡驱动力,模仿他的自我消费的理想,因此暴力通过艺术形式进行中介。

代写:死亡和情欲绘画的艺术表现形式

According to Bataille, eroticism has fundamentally something to do with destruction of self-containment informing participant’s discontinuous character. He argues that people yearn for the loss of continuity (Bell 2015). Still death further destroys individual discontinuity that leads an individual to headlong continuity inclusive of all well-being. The eroticism notion by Bataille collapses completely with the precarious distinction by Freud between the dead drive and Eros. From Bataille’s perspective, the counterpoints binding to unbinding influences of death and eroticism are the actual separateness physically taking place along with self-possession inward sense leading in turn towards stability also known as ego. The binding and unbinding dynamic is therefore preserved; however, Eros is given a quality that self-shatters while death becomes eroticized.
Understanding the notions of death drive and their connection to repetition and Bataille’s view on eroticized death is essential to denote the various visualizations of death that have made their way in contemporary and modern photography. Eroticizing death is one of the forms that photographs depict and the photographer tries to reflect (Bell 2015).
Life at its limit and at its highest intensity leads to encountering death. Pain is bordered by ecstatic pleasures. Then, it is no wonder that the pleasure principle of Freud that results in shunning pain seems to be moribund while the pleasure beyond results in making life felt intensely when at its highest limit. The sacrifice ritual is also a representation of death drive as per Freud. He argues that sacrifice ritual is a manner that helps in experiencing the limit where life can be felt intensely. As per Bataille, the victim sacrificing depicts existence continuity of everything with which victim has now merged with into one. The violence act bestows over the limitless, sacred things infinite nature towards the victim being sacrificed. This remarkable introduction in Bataille’s book is closed by reflecting over aesthetics relevance where he indicates that art leads towards similar eroticism resulting in blending and fusing distinct objects. This leads towards feeling of eternity and leads people towards death and death leads in turn towards continuity. Referring to Pollock offers an undoubted homage not only into his painting whorls but also into his early works illustrating mythopoetic bent with specific context to his violence death (Bell 2015). A specific painting is further invoked. Pollock is essential in forming the photographic visualization of death as he was a magnificent painter burdened through madness suffering violence and death which is self-inflicted. Bataille wrote incidentally on Van Gogh with regard to sacrificial mutilation of death. He argues that this self-mutilator has the maximum death drive that emulates his ideal of self-consumption and henceforth the violence intermediated through artistic forms.