Publication: La mirada del monstruo: apuntes para un bestiario femenino. Del arte antiguo a la modernidad de Goya y su tiempo
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2022-05-04
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Universidad Complutense de Madrid
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Abstract
La doblez en forma de atracción y rechazo, es un rasgo característico del monstruo; entidad intersticial que eleva y desborda los límites de contención categorial, se aparta de leyes y costumbres para ofrecer el patrón del diferente; la alteridad que nos construye como "normales". A este respecto, constituye una herramienta ontológica de primer orden; propone modelos a evitar, pero también un atisbo de lo que podría ser en los encajes del sueño, cuestionando toda certeza o actitud inmóvil. Nuestro trabajo aborda un estudio iconográfico y simbólico del monstruo femenino; objeto de análisis restringido, dada la amplitud y volumen del muestreo. Estos "apuntes", tratan de esbozar características y relaciones más o menos veladas de una figuración dispar, sin atender a un sujeto, un tiempo o geografía exclusiva, ya que su voluntades tender puentes entre ellas. La investigación profundiza los trasvases entre texto e imagen dentro y fuera de la "ficción", para enlazar con cuestiones relativas al papel del monstruo y la mujer, principalmente en el ámbito occidental y europeo. Apostamos por un crecimiento rizomático, que permite multiplicar los nexos y puntos de vista; analizar sus deseos y temores, sus estrategias de asalto, su mirada y la nuestra...
The duality in the form of attraction and rejection is a characteristic feature of monsters; they are interstitial beings that elevate and break out of the limits of category restraints; they exist outside laws and customs, and present a pattern of what is different; the otherness which makes us “normal”. In this respect, they constitutes a key ontological tool. They suggest models to avoid, but also hint at what could be in delicate patterns of our dreams, questioning all certainties or established attitudes. Our work is an iconographic and symbolic study of female monsters; it is a restricted analysis, given the extension and volume of the sample. These “notes” aim to sketch out the more or less hidden characteristics and relations of what are disparate imaginings, without dealing exclusively with a single subject, time or geography, as the idea is to build bridges between them. The research investigates in more detail the connective channels between text and image within and outside “fiction”, to create links with questions related to the role of monsters and women, mainly in Western and European societies. We propose a rhizome-type growth, which multiplies nodes and points of view, analysing their desires and fears, their assault strategies, through their eyes and our own...
The duality in the form of attraction and rejection is a characteristic feature of monsters; they are interstitial beings that elevate and break out of the limits of category restraints; they exist outside laws and customs, and present a pattern of what is different; the otherness which makes us “normal”. In this respect, they constitutes a key ontological tool. They suggest models to avoid, but also hint at what could be in delicate patterns of our dreams, questioning all certainties or established attitudes. Our work is an iconographic and symbolic study of female monsters; it is a restricted analysis, given the extension and volume of the sample. These “notes” aim to sketch out the more or less hidden characteristics and relations of what are disparate imaginings, without dealing exclusively with a single subject, time or geography, as the idea is to build bridges between them. The research investigates in more detail the connective channels between text and image within and outside “fiction”, to create links with questions related to the role of monsters and women, mainly in Western and European societies. We propose a rhizome-type growth, which multiplies nodes and points of view, analysing their desires and fears, their assault strategies, through their eyes and our own...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 04-03-2022