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Hedgewhores, wagtails, cockatrices, ...

Harvard University.

Hedgewhores, wagtails, cockatrices, whipsters: John Singer Sargent and his coterie of nature's artful dodgers.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Hedgewhores, wagtails, cockatrices, whipsters: John Singer Sargent and his coterie of nature's artful dodgers.
作者:	Syme, Alison Mairi.
面頁冊數:	403 p.
附註:	Advisers: Ewa Lajer-Burcharth; Yve-Alain Bois; Elaine Scarry.
附註:	Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1533.
Contained By:	Dissertation Abstracts International66-05A.
標題:	Art History.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3174047
ISBN:	9780542118944

Hedgewhores, wagtails, cockatrices, whipsters: John Singer Sargent and his coterie of nature's artful dodgers.
Syme, Alison Mairi.

Hedgewhores, wagtails, cockatrices, whipsters: John Singer Sargent and his coterie of nature's artful dodgers. - 403 p.

Advisers: Ewa Lajer-Burcharth; Yve-Alain Bois; Elaine Scarry.

Thesis (Ph.D.)--Harvard University, 2005.

This dissertation considers the work of John Singer Sargent in the context of contemporary botany, gynaecology, literature and art to show that he and friends of his were, in their respective disciplines, mobilising the ideas of cross-fertilisation and the hermaphroditic sexuality of flowers to "naturalise" sexual inversion---an argument most famously invoked by Proust in the orchid and bee scene of A la recherche du temps perdu. In the nineteenth century human and floral sexualities were widely seen as intertwined, and the gynaecological treatise of Dr. Samuel-Jean Pozzi (one of Sargent's portrait subjects and friends), attests that this was the case in the world of his medical specialty as well as the broader cultural imaginary. New conceptions of the artist as a pollinator and/or a plant, moreover, were easily conflated with this general understanding of interspecies sexuality to engender a new understanding of artistic procreativity: works in diverse media came to be seen as the vegetable offspring of cross-fertilising encounters. By imagining the act of painting as a hand-pollination accomplished with his brush, then, Sargent was simultaneously declaring the naturalness and fruitfulness of his creative productions, visually elaborating a period poetics of homosexuality, and formulating a new sense of artistic subjectivity for himself.

ISBN: 9780542118944Subjects--Topical Terms:

212490
Art History.

Hedgewhores, wagtails, cockatrices, whipsters: John Singer Sargent and his coterie of nature's artful dodgers.
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245 1 0 $a Hedgewhores, wagtails, cockatrices, whipsters: John Singer Sargent and his coterie of nature's artful dodgers.
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500 $a Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1533.
502 $a Thesis (Ph.D.)--Harvard University, 2005.
520 # $a This dissertation considers the work of John Singer Sargent in the context of contemporary botany, gynaecology, literature and art to show that he and friends of his were, in their respective disciplines, mobilising the ideas of cross-fertilisation and the hermaphroditic sexuality of flowers to "naturalise" sexual inversion---an argument most famously invoked by Proust in the orchid and bee scene of A la recherche du temps perdu. In the nineteenth century human and floral sexualities were widely seen as intertwined, and the gynaecological treatise of Dr. Samuel-Jean Pozzi (one of Sargent's portrait subjects and friends), attests that this was the case in the world of his medical specialty as well as the broader cultural imaginary. New conceptions of the artist as a pollinator and/or a plant, moreover, were easily conflated with this general understanding of interspecies sexuality to engender a new understanding of artistic procreativity: works in diverse media came to be seen as the vegetable offspring of cross-fertilising encounters. By imagining the act of painting as a hand-pollination accomplished with his brush, then, Sargent was simultaneously declaring the naturalness and fruitfulness of his creative productions, visually elaborating a period poetics of homosexuality, and formulating a new sense of artistic subjectivity for himself.
520 # $a This project has broader implications for the study of modernism. Its examination of the ways in which a particular facet of artistic modernism (an understanding of the act and materials of painting) intersected with the underside of a widely celebrated cultural erotics of pollinator-flower conjunctions opens up an alternative cultural trajectory to be charted, one whereby other, non-heterosexual, non-formalist narratives of production and reproduction came to be authorised.
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