Notice bibliographique
Résumé
Caryn NarveyCalagary, AlbertaThe aim of this paper is to explore the photographic work of Hannah Wilke in her exhibition entitled The importance of the body as a site of will become paramount in this discussion of Wilke's work; including the constructed stigmas attached to the visibility of illness, specifically to what I refer to as the oncologic body. However blatant the play of the visible within the medical sphere, Wilke's work acts to counter-balance and perhaps subvert contemporary theses concerning the sick body. Wilke forcefully urges the viewer to question elements of physiological awareness and the boundaries between self and non-self.I desire to write on an unspeakable event, to present the unpresentable, to contain the leaky, to attempt an understanding of the impossible...to comment on death. I stare at Hannah Wilke's autobiographical photographs, one after the other; photographs that seem to deny a desperate need for comfort, and I speak with the same furious tongue and licentious action that I read in Hannah Wilke's work.I speak of Intra-Venus, her exhibition of images, sculpture, and mixed media components, that amalgamates issues pertaining to the body, medicine, and the subversive nature of contemporary art practice. Wilke, diagnosed with lymphoma in 1987, documented her struggle in the years leading up to her death in January 1993. During this time, she underwent various clinical modalities of treatment, ranging from surgical procedures, chemotherapy, and radiotherapy. Her physiological identity no longer seemed her own (if it ever was). It succumbed to the what I will call the oncologic body. I create this conceptual hybrid in order to fuse the various elements brought into the discussion by these theory-laden, fuzzy trajectories.This body will envelop a multitude of clinical and theoretical markers that will aid in increasing the literacy of Wilke's images. Furthermore, the oncologic body will act as a conceptual sounding board for dealing with images of and in their new presence within the exhibitionary canon. Where disease refers to the biological reality of pathology, and illness to sociological categorization, I will refer to Wilke's body as being within an amalgamation of these two terms, that is, in a state of sickness.(1) In what follows, I will attempt to utilize Intra-Venus as a challenging and destabilizing tool to critique contemporary ontological and epistemological notions and to formulate a theory concerning the visual practices demanded by the photographs in Intra-Venus. These efforts will hopefully evolve into an emancipatory treatise regarding the documented presence of a cancer-ridden, female patient within the panopticon of present-day medical practice.Medicine is by no means a reductionist practice. This intricate, multi-layered practice of working from without and within the human body is in fact a site for the production of subjectivity. This body is a uniquely intimate sphere of interactive communication between doctors and patients, patients and patients, and patients and their selves. However, it becomes necessary to ask whether the doctor, as an implement of the overall medical discipline, is addressing the patient as a sentient being, or if he/she is merely able to approach the pathophysiological specimen? Indeed, the very existence of a whole patient must also come under scrutiny. A heightened need for discussion becomes even more evident when dealing with the chronically ill, and in Wilke's case, in an understanding of the cancer patient.The disciplines of both medicine and science are intrinsically social enterprises that are created and dictated through the needs of the body. However, this very same body may also act as a site of resistance. The oncologic body simultaneously encapsulates both sides of this debate. On one hand, by being the site of pathology, the medical sphere attempts to formulate a calculated line of call and response that has the possibility of evolving into a treatment. …
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Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,001 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».