Skin and the non-human human: Transformation and reversal in Titian's the Flaying of Marsyas

Research output: Contribution to journal › Journal article › Research › peer-review

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Skin and the non-human human : Transformation and reversal in Titian's the Flaying of Marsyas. / Rösing, Lilian Munk.

In: British Journal of Psychotherapy, Vol. 29, No. 1, 01.02.2013, p. 98-109.

Research output: Contribution to journal › Journal article › Research › peer-review

Harvard

Rösing, LM 2013, 'Skin and the non-human human: Transformation and reversal in Titian's the Flaying of Marsyas', British Journal of Psychotherapy, vol. 29, no. 1, pp. 98-109. https://doi.org/10.1111/j.1752-0118.2012.01326.x

APA

Rösing, L. M. (2013). Skin and the non-human human: Transformation and reversal in Titian's the Flaying of Marsyas. British Journal of Psychotherapy, 29(1), 98-109. https://doi.org/10.1111/j.1752-0118.2012.01326.x

Vancouver

Rösing LM. Skin and the non-human human: Transformation and reversal in Titian's the Flaying of Marsyas. British Journal of Psychotherapy. 2013 Feb 1;29(1):98-109. https://doi.org/10.1111/j.1752-0118.2012.01326.x

Author

Rösing, Lilian Munk. / Skin and the non-human human : Transformation and reversal in Titian's the Flaying of Marsyas. In: British Journal of Psychotherapy. 2013 ; Vol. 29, No. 1. pp. 98-109.

Bibtex

@article{e86e75583869430f82de67217781c447,
title = "Skin and the non-human human: Transformation and reversal in Titian's the Flaying of Marsyas",
abstract = "The article puts forward an aesthetic and psychoanalytic analysis of Titian's painting, The Flaying of Marsyas, arguing that the painting is a reflection on the human subject as a being constituted by skin and by a core of non-humanity. The analysis is partly an answer to Melanie Hart's (2007) article 'Visualizing the mind: Looking at Titian's Flaying of Marsyas', addressing features of the painting not commented on by Hart, and supplementing Hart's (Kleinian) theoretical frame by involving Didier Anzieu's 'skin ego', Slavoj Zizek's concept of the 'non-human', Giorgio Agamben's term of the 'Muselmann', and Anton Ehrenzweig's psychoanalytic theory of artistic creation. Whereas Hart is focusing on form and colour, I also turn my attention towards the texture of the painting.",
keywords = "Faculty of Humanities, psykoanalytisk kunstanalyse, Lacan (Jacques), Tizian, hud, Anzieu (Didier), Zizek (Slavoj), Agamben, Giorgio, det ikke-menneskelige",
author = "R{\"o}sing, {Lilian Munk}",
year = "2013",
month = feb,
day = "1",
doi = "10.1111/j.1752-0118.2012.01326.x",
language = "English",
volume = "29",
pages = "98--109",
journal = "British Journal of Psychotherapy",
issn = "0265-9883",
publisher = "Wiley-Blackwell",
number = "1",

}

RIS

TY - JOUR

T1 - Skin and the non-human human

T2 - Transformation and reversal in Titian's the Flaying of Marsyas

AU - Rösing, Lilian Munk

PY - 2013/2/1

Y1 - 2013/2/1

N2 - The article puts forward an aesthetic and psychoanalytic analysis of Titian's painting, The Flaying of Marsyas, arguing that the painting is a reflection on the human subject as a being constituted by skin and by a core of non-humanity. The analysis is partly an answer to Melanie Hart's (2007) article 'Visualizing the mind: Looking at Titian's Flaying of Marsyas', addressing features of the painting not commented on by Hart, and supplementing Hart's (Kleinian) theoretical frame by involving Didier Anzieu's 'skin ego', Slavoj Zizek's concept of the 'non-human', Giorgio Agamben's term of the 'Muselmann', and Anton Ehrenzweig's psychoanalytic theory of artistic creation. Whereas Hart is focusing on form and colour, I also turn my attention towards the texture of the painting.

AB - The article puts forward an aesthetic and psychoanalytic analysis of Titian's painting, The Flaying of Marsyas, arguing that the painting is a reflection on the human subject as a being constituted by skin and by a core of non-humanity. The analysis is partly an answer to Melanie Hart's (2007) article 'Visualizing the mind: Looking at Titian's Flaying of Marsyas', addressing features of the painting not commented on by Hart, and supplementing Hart's (Kleinian) theoretical frame by involving Didier Anzieu's 'skin ego', Slavoj Zizek's concept of the 'non-human', Giorgio Agamben's term of the 'Muselmann', and Anton Ehrenzweig's psychoanalytic theory of artistic creation. Whereas Hart is focusing on form and colour, I also turn my attention towards the texture of the painting.

KW - Faculty of Humanities

KW - psykoanalytisk kunstanalyse

KW - Lacan (Jacques)

KW - Tizian

KW - hud

KW - Anzieu (Didier)

KW - Zizek (Slavoj)

KW - Agamben, Giorgio

KW - det ikke-menneskelige

UR - http://www.scopus.com/inward/record.url?scp=84872867444&partnerID=8YFLogxK

U2 - 10.1111/j.1752-0118.2012.01326.x

DO - 10.1111/j.1752-0118.2012.01326.x

M3 - Journal article

AN - SCOPUS:84872867444

VL - 29

SP - 98

EP - 109

JO - British Journal of Psychotherapy

JF - British Journal of Psychotherapy

SN - 0265-9883

IS - 1

ER -

ID: 105306262