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lily-junoarcher · 5 years

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Notes from ‘Medusa and the Female Gaze’: Condensed

Susan R. Bowers, 'Medusa and the Female Gaze', NWSA Journal, Vol. 2, No. 2 (Spring, 1990)

"This symbol of horror is worn upon her dress by the virgin goddess Athena. And rightly so, for thus she becomes a woman who is unapproachable and repels all sexual desires - since she displays the terrifying genitals of the Mother. Since the Greeks were in the main strongly homosexual, it was inevitable that we should find among them a representation of woman as a being who frightens and repels because she is castrated. "

- Sigmund Freud, "Medusa's Head", vol. 5 of Collected Papers, ed. James Strachey (New York: Basic Books, 1959), 105-6

Freud and Sandor Ferenczi's psychoanalytic theory conceives of female genitals as terrifying images of male castration because it is rooted in the male perspective. - Susan R. Bowers

'by transforming Medusa' s head into the image of profound lack, Freud and Ferenczi deflect attention from the compelling, frightening presence of Medusa's eyes that are watching with all the force of a powerful subjectivity.

Hazel Barnes "it was not the horror of the object looked at which destroyed the victim, but the fact that his eyes met those of Medusa looking at him." - Hazel Barnes, 'The Meddling Gods' pg. 13

She agrees with Jean-Paul Sartre: "... When another person looks at me, his look may make me feel that I am an object, a thing in the midst of a world of things. If I feel that my free subjectivity has been paralysed, this is as if I had been turned to stone." Barnes, 'The Meddling Gods', Lincoln: University of Nebraska Press, 1974) pg. 22, as paraphrased from Jean-Paul Sartre, 'Being and Nothingness' (New York: Philosophical Library, 1956)

The 'Look' is so disturbing, because it constitutes judgement of the self from outside the self; judgement which can neither be controlled nor even known precisely.

" The Look of the Other, which reveals to me my object side, judges me, categorises me; it identifies me with my external acts and appearances, with my self-for-others. It threatens, by ignoring my free subjectivity, to reduce me to the status of a thing in the world. In short, it reveals my physical and my psychic vulnerability, my fragility. " - Barnes, 'The Meddling Gods', Lincoln: University of Nebraska Press, 1974) pg. 23

The Medusa Complex, then, ”represents my extreme fear that by denying my own freely organised world with all of its connections and internal colorations, the Other’s look might reduce me permanently to a hard stone-like object.“ – Barnes, ‘The Meddling Gods’ pg, 23

Patriarchal males have had to make Medusa – and by extension, all other women – the object of the male gaze as a protection against being objectified themselves by Medusa’s female gaze. The defence against having their own free subjectivity ignored, their vulnerability and fragility revealed, and their world shared was the destruction of female subjectivity.

Why was it necessary to destroy female subjectivity?

The answer lies in Medusa’s powerful pre-Olympian history. What we now know is that Medusa was a powerful goddess at a time when female authority was dominant and the power to be feared was feminine. - (Thalia Feldman, “Gorgo and thr Origins of Fear”, Arion 4 (Autumn 1965): 484-93

As the serpent-goddess of the Libyan Amazons, for example, Medusa represented women’s wisdom. A female face surrounded by serpent-hair was an ancient, widely-recognised symbol of divine, female wisdom.

Some feminists suspect that the Gorgons were a Black Amazon tribe. – Emily Erwin Culpepper, ‘Ancient Gorgons: A Face for Contemporary Women’s Rage, “ Woman of Power 3 (Winter/Spring 1986): 22

As Neith of Egypt and Athene in North Africa, Medusa represented the Destroyer component of the Triple Goddess (*). Her inscription at Sais named her “mother of all the gods, whom she bore before childbirth existed”. She was “All that has been, that is, and that will be”. – Larousse Encyclopedia of Mythology (London: Hamlyn, 1968), pg 37

The snakes on her head are strong mythological symbols associated with wisdom and power, healing, immortality and rebirth. Why the prohibition against gazing directly at her? One explanation suggests that her blood was magic because it represented menstrual blood: primitive people believed a menstruating woman’s look could turn a man to stone. – Sir James Frazer, ‘The Golden Bough’ (New York: Macmillan, 1922), 696, 699

But others remind us simply that mortals must never look a deity in the face. – Edward Phinney, Jr., “Perseus’ Battle with the Gorgons, “ Transactions and Proceedings of the American Phiologocal Association, 102 (1971): 446-47

“It is never wise in myths and fairy tales to look certain women, death or gods in the face because their unmediated power is too great – like the sun in eclipse”. To be ‘seen’ a woman must be dulled-down, to be accepted in a way that is manageable. Viewed with sunglasses on. – Nor Hall, ‘The Mook and the Virgin’ (New York: Harper & Row, 1980), 65

Because of Medusa’s powerful image, she was represented on the Temple of Artemis on Corfu, apparently to protect the temple from evil:

“Medusa is intact and unmolested. Oerseus does not figure here because this scene does not exist to glorify any hero. Medusa, and her children, and her lion companions, function here in an apotropaic aspect – to turn evil away from the temple and the goddess within... The entire scene on the pediment is one of teeth, fury and dark power”. – Tamsey Andrews as quoted in Culpepper, “Notes on Gorgons”, unpublished paper, n.d., 5

When invading Hellenes arrived, they “wrecked the goddesses’ shrines and tore off the masks from the priest-women, an episode in that crucial moment of western civilisation when female powers were replaced by gods and heroes”. – Joan Coldwell, “The Beauty of the Medusa: Twentieth Century”, English Studies in Canada 1 (December 1985): 423

** the rise of monotheistic religion

The Olympian Medusa lacks sacred power. The male, Poseidon, is divine, not the female. Nor is Medusa’s petrifying look mentioned in Hesiod’s ‘Theogony’ (8th Century B.C.).

However, by the second century A.D., the legend told by Apollodorus states of the Gorgons that “they turned to stone those who beheld them.” – Apollodorus, The Library, trans. Sir James George Frazer, vol. 1 (Cambridge, Mass.: Harvard University Press, 1959), 161.

“Myths in which heroes conquer dragons and gorgons and snakes and other monstrous figures are essentially stories of “riddance” in which the beautiful and powerful women of the pre-Hellenic religions are made to seem horrific and then raped, decapitated or destroyed”. – Annis Pratt, “Aunt Jennifer’s Tigers”, 168

In Ovid’s ‘Metamorphoses’ (1st Century B.C), Medusa is a young girl whose “beauty was far famed.” Because she was raped by Poseidon, the god of the sea, in Athena’s shrine, Athena, “for fitting punishment transformed / The Gorgon’s lovely hair to loathsome snakes”. – Ovid, “”, pg. 4.800-801

The grotesque paradox of the Olympian Medusa is the juxtaposition of her extraordinary beauty and her horror, which is represented by the writhing serpents on her head and her power to petrify. She is paradoxical in more than one sense: blood which flowed from her right side created a life-giving drug which permitted Asclepius to bring six mythical beings back to life, whereas the blood from left side produced poisonous snakes. – Philip Mayerson, ‘Classical Mythology in Literature, Art and Music’ (Lexington, Mass.: Xerox Corporation, 1971), 131-32.

The Olympian Medusa has become a “myth of origin for amulets” because her head “literally combines and contains evil mixtures and confuses the sacred and profane, law and taboo, pure and impure... Contagion and cure”, and the purpose of the amulet is to baffle, to create confusion. – Tobin Siebers, ‘The Mirror of Medusa (Berkely: University of California Press, 1983), 8-9

The paradox in part can reflect the coexistence of her pre-Olympian and Olympian history.

The two most famous artworks inspired by this Medusa are Benvenuto Cellini’s sculpture ‘Perseo’ and the painting ‘Head of Medusa’ in the Uffizi Gallery in Florence. Cellini’s work captures magnificently the ambivalence of the Olympian Medusa.

The body of Cellini’s Medusa is feminine and fragile, while her murderer is Janus-headed. – Siebers, ‘The Mirror’, 12-13 Both the painting and sculpture are tense with ambivalence: neither completely horrible, because of the beautiful face, nor thoroughly lovely, because of the morbidity and snakes.

The bewitching mixture of female beauty and horror echoes the interpretations of Perseus and Medusa during the Middle Ages. In the ‘Romance of the Rose’, Perseus arms himself “with a mirror of reason to resist the dangerously feminine, to neutralise the erotic power that threatens to immobilise him”. – Sylia Huot, “The Medusa Interpolation, “874.

The Dantean Medusa is believed to represent “a sensual fascination and potential entrapment, precluding all further progress” for the pilgrim. – John Freccero, “Dante’s ‘Medusa’: Allegory and Autobiography”, in ‘By Things Seen: Reference and Recognition in Medieval Thought (Ottowa: University of Ottowa Press, 1979), 39.

Art historian Margaret Miles points out that in the 14th Century, women’s sexuality and biological experience were pointedly rejected in favour of an idealised female image. But Miles and others have found strong evidence that some women at this time had considerable power in business, politics an the church. “The spiritual autonomy of such women may have been deeply frightening to patrician men. The device of simultaneously distancing women and informing them of the role within the community that men preferred them to play made images of women attractive to men. For men, the totally visualised and spiritualized – silent and bodiless – woman was manageable”. – Miles, ‘Image’, 83-84

The ethereal women of 14th Century paintings do not represent actual women but “the qualities men woul have liked women to emulate [as] ‘a way of mastering’ what was otherwise too immediate, too threatening, too intense”. – Miles, ‘Image’, 85

By the Romantic period however, male artists had discovered a new way to combat female power and subjectivity that Medusa could not help but project from her pre-Olympian days. Medusa’s victimisation by Poseidon and Perseus, but especially by Athena, who punished the victim instead of the rapist, contributed to her becoming a “key romantic iconograph”. “Although Romantic artists were all aware that she was, in some sense, a focus of evil, they generally agreed that she was innocent of the horror she generated and that their own fascination was with her betrayed power and innocence”. – Jerome J. McGann, “The Beauty of the Medusa: A Study in Romantic Literary Iconography”, Studies in Romanticism 11 (Winter 1972)

In William Morris’ version of Medusa, she longs to die but “no one will release her from her death-in life because all men are... Themselves afraid of dying”. By transforming Medusa into a victim, Morris domesticates her and her terrible power dissipates. But in making her the necessary victim for a hero, demonstrating his victory over the fear of death, his desire for “love, integrity, civilisation”, Morris inscribes a prominent aspect of the original myth: Medusa’s role as a Sacrificial victim.

As Rene Girard, who focuses on the function of ritual sacrifice for a community, explains: “Society is seeking to deflect upon a relatively indifferent victim, a ‘sacrificeable’ victim, the violence that would otherwise be vented on its own members, the people it most desires to protect” Girard argues that sacrificial victims, whether human or animal, can be distinguished by their lack of a crucial social link with the community that enables them to be sacrificed without fear of reprisal. While he declares that women are rarely sacrificial victims, I contend that Medusa represents the paradigm of the woman as eminently “sacrificeable”. By being marginal to the patriarchal community, she meets Girard’s criterion of sacrificial suitability.

Medusa and women like her – not owned by the patriarchy – are ideal victims. Destroying them does not challenge male property rights and does not damage those women who serve a patriarchal society. Sacrifice of Medusa-women enables the male communal expression of anger and violence that female eros and power provoke.

** See witch-burning (Salem witch trials etc.)

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wellthatwasaletdown · 6 years

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I’d like to posit what is probably a UO. Harry, I believe, did start with the flag waving back in the 1D days to promote inclusivity. It was not a cynical move, it was a genuine impulse. Harry/1D is not the first artist to do this – look at Ariana, Ed, Gaga, Coldplay, et al. The problem started when the L@##ies started to co-opt it as proof of their ship, which really was unfortunate because it made others in the LGBTQ community uncomfortable because the message of inclusion and acceptance was being hijacked and the connotation was that it only stood for a conspiracy theory and a fantasy ship. But Harry wasn’t going to allow that and he soldiered on, thinking that he was not going to let the Larries take his meaning and corrupt it. Good for him. Flash forward to Holo. This is where I think a fundamental, perhaps cynical shift happened. He experienced some backlash for the album and especially the RS article – way too many indications that he may be really into women. Perhaps HSHQ panicked. Perhaps they were concerned about potentially losing a portion of Harry’s fanbase and they calculated that the importance of keeping them was worth the next phase of “not defining Harry’s sexuality” (no, I don’t believe he is obligated to state this, but I also think there was an agenda behind making this statement – these are not mutually exclusive). It is telling that after the interview with The Sun that he has not made any clear statements about support for ANYTHING – whether it’s LGBTQ rights, BLM, Brexit, Trump, the HW scandals, etc. – NOR is he obligated to. But his fanbase, which, let’s be real, wants anything-but-straight-Harry – they proceeded to project their interpretation upon his intentions. He boxed himself into a corner with the rainbow flag waving – once he did it once, there was no way he could stop doing it. Yes, safe spaces and all that, but could there be anywhere that is more of a safe space than a Harry concert, even without flags? The problem with him not being explicit in what he was trying to say is that now the mere act of waving a flag is interpreted as support of a movement so of course the Bi and Trans flags showed up. Of course a flag for Puerto Rico showed up. Of course a BLM flag showed up. Because every faction wants to receive what they interpret as an explicit message of inclusion, that Harry loves them specifically and supports their issue. This is unfair, and this is expecting a pop star to be your symbol of representation, to be a spokesperson for your issue, to get his attention. He opened the door for this, but it is the underlying entitlement of the residual 1D fandom and the emerging Harry fandom that expects a cis white man to speak for them. The rainbow flag is easily explained and rationalized because a large portion of his fans WANT him to be a part of that community. But with the introduction of the BLM flag, the issues creep in – Harry can’t by definition be a part of the black community. And putting this expectation out there, that Harry needs to explicitly validate YOU and YOUR beliefs is such a tragedy because he will never be able to do this – a celebrity can’t validate your existence. He is an artist, whose job is to entertain you – your job is to enjoy that bit of him, to purchase his merch, to stream his music, but to expect more from him is unrealistic. Until he explicitly goes there in the way that true artist activists do – like Gaga, like MUNA, like Troye Sivan – then expecting him to be your savior is only going to be disappointing.

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paralleljulieverse · 7 years

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Periodically, the Parallel Julieverse likes to profile some of the many talented photographers who have worked with Julie over the years. One of the more fascinating, and possibly lesser known, was L. Arnold Weissberger (1907-1981).

An entertainment lawyer who first rose to prominence as legal representative for Orson Welles -- he drafted the actor’s much-ballyhooed 1940 contract with RKO (Chapman, G-3) -- Weissberger was for many years the resident go-to attorney for the theatrical haut monde. “[O]ne definition of high and mighty,” claimed a newspaper report, “is to be a client of his” (Hunter, D3). Indeed, with a client list featuring everyone from Sir Laurence Olivier, Cecil Beaton and Lillian Gish to Garson Kanin, Billy Rose, Helen Hayes and Igor Stravinsky, Weissberger could have given MGM a run in the “more stars than there are in the heavens” stakes.

A gentleman of the old school who always wore a suit jacket and trademark white carnation, Weissberger was as admired for his charm, grace and unerring discretion, as his legal nous. Quipped Orson Welles:

“Like the Rolls Royce, this lawyer is valued not only for the pleasing elegance of his appearance, but for performance, which can be formidable. A terror and a scourge to producers, he is a wonder to observe. Yet the loudest thing on Arnold is his Patek Philippe watch.” (Weissberger 1973, 337)

Weissberger was also life partner to Milton Goldman, a successful theatre agent in his own right and vice-president of International Creative Management. Together the two men -- equal bons vivants and talented socialites -- formed a show biz power couple that presided over the trans-Atlantic theatre scene for decades. Their weekly Sunday cocktail parties were legendary and their swanky Sutton Place apartment “became the party place for theatre personalities from three continents” (Lawrence and Lee, 227). Each summer, the couple would relocate to Europe, spending a month in the River Suite at the London Savoy where they would host a whirlwind of social affairs with "every famous name you have ever wanted to meet” (Harris, 47).

It was in this context that Weissberger developed what he fondly called his “double life” as a celebrity photographer (Wise, B-1). A self-avowed “shutterbug” since youth, Weissberger never went anywhere without his trusty twin Leicas, “loaded at all times, one with outdoor, the other with indoor colour film” (Glover, 10-A). Though unabashedly amateur -- he was entirely disinterested in the the technical dimensions of photography, “never uses flash, hates to be bothered with filters and won’t have a light meter around” (ibid.) -- Weissberger honed his talents through a good eye and sheer voluminous slog. By the mid-70s, he estimated having shot 50,000 pictures of people and another 60,000 on travels (Anderson, 25).

It didn’t hurt, of course, that Weissberger had ready access to some of the most famous people in the world. How many photographers, marvelled one newspaper report, “run into Orson Welles, Marlene Dietrich, Noel Coward, Lord Snowden...Alice B. Toklas, Marianne Moore, W.H. Auden, Peter O’Toole, the Redgraves, Beatrice Lillie and Judy Holliday in their daily rounds?” (Wise, B-1). The fact that he knew these celebrities personally and was, for the most part, photographing them in the context of private social events afforded a genuine intimacy and unguarded spontaneity unmatched in most other celebrity photography of the era.

“His subjects are his clients and his clients are his friends,” noted Orson Welles, “We all smile in front of his camera because Arnold is behind it” (Weissberger, 1973, 337-338). In a similar refrain, Douglas Fairbanks Jr remarked that Weissberger “is a gregarious host with a catholic taste in friends” all of whom “have long since learned to repose their collective confidence in [his] gentler disposition and infinite discretion” (ibid, 183).

For the most part, Weissberger took his photos for the simple fun of it and as personal mementoes. He was known among intimates for compiling the shots as “gifts for friends, to be presented in elegant gold-tooled, white-bound albums on Christmas or birthdays” (Weissberger, 1973, 282). As Weissberger’s archive of celebrity photography grew, however, so did its fame and in the late-1960s he was invited to hold several exhibitions of his work, including a major showing at the Museum of the City of New York (Weissberger, 1967).

The highpoint of public recognition was undoubtedly the 1973 publication of Famous Faces, a lavish 450-page coffee table book from prestigious art publisher, Harry Abrams, that featured almost 1500 of Weissberger’s portraits taken over a 25 year span from 1946-1971. The literal heft of the tome was such that, when Weissberger gifted a copy to longtime friend, Hermione Gingold, she quipped, “Thanks but this isn’t for my coffee table. From now on, this is my coffee table!” (Lyons, 13).

Famous Faces is an astonishing catalogue of mid-century Anglo-American celebrity culture and a dynamic visual immersion in a long vanished world. “[A]s succinct as Boswell’s Diaries and [with] an even larger cast of characters,” notes Anita Loos in one of several appreciative celebrity “comments” peppered through the tome, “This is more than history; it is poetry and it is art” (Weissberger, 1973, 283-84).

Certainly, these charmingly candid shots of our Julie, which are drawn from Weissberger’s gallery of greats, possess a decided poetic allure. Disarmingly simple, they arrest with their potent combination of playful ordinariness and historical import. The shot of Julie glimpsed in the background between Flora Robson and Judith Anderson is especially entrancing. Taken in 1960 when Julie had not long wrapped her long star-making turn in My Fair Lady and was about to embark on Camelot, it captures a spontaneous moment of apparent banality -- “three women at a party” -- and, through serendipitous framing, lighting and, even, costume (the contrast of matronly black and virginal white), imbues the scene with a symbolic cast that borders on the epic. A triangulated drama of looks as the once and future queen of musical theatre apprehends her own - as yet only glimpsed -- grande dame destiny.

Weissberger had ambitions to develop a second volume of photographs and was also working on an autobiographical memoir to be titled “Double Exposure” when he died suddenly of an embolism in 1981 at age 74. His partner, Milton Goldman organised a special memorial at the Royale Theatre on W. 45th -- where incidentally Julie made her bow in The Boy Friend -- which, by all accounts, played to an adoringly packed-house. “The outpouring of affection was so enormous,” reported famed Broadway correspondent, Earl Wilson (1981), “that VIPs sat in the balcony or stood” (15B) as from the stage a series of heartfelt reminiscences were delivered by, among others, Orson Welles, Ruth Gordon, Garson Kanin, Martha Graham, Louise Rainer, Douglas Fairbanks Jr, Meryl Streep, Beverly Sills, and Lillian Gish.

It was a fittingly star-studded close to an extraordinary life for this man who remained enthralled by celebrity culture both professionally as entertainment lawyer and artistically as “the Proust of American photographers” and “the chronicler of the headliners” (Wise, B-1).

Sources

Anderson, George.”A Man of 1,500 Faces, None of Them His.” The Pittsburgh Post-Gazette. 15 March 1974: 25.

Chapman, John. “Orson Welles, the Movies’ New Mr. Moneybags.” The Chicago Tribune, 13 October 1940: G-3.

Glover, William. “Fastest Shooting Lawyer Shoots Uses Camera in Hobby.” The Daily Times News. 6 March 1968: 10-A.

Harris, Radie. Radie’s World. New York: Putnam and Sons, 1975.

Hunter, Stephen. “Christmas is A-Coming and the Books are Getting Fat.” The Baltimore Sun. 6 December 1973: D3.

Lawrence, Jerome and Lee, Rober E. “Inward Bound.” William Inge: Essays and Reminiscences on the Plays and the Man. Eds. Jackson R. Bryer and Mary C. Hartig. Jefferson, NC: McFarland and Co, 2014.

Lyons, Leonard. “Lyons Den.” The Times. 7 January 1974: 13.

Weissberger, L. Arnold. Close-Up: A Collection of Photographs. New York: Arno Press, 1967.

____________. Famous Faces: A Photograph Album of Personal Reminiscences. New York: Harry N. Abrams, 1973.

Wilson, Earl. “They Faced the Critics...” Fort Lauderdale News. 12 March 1981: 15B.

Wise, Gabrielle. “'Faces’ Author Likes Unusual Mixes of His People.” The Baltimore Sun. 15 March 1974: B-1.

#julie andrews #photography #celebrity #arnold weissberger #milton goldman #Broadway #tony walton #richard burton #jason robards #flora robson #judith anderson

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frftherese03305-blog · 7 years

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