An Episode in the Life of a Landscape Painter by César Aira

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By César Aira

An Episode within the lifetime of a panorama Painter is the tale of a second within the lifetime of the German artist Johan Moritz Rugendas (1802-1858). tremendously favorite as a grasp panorama painter, he was once recommended by means of Alexander von Humboldt to shuttle West from Europe to checklist the outstanding landscapes of Chile, Argentina, and Mexico. Rugendas did in reality develop into the most effective of the nineteenth-century ecu painters to enterprise into Latin the United States. despite the fact that this isn't a biography of Rugendas. This paintings of fiction weaves a nearly surreal historical past round the mystery goal in the back of Rugendas' journeys to the USA: to go to Argentina on the way to in achieving in artwork the "physiognomic totality" of von Humboldt's medical imaginative and prescient of the full. Rugendas is confident that simply within the mysterious vastness of the vast plains will he locate actual suggestion. a short and dramatic stopover at to Mendosa supplies him the opportunity to satisfy his dream. From there he travels instantly out onto the pampas, praying for that very unlikely second, which might come purely at a big pricean nearly monstrously exorbitant cost that might eventually problem his drawing and strength him to create a brand new manner of constructing artwork. a wierd episode that he couldn't steer clear of soaking up savagely into his personal physique interrupts the journey and irreversibly and explosively marks him for all times.

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For Lacan, male jealousy is about the impossibility of ever knowing or possessing the other. As discussed earlier, he argues that jealousy is related ontologically to the search for the lost object and the desire for something or someone that one can’t possess. For Lacan, the sexual relations of possession rest upon a fictional arrangement whereby men have the phallus and women don’t, but instead make do with being one (Mitchell and Rose, 1982). Thus, heterosexual relationships are founded upon a fictional arrangement in which possession of the other is impossible, as something always ‘eludes’ the desirous, and always potentially lacking jealous subject (Morel, 2000).

25 This brief analysis of Othello shows that whilst the experience of jealousy may be an intensely personal emotion, it is also shaped historically by social and cultural practices, and the fantasy settings of cinema, stardom and related popular texts also contribute to this process. These themes are revisited throughout the course of the book, which is divided into two parts. Part I discusses the psycho-cultural shaping of masculine jealousy and its relationship to issues of representation of masculinity in film, male fantasy and film spectatorship.

The jealous subject’s desire to establish control over the other through the possessive gaze resonates with the more general Freudian narrative of masculinity and sexual difference. Butler argues that Freud and Lacan’s theories emphasize the act of looking and present ‘a scopic economy of desire’ (1990: 56). 21 From the perspective of the castration complex, fantasies of possession play a crucial role in the male Oedipal journey. It arguably follows, as a number of empirical studies suggest, that later loss-provoking situations are experienced in a far more brutal and sudden way by men than by women (Baumgart, 1990: 187).

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