Body Work: Objects of Desire in Modern Narrative
Peter BrooksHarvard University Press, 1993 -
Language Arts & Disciplines - 325 pages
The desire to know the body is a powerful dynamic of storytelling in all its forms. Peter Brooks argues that modern narrative is intent on uncovering the body in order to expose a truth that must be written in the flesh. In a book that ranges widely through literature and painting, Brooks shows how the imagination strives to bring the body into language and to write stories on the body.
From Rousseau, Balzac, Mary Shelley, and Flaubert, to George Eliot, Zola, Henry James, and Marguerite Duras, from Manet and Gauguin to Mapplethorpe, writers and artists have returned in fascination to the body, the inescapable other of the spirit. Brooks's deep understanding of psychoanalysis informs his demonstration of how the "epistemophilic urge"--the desire to know-guides fictional plots and our reading of them.
It is the sexual body that furnishes the building blocks of symbolization, eventually of language itself-which then takes us away from the body. Yet mind and language need to recover the body, as an other realm that is primary to their very definition. Brooks shows how and why the female body has become the field upon which the aspirations, anxieties, and contradictions of a whole society are played out. And he suggests how writers and artists have found in the woman's body the dynamic principle of their storytelling, its motor force.
This major book entertains and teaches: Brooks presumes no special knowledge on the part of his readers. His account proceeds chronologically from Rousseau in the eighteenth century forward to contemporary artists and writers. Body Work gives us a set of analytical tools and ideas-primarily from psychoanalysis, narrative and film studies, and feminist theory-that enable us to read modern narrative afresh.
在《身體的創作：現代敘事中的慾望對象》一書中，彼得·布魯克斯認為，「創作」指的是敘事、藝術和精神分析領域為「書寫」身體所做的努力——將身體納入語言，使其成為意義的載體。本書探討了文學和藝術如何將身體呈現為慾望的對象，揭示死亡和身份的真相。
In
Body Work: Objects of Desire in Modern Narrative, Peter Brooks argues that "work" refers to the narrative, artistic, and psychoanalytic effort to "write" the body—to bring it into language and make it a locus of meaning. It explores how literature and art represent the body as an object of desire, exposing truths of mortality and identity.Google Books +2
Key aspects of "work" in this context:The "Epistemophilic" Urge: The work of narrative is driven by the desire to "know" the body, using it to structure fictional plots and reveal hidden truth.
Inscribing the Body: Writers and artists "write on the body," treating it as a surface for inscription where social and individual stories are written.
The Body as Signifier: The body is treated not just as a physical entity but as a "semiotic" object that is made "readable" in texts, transforming desire into narrative.
Representational Action: The book studies how modern narratives render the human body into a "story," treating it as a dynamic field of cultural anxiety and power struggles (especially the female body).Google Books +3
In essence, "body work" represents the complex, often tense intersection where human physicality becomes language and meaning, as explored in this
De Gruyter Brill review. The work is fundamentally about how the physical "other" of the spirit is translated into the narrative "I".Google Books +2
Peter Preston Brooks (born 1938)
[1] is an American
literary scholar, interdisciplinary humanist, and writer known for his work on narrative theory, psychoanalysis and literature, melodrama, law and literature, and the institutional place of the humanities.
[2][3] 主題
布魯克斯的學術生涯涵蓋了廣泛的主題和方法論關注點，包括敘事理論[27]、閱讀心理學[28]以及通俗劇的文化功能[10]。
他的學術研究廣泛地借鑒了精神分析文學方法，同時也對法律與文學這一跨學科領域做出了貢獻，尤其體現在他對法律話語中敘事推理的分析[29]。
此外，布魯克斯也致力於人文學科的製度和教學改革，倡導以闡釋嚴謹性和理論意識為核心的文學研究方法[4]。在他的所有著作中，他始終將文學批評視為課堂實踐的延伸，以及對語言、敘事和意義建構結構的根本人文主義探究[30]。
Themes
Across his career, Brooks has been associated with a wide range of thematic and methodological concerns, including narrative theory
[27], the psychology of reading
[28], and the cultural work of melodrama.
[10]His scholarship has drawn extensively on
psychoanalytic approaches to literature while also helping to shape the interdisciplinary field of law and literature, particularly through his analyses of narrative reasoning in legal discourse.
[29]Brooks has additionally contributed to institutional and pedagogical reform in the humanities, advocating for forms of literary study that foreground interpretive rigor and theoretical awareness.
[4] Throughout his work, he has framed
literary criticism as an extension of classroom praxis and as a fundamentally humanistic inquiry into language, storytelling, and the structures through which meaning is made.
[30]兩位同名名人 Peter Brook: Body Work: Objects of Desire in Modern Narrative (1993).中國有翻譯本 Flaubert in the Ruins of Paris: The Story of a Friendship, a Novel, and a Terrible Year. Flaubert–Sand: The Correspondence (1993) 。兩位同名名人 Peter Brook: Flaubert in the Ruins of Paris: The Story of a Friendship, a Novel, and a Terrible Year. Flaubert–Sand: The Correspondence (1993) 。 Peter Brook: A Theatrical Casebook (1988/1991), The Open Door: Thoughts on Acting and Theatre
https://en.wikipedia.org/wiki/Peter_Brook
2008
HC 偶爾讀：Brook, Peter (彼得·布魯克1995). The Open Door: Thoughts on Acting and Theatre. {敞開的門--談表演和戲劇}，于東田譯，北京: 新星出版社，2007
The Open Door: Thoughts on Acting and Theatre
副標題翻譯成「談表演和戲劇」，似乎有點勉強。建議：「演出與劇場」--本書對THEATRE 翻譯分別為"戲劇"、"劇場"，有這必要嗎？
有一"ROUGH"之重要特性，翻譯為「原生的」，不容易了解：
原生 。這rough 是與ground和wild等相關，即，或許翻譯成「在地的」比較恰當---譬如說，各時空演同一齣莎士比亞劇，當然都要有不同的"演出"……
有許多地方各分別採用「一個戲」、「一齣戲」。
----
Peter Brook: Body Work: Objects of Desire in Modern Narrative (1993).中國有翻譯本
Body Work: Objects of Desire in Modern Narrative
Peter BrooksHarvard University Press, 1993 -
Language Arts & Disciplines - 325 pages
The desire to know the body is a powerful dynamic of storytelling in all its forms. Peter Brooks argues that modern narrative is intent on uncovering the body in order to expose a truth that must be written in the flesh. In a book that ranges widely through literature and painting, Brooks shows how the imagination strives to bring the body into language and to write stories on the body.
From Rousseau, Balzac, Mary Shelley, and Flaubert, to George Eliot, Zola, Henry James, and Marguerite Duras, from Manet and Gauguin to Mapplethorpe, writers and artists have returned in fascination to the body, the inescapable other of the spirit. Brooks's deep understanding of psychoanalysis informs his demonstration of how the "epistemophilic urge"--the desire to know-guides fictional plots and our reading of them.
It is the sexual body that furnishes the building blocks of symbolization, eventually of language itself-which then takes us away from the body. Yet mind and language need to recover the body, as an other realm that is primary to their very definition. Brooks shows how and why the female body has become the field upon which the aspirations, anxieties, and contradictions of a whole society are played out. And he suggests how writers and artists have found in the woman's body the dynamic principle of their storytelling, its motor force.
This major book entertains and teaches: Brooks presumes no special knowledge on the part of his readers. His account proceeds chronologically from Rousseau in the eighteenth century forward to contemporary artists and writers. Body Work gives us a set of analytical tools and ideas-primarily from psychoanalysis, narrative and film studies, and feminist theory-that enable us to read modern narrative afresh.« Less
Preview this book »身體的運作：現代敘事中的慾望對象
封面
彼得布魯克斯
哈佛大學出版社，1993年 - 語言藝術與學科 - 325頁
對身體的認知慾望是各種形式敘事中一股強大的動力。彼得布魯克斯認為，現代敘事旨在揭示身體，從而展現一種必須以肉身書寫的真理。本書廣泛涉獵文學和繪畫，布魯克斯闡述了想像力如何努力將身體融入語言，並以身體為主題進行敘事。
從盧梭、巴爾扎克、瑪麗雪萊和福樓拜，到喬治艾略特、左拉、亨利詹姆斯和瑪格麗特杜拉斯，從馬奈和高更到梅普爾索普，作家和藝術家們都對身體——這個精神中不可逃避的他者——抱有濃厚的興趣。布魯克斯對精神分析的深刻理解，使他得以闡述「求知欲」（即求知的渴望）如何引導虛構情節及其對讀者的解讀。
性身體為符號化提供了基礎，最終也構成了語言本身──而語言又將我們從身體中剝離出來。然而，心靈和語言需要重新與身體建立聯繫，將其視為構成自身本質的另一個領域。布魯克斯揭示了女性身體如何以及為何成為整個社會抱負、焦慮和矛盾的舞台。他也指出，作家和藝術家如何在女性身體中找到了他們敘事的動力來源，也就是其創作的動力。
這本重要的著作兼具娛樂性和教育意義：布魯克斯假定讀者無需具備任何專業知識。他的敘述以時間順序展開，從十八世紀的盧梭一直延續到當代藝術家和作家。 《身體工作》為我們提供了一套分析工具和理念——主要來自精神分析、敘事研究、電影研究和女性主義理論——使我們能夠以全新的視角解讀現代敘事。
目錄
前言
1 敘事與身體
2 小說中的身體
3 法國大革命與巴爾札克
4 視覺領域中的身體
5 娜娜終於揭開面紗？現代裸體的困境
6 高更的塔希提島身體
7 何謂怪物？根據《科學怪人》
8 會說話的身體 精緻的容器
9 越軌的身體
註解
索引
版權
常用術語和短語
巴爾札克 變得肉體化 布干維爾 布格羅 布里森登 閹割 語境 創造 文化 好奇心 丹尼爾·德龍達 德龍達 話語 展示 多拉 多拉的瑟伊出版社 愛瑪的 英語 跨性別 色情 色情主義 散文 女性 身體戀物癖 小說 視野 佛蘭奇斯傑奎琳·羅斯 雅克·拉康 《情人》 《人間喜劇》 拉康 語言 凝視 情人 呂西安 男性 標記 意義 通俗劇 隱喻 轉喻 現代 怪物 裸體 娜娜 敘事 敘述者 自然 從未 十九世紀 小說 裸體 裸體 愛世情畫 世外畫 羅蘭·巴特盧梭《聖泉》場景 窺淫癖 符號學意義 性符號 社會 標準版 故事暗示 象徵性症狀 塔希提島 塔希提傳統 最終 大學出版社 揭示 視覺 威廉·阿道夫·布格羅 女人 女人的身體 女性寫作 約克 左拉 左拉的
書目資訊
書名：《身體的創造：現代敘事中的慾望對象》
書名：《身體的創造：現代敘事中的慾望對象》，作者：彼得‧布魯克斯
作者：彼得布魯克斯
版本：插畫版
出版社：哈佛大學出版社，1993年
ISBN：0674077253, 9780674077256
：325頁
Contents
Preface 1 Narrative and the Body The Body in the Novel The French Revolution and Balzac 4 The Body in the Field of Vision
5 Nana at Last Unveild? Problems of the Modern Nude
6 Gauguins Tahitian Body
7 What Is a Monster? According to Frankenstein
8 Talking Bodies Delicate Vessels
9 Transgressive Bodies
Notes
Index
Copyright Common terms and phrases
Balzac becomes bodily Bougainville Bouguereau Brissenden castration context created creation culture curiosity Daniel Deronda Deronda discourse display Dora Dora's Editions du Seuil Emma's English trans erotic eroticism essay female body fetishism fiction field of vision Figure Frankenstein Freud gaze genitals girl Gustave Courbet Gwendolen human hysteria hysterical Jacqueline Rose Jacques Lacan L'amant La comédie humaine Lacan language looking lover Lucien male mark meaning melodrama metaphor metonymical modern Monster naked Nana narrative narrator nature never nineteenth century novel nude nudity object of desire observation painting Paris passage passion Paul Gauguin phallic phallus Philippe Ariès pleasure realist relation representation represented Roland Barthes Rousseau Sacred Fount scenario scene scopophilia semiotic sense sexual signifier social Standard Edition story suggests symbolic symptoms Tahiti Tahitian tradition ultimately University Press unveiling visual William-Adolphe Bouguereau woman woman's body women writing York Zola Zola'sBibliographic information
Title Body Work: Objects of Desire in Modern Narrative
Body Work: Objects of Desire in Modern Narrative,
Peter BrooksAuthor
Peter BrooksEdition illustrated
Publisher Harvard University Press, 1993
ISBN 0674077253, 9780674077256
Length 325 pages
Subjects
Literary Criticism ›
Subjects & Themes ›
GeneralFlaubert in the Ruins of Paris: The Story of a Friendship, a Novel, and a Terrible Year
by
Peter Brooksreally liked it
From a distinguished literary historian, a look at Gustave Flaubert and his correspondence with George Sand during France's "terrible year"--summer 1870 through spring 1871
From the summer of 1870 through the spring of 1871, France suffered a humiliating defeat in its war against Prussia and witnessed bloody class warfare that culminated in the crushing of the Paris Commune. In Flaubert in the Ruins of Paris, Peter Brooks examines why Flaubert thought his recently published novel, Sentimental Education, was prophetic of the upheavals in France during this "terrible year," and how Flaubert's life and that of his compatriots were changed forever.
Brooks uses letters between Flaubert and his novelist friend and confidante George Sand to tell the story of Flaubert and his work, exploring his political commitments and his understanding of war, occupation, insurrection, and bloody political repression. Interweaving history, art history, and literary criticism-from Flaubert's magnificent novel of historical despair, to the building of the reactionary monument the Sacré-Coeur on Paris's highest summit, to the emergence of photography as historical witness-Brooks sheds new light on the pivotal moment when France redefined herself for the modern world.
Table of ContentsContents
Cover chapter two The Terrible Year Photography Makes History Sentimental Education chapter five Hearts and Minds
chapter six A Simple Heart
chapter seven The Historical Imagination
epilogue
Photos
Notes
Index
Introduction : the terrible year, two writers, and a novel -- From Emma Bovary to the terrible year -- The terrible year -- A tour of the ruins : photography makes history -- A generation on trial : Sentimental education -- Hearts and minds -- "A simple heart" -- The historical imagination -- Epilogue.
"In 1869, Gustave Flaubert published what he considered to be his masterwork novel, A Sentimental Education, which told a deeply human and deeply pessimistic story of the 1848 revolutions. The book was a critical and commercial flop. Flaubert was devastated. Yet his year was only going to get worse. The summer of 1870 through the spring of 1871 would come to be known as the "Terrible Year" in France. France suffered a humiliating defeat in their war against Prussia, followed by the fall of Napoleon III and his Second Empire, the declaration of a republic, then the siege of Paris by the Prussian army, capitulation, and a dishonorable peace. This in turn provoked a revolt of the people of Paris, who formed a local government called the Commune, which was crushed in the bloodiest class warfare France has ever known. Paris by the end of May 1871--at the end of "the Bloody Week," with the defeat and summary execution of the insurrectionists--was a scorched wasteland, set afire by the retreating Communards. As the dust settled, a struggle began among politicians and artists to define France's future. Yet no one could agree on what France should become; Parisians built the Sacré-Cœur as a monument to French reactionaries just as the newly formed secular republic was distancing itself from religion. For a time, France was inches away from returning to a monarchy led by the Comte de Chambord. As artists, Gustave Flaubert along with his friend George Sand were part of this larger movement to capture the new essence of France and predict the country's future course. Flaubert was convinced that the commune could never have happened if more people had read A Sentimental Education"-- Provided by publisher.
『往復書簡 サンド＝フロベール』
持田明子編訳、
藤原書店、1998年
Correspondence with George Sand:
The George Sand–Gustave Flaubert Letters, translated by Aimée G. Leffingwell McKenzie (A. L. McKenzie), introduced by Stuart Sherman (1921), available at the Gutenberg website as E-text N° 5115
Flaubert–Sand: The Correspondence (1993) 這本以前不知道
BooksNon-fictionThe Novel of Worldliness: Crébillon, Marivaux, Laclos, Stendhal (1969)
The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess (1976),
ISBN 0-300-06553-1Reading for the Plot: Design and Intention in Narrative (1984),
ISBN 0-674-74892-1Body Work: Objects of Desire in Modern Narrative (1993),
ISBN 0-674-07725-3Psychoanalysis and Storytelling (1994),
ISBN 0-631-19008-2Law's Stories: Narrative and Rhetoric in the Law (co-editor with
Paul Gewirtz, 1996),
ISBN 0-300-07490-5Troubling Confessions: Speaking Guilt in Law and Literature (2000),
ISBN 0-226-07585-0Whose Freud? The Place of Psychoanalysis in Contemporary Culture (co-editor with Alex Woloch) (2000),
ISBN 0-300-08116-2Realist Vision (2005),
ISBN 0-300-10680-7Henry James Goes to Paris (2007),
ISBN 0-691-12954-1Enigmas of Identity (2011),
ISBN 978-0-691-15158-8Anthologie du mélodrame classique (with Myriam Faten Sfar, 2011),
ISBN 978-2-8124-0328-6Flaubert in the Ruins of Paris: The Story of a Friendship, a Novel, and a Terrible Year (2017),
ISBN 9780465096022[33]Balzac's Lives (2020),
ISBN 978-1-68137-449-9Seduced by Story (2022),
ISBN 978-1-68137-663-9Henry James Comes Home: Rediscovering America in the Gilded Age (2025),
ISBN 9781681379210FictionWorld Elsewhere (2000),
ISBN 0-684-85333-7The Emperor's Body (2010),
ISBN 0-393-07958-9AI Overview
Peter Brook: A Theatrical Casebook (1988/1991), edited by David Williams, is a comprehensive study analyzing the innovative director's early career through interviews, essays, and critical analyses of his work in theatre, film, and opera. It explores Brook's, such as those found on
Amazon.com, "two worlds" philosophy, focusing on experimentation, risk, and the pursuit of a "quality of performance".
Amazon.com +4
Key Aspects of the Book:Focus: It covers Brook's career with detailed, chronological analyses of specific productions, including
Orghast and
Conference of the Birds.
Methodology: The book, available on
the Internet Archive, includes interviews with Brook and his collaborators to examine his rehearsals, processes, and philosophies.
Content: It covers topics like the "two worlds" theory, which examines the intersection of opposing theatrical forms and energies.
Editorship: Compiled by David Williams, the book is described as a "theatrical casebook" looking at the director's risk-taking and failures as well as successes.
Context: It presents a portrait of a visionary artist, complementing his own written work in
The Empty Space.
Amazon.com.au +5
Related Publications:
Peter Brook: Oxford to Orghast (1998/2012)
Through the Body: A Practical Guide to Physical Theatre (2001) - Often studied alongside Brook's methods
The Open Door: Thoughts on Acting and Theatre (Book by Brook)
Google Books +2
The book is recognized as a vital resource for understanding the development of Brook’s experimental approach to performance and his impact on contemporary theatre.
AbeBooks +2
myth, mythmaking campaign, mythos翻譯成神話易誤解. THE mythos MOMENT. "the rhetoric and mythos of science create the comforting image of linear progression toward truth". Mythos: The Princeton/Bollingen Series in World Mythology. Nana. Mythos und Wirklichkeit By Werner Hofmann ：ナナ マネ・女・欲望の時代Nereid, Styx, tux, Siren, Tartarean, In Greek mythology, Tartarus was the place in Hades reserved for punishing the worst.
The EconomistThe dizzying progress of AI models developed by Dario, Demis, Elon, Mark and Sam poses a threat to America’s own national security at a time when resentment is growing among voters
https://econ.st/3QGRPvo
In Greek mythology, Tartarus was the place in Hades reserved for punishing the worst.在希臘神話中，塔爾塔羅斯是冥界中懲罰最惡人的地方。
德國未來總理已確認準備向烏克蘭發射金牛座飛彈。
弗里德里希·梅爾茨強調，其他盟友已經向基輔提供巡弋飛彈。
Germany’s future chancellor has confirmed his readiness to send Taurus missiles to Ukraine.
Friedrich Merz emphasized that other allies are already supplying cruise missiles to Kyiv.
“The British and the French are doing it. The Americans are doing it in any case. I have always said that I would proceed [with sending Taurus] only in coordination with our European partners,” he stated.
Taurus is a German-guided missile with a range of up to 500 km and a 500 kg warhead. It is equivalent to the British Storm Shadow and French SCALP-EG, which are already in use by the Ukrainian army.
Marble statue of a nereid, from the Nereid Monument. Lycian, from Xanthos (modern Günük), south-western Turkey, c. 390–380 BC.
Myths used to be about ancient Greeks. Now, when authors write about myths, they mean a statement that almost everyone thinks is true but really isn’t.
Dial an opera singer
In the mood for some opera but don't want to dig out the tux? A
Berlin-based performance project may have the answer. Just pick up the
phone and dial.
The nickname is part of a mythmaking campaign around the reclusive nation's new ruler.
tux
(tŭks) 
n. InformalA tuxedo.n. - 男士無尾半正式晚禮服
Styx (stĭks) 
n. Greek MythologyThe river across which the souls of the dead are ferried, one of the five rivers in Hades.
[Latin, from Greek Stux.]
In
Greek mythology, a river of the underworld. The name comes from a Greek word that denotes both hatred and extreme cold, and it expresses loathing of death. In the epics of
Homer, the gods swore by the water of Styx as their most binding oath.
Hesiod personified Styx as the daughter of Oceanus and the mother of Emulation, Victory, Power, and Might. The ancients believed that its water was poisonous and would dissolve any vessel except one made of the hoof of a horse or an ass.
[名]((the 〜))《ギリシャ神話》ステュクス川：三途(さんず)の川, よみの国の川. ⇒STYGIAN[形]1(as) black as Styx
まっ 暗やみの
cross the Styx三途の 川を渡る, 死ぬ.
售貨員在你耳邊輕巧地唱著海妖賽倫（Siren）的誘惑之歌─
Si·ren (sī'rən) n.- Greek Mythology. One of a group of sea nymphs who by their sweet singing lured mariners to destruction on the rocks surrounding their island.
- siren A woman regarded as seductive and beautiful.
[Middle English
serein, from Old French
sereine. See
siren.]
中文的對應處不知道
Word of the Day:
Tartarean (tahr-TAR-ee-uhn)
adjectiveHellish; infernal.
EtymologyFrom Latin tartareus, from Greek tartareios, from Tartaros. In Greek mythology, Tartarus was the place in Hades reserved for punishing the worst.
Usage"The hatch, removed from the top of the works, now afforded a wide hearth in front of them. Standing on this were the Tartarean shapes of the pagan harpooneers, always the whaleship's stokers." — Herman Melville; Moby Dick: Or, the Whale; Hendricks House; 1952.
Full-text on Questia
here"The late-afternoon skies over lower downtown Denver were Stygian dark and Tartarean dreary, as had been the Rockies in the series with the omnipotent Yankees, when Todd Zeile approached the plate in the culmination of the 10th inning, and there was a fulmination and fulguration of thunder and lightning." — Woody Paige; A Ruthian Victory For the Locals; The Denver Post; Jun 21, 2002.
(in literature) a traditional or
recurrent narrative theme or plot structure.
a set of beliefs or assumptions about something.
"the rhetoric and mythos of science create the comforting image of linear progression toward truth"
“科學的修辭和神話營造了一種令人安心的、通往真理的線性進程的形象。”
mythos翻譯成神話易誤解.
Nana. Mythos und Wirklichkeit By Werner Hofmann ：ナナ マネ・女・欲望の時代
Both the title and the numerous details suggest that the picture represents a high class prostitute and her client. "Nana" was a popular assumed name for female prostitutes during the second half of the 19th century (much like the connotation "Candy" has had for English-speakers more recently). Even today the French word "nana" is used to describe a frivolous woman (or simply "a female" in argot[1]).
Wiki 的 "argot"，英文版、日文版都很有意思！
Nana is a painting by French painter Édouard Manet. It was completed in 1877 and was refused at the Salon of Paris the same year. The work is now at the Kunsthalle Hamburg art museum in Germany.
www.igs.ocha.ac.jp/igs/IGS_publicatio...
Werner Hofmann (August 8, 1928 in Vienna - 13 March 2013 in Hamburg) was an Austrian art historian, cultural journalist, writer, curator and museum director, who is "considered by his colleagues as one of the most distinguished European scholars of modern art and its ideology."[1]
Hofmann is known for having connected two schools of art history: the Vienna School with the Hamburg School. According to the Dictionary of Art Historians, his "work was highly interdisciplinary, drawing examples from music, philosophy and literature to elucidate what were in many cases well-known works of art in new ways. This non-linear, a-historical (but not anti-historical) view of art history influenced a generation of modernist art historians who viewed their art works thematically rather than as a series of style changes."
水沢 勉（みずさわ つとむ、1952年11月27日 - ）は、日本の美術評論家・キュレーター、 神奈川県立近代美術館館長。神奈川県横浜市生まれ。 ... ヘイゼル・ハリソン『水彩の 技法百科 水彩・ガッシュ・アクリル』グラフィック社 1991; 『ナナ マネ・女・欲望の時代』（ ヴェルナー・ホーフマン著、PRCO出版、1991年）; ジェレミー・ゴートン『油彩の技法百科 』 ...
- Nana: Mythos und Wirklichkeit. Cologne 1973.
關於作者和其他貢獻者
維爾納·霍夫曼出生，1928年，博士 菲爾。和藝術史教授，1960年工作到1969年在維也納作為20世紀博物館的創始董事，直到1990年，他在漢堡藝術館主任。除了他的授課和教學，他已經成為主要為他的藝術在19世紀和20世紀的出版物以及眾多的大型展覽，其中包括漢堡展覽系列-Kunst到1800年，是已知的。到1995年CH貝克，藝術-The出現在該系列宇宙第40卷吵架世紀。1950年和1830-之間藝術。
Nana. Mythos und Wirklichkeit
Nana：神話與現實
Broschiert – Dezember 1999
von
Werner Hofmann (Autor), Joachim. Heusinger von Waldegg (Mitwirkende)
Produktinformation- Broschiert: 200 Seiten
- Verlag: DuMont Reiseverlag, Ostfildern (Dezember 1999)
- ISBN-10: 377012118X
- ISBN-13: 978-3770121182
- Verpackungsabmessungen: 20,4 x 15,2 x 1,6 cm
ISBN 4-89194-262-2 C0070 P3200E
Werner Hofmann, Nana : Mythos und Wirklichkeit, Köln, M. Dumont Schauberg, 1973. 邦訳：ヴェルナー・ホーフマン『ナナ マネ・女・欲望の時代』水沢勉訳、パルコ出版局、 1991, pp. 92-94.
論文： ゾラ『ナナ』と絵画における自然主義 : マネとジェルヴ ..... 18） http://ir.library.osaka-u.ac.jp/dspace/bitstream/11094/24301/1/gallia_51_021.pdf
https://en.wikipedia.org/wiki/Nana_(painting)
Both the title and the numerous details suggest that the picture represents a high class prostitute and her client. "Nana" was a popular assumed name for female prostitutes during the second half of the 19th century (much like the connotation "Candy" has had for English-speakers more recently). Even today the French word "nana" is used to describe a frivolous woman (or simply "a female" in argot[1]).
簡談Peter Brook 名著: Body Work: Objects of Desire in Modern Narrative (1993).中"Work"的翻譯：《身體的創造：現代敘事中的慾望對象》中國有翻譯本 書名 《身體活》
Peter Preston Brooks (born 1938 )：彼得·布魯克斯認為，「創作 WORK 代表人類身體如何轉化為語言和意義這一複雜且往往充滿張力的交匯點，正如這篇德古意特·布里爾出版社的評論中所探討的那樣。這項工作的根本在於探討精神的物質「他者」如何轉化為敘事中的「我」。」指的是敘事、藝術和精神分析領域為「書寫」身體所做的努力——將身體納入語言，使其成為意義的載體。本書探討了文學和藝術如何將身體呈現為慾望的對象，揭示死亡和身份的真相。： Peter Brook: Body Work: Objects of Desire in Modern Narrative (1993). 每章可獨立成一本書《身體的創造：現代敘事中的慾望對象》中國有翻譯本 書名 《身體活》 對身體的認知慾望是各種形式敘事中一股強大的動力。彼得布魯克斯認為，現代敘事旨在揭示身體，從而展現一種必須以肉身書寫的真理。本書廣泛涉獵文學和繪畫，布魯克斯闡述了想像力如何努力將身體融入語言，並以身體為主題進行敘事。 從盧梭、巴爾扎克、瑪麗雪萊和福樓拜，到喬治艾略特、左拉、亨利詹姆斯和瑪格麗特杜拉斯，從馬奈和高更到梅普爾索普，作家和藝術家們都對身體——這個精神中不可逃避的他者——抱有濃厚的興趣。布魯克斯對精神分析的深刻理解，使他得以闡述「求知欲」（即求知的渴望）如何引導虛構情節及其對讀者的解讀。
Body Work: Objects of Desire in Modern Narrative
Peter Brooks
Harvard University Press, 1993 - Language Arts & Disciplines - 325 pages
The desire to know the body is a powerful dynamic of storytelling in all its forms. Peter Brooks argues that modern narrative is intent on uncovering the body in order to expose a truth that must be written in the flesh. In a book that ranges widely through literature and painting, Brooks shows how the imagination strives to bring the body into language and to write stories on the body.
From Rousseau, Balzac, Mary Shelley, and Flaubert, to George Eliot, Zola, Henry James, and Marguerite Duras, from Manet and Gauguin to Mapplethorpe, writers and artists have returned in fascination to the body, the inescapable other of the spirit. Brooks's deep understanding of psychoanalysis informs his demonstration of how the "epistemophilic urge"--the desire to know-guides fictional plots and our reading of them.
It is the sexual body that furnishes the building blocks of symbolization, eventually of language itself-which then takes us away from the body. Yet mind and language need to recover the body, as an other realm that is primary to their very definition. Brooks shows how and why the female body has become the field upon which the aspirations, anxieties, and contradictions of a whole society are played out. And he suggests how writers and artists have found in the woman's body the dynamic principle of their storytelling, its motor force.
This major book entertains and teaches: Brooks presumes no special knowledge on the part of his readers. His account proceeds chronologically from Rousseau in the eighteenth century forward to contemporary artists and writers. Body Work gives us a set of analytical tools and ideas-primarily from psychoanalysis, narrative and film studies, and feminist theory-that enable us to read modern narrative afresh.
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