Transgression

Wolfreys, Julian

doi:10.1007/978-1-137-02127-4

Cited by 20 publications

(13 citation statements)

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“…Transgression however runs much wider and deeper than that. It is [ 11 ] not merely the breaking of a code, a rebellion against normative social or cultural constraints; rather it is part of our selves and identities, and we would have no sense of our own subjectivity were it not for a constant, if discontinuous negotiation with the transgressive otherness by which we are formed and informed. Identity needs to believe in its own stability for the conventions of transgression to apply.…”

Section: Final Thoughts On Memory Art and Transgressionmentioning

confidence: 99%

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Culture Biofiction:

Lopes¹

2020

Springer Series in Design and Innovation

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Humans seem to have a transgressive and countercultural nature that no education or law can contain. In a time period when the technologies to preserve our memories and enhance our humane bodies are developing at a fast pace and the corresponding dystopic and utopic future scenarios are constantly presented in speculative ways the author reflects on her artistic practice informed by biotechnology and dwells on concepts of transgression, heterotopia, transdisciplinarity and knowledge. The influence of works of art on the ways of visualizing fundamental principles and beliefs, in the destruction and construction of skepticism and cynicism, is notorious. Art and culture are powerful on modifying and establishing the way in which policies, institutions and behaviour are presented, approved, criticized or condemned. The author’s personal practice focuses on specific areas of critical investigation, and on a continuous exercise seeking a reflective research hypothesis and an emerging methodology. In a fictional way this paper departs from a visit to a Hieronymus Bosch painting, according to the author, an expression of counterculture/subculture in a cultural landmark and follows to enquiry on whether memory and the author arts-based research practice on memory are transgressive. This research practice/reflexion aims to contribute to the empowerment of art as a form of knowledge.

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Section: Final Thoughts On Memory Art and Transgressionmentioning

confidence: 99%

“…In the sense that transgression is always a motion that disturbs borders and the understanding of what is included and excluded by any boundary, [ 11 ] argues than that “memory is transgressive”.…”

Section: Final Thoughts On Memory Art and Transgressionmentioning

confidence: 99%

Culture Biofiction:

Lopes¹

2020

Springer Series in Design and Innovation

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“…As Alfred Pacquement, director of the Pompidou, comments, the title 'also emphasises the fact that, though the exhibition is made up of a set of works, ancient or modern, so to speak, it still forms a whole, to be seen and read, like a narrative, in a series of chapters.' 4 Works which demand to be 'seen and read' absorb the dialogues and refusals between visual and written communication, and explicitly ask for us to reappraise how we consume literature and art.…”

Section: Elizabeth Benjamin and Sophie Corsermentioning

confidence: 99%

Untitled

2015

Working Papers in the Humanities

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of the literary with the visual will establish a hierarchy of signification. The suspicion of authors that an image will override their words and the curious faith of an artist that a written text can clarify their art are echoed by readers and viewers, who fret over film adaptations of favourite books and look first to the explanatory blurb printed next to a painting. At once productive and limiting, these tensions have been at work throughout the history of the relationship between literature and art, manifesting variously where painting, illustration, sculpture, photography, or installation intersect with literary writing in all its forms. Therefore the reinterpretation of a text by an artist, or an art object by an author, provokes not only an assessment of the new and original work, but also a reappraisal of art, literature, and the process of adaptation. The relationship prompts evaluations, and therefore a self-consciousness of both or either medium. The interaction of literature and art is therefore inherently critical, even theoretical.Many examples of visual artists' experimentations with written texts directly engage with literary works -including the ancient Sperlonga sculptures depicting episodes of The Odyssey, Botticelli's Primavera (ca. 1482), or much of the output of the Pre-Raphaelite Brotherhood; arguably the wealth of art inspired by religious texts, such as the Gupta Vishvarupa sculptures of the fifth century, or ninth and tenth century Byzantine mosaics in Hagia Sophia, Istanbul; and illustrated texts from eleventh century Japanese woodblockprinted books to contemporary book-to-art projects such as Stephen Crowe's Wake in Progress. Others, however, operate at a remove from literature, investigating instead individual words or non-literary writing. In 1913-14 Kazimir Malevich drew a simple frame and wrote within it 'деревня' ('Village'), noting that 'Instead of drawing the huts of nature's nooks, better to write "Village" and it will appear to each with finer details and the sweep of an entire village.' 2 A conceptual exploration of the power of language, pitted against the visual by borrowing the frame of an exhibited artwork, Malevich's Alogmisme 29. Village creates a viewer/reader who must create the framed image. Alogmisme 29.Village challenges the role of the artist/author while investing a great deal in the modes of art and the capabilities of words. In his investigation into the effects of language as communication within a curated, artistic space, Malevich gives the word 'village' a quality that one might call literary.Literature points often to the visual, however its engagement with art can draw on more than the representation of an image. For example, Frank O'Hara uses to great effect the status of revered artworks, borrowing their renowned beauty in the 1960 poem 'Having

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“…The literature on gender roles and stereotypes consistently shows different expectations of men and women for a range of behaviors (Bem, 1981), including anti-social, immoral and helping and nurturing behaviors (Eagly and Crowley, 1986). As the definition of transgression (Bennett et al, 2020;Wolfreys, 2008) suggests, classifying behavior as a transgression requires a socially accepted standard of comparison. Most transgression studies only focus on transgression behaviors that violate legal or moral standards, but ignore gendered standards of behavior.…”

Section: Introductionmentioning

confidence: 99%

Consumer response to celebrity transgression: investigating the effects of celebrity gender and past transgressive and philanthropic behaviors using real celebrities

Rifon

Jiang²,

Wu³

2022

JPBM

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Purpose This study aims to develop and test a new research model of consumer response to celebrity transgression. It examines the effects of celebrity past transgression and philanthropic histories in influencing consumer acceptance (i.e. forgiveness and blame) of a single celebrity transgression behavior and the subsequent endorsement potential of the transgressed celebrity. It also examines consumer acceptance of celebrity transgressions from the gender perspective. Design/methodology/approach By using real celebrities, this study conducted a 2 (transgression history: high vs low) × 2 (philanthropic history: high vs low) × 2 (celebrity gender: male vs female) between-subject online experiment with 823 US young adults. Findings Results showed that forgiving (blaming) the transgressed celebrity was positively (negatively) associated with the celebrity’s endorsement potential. Transgression history had a significantly negative indirect effect on endorsement potential via its negative effect on forgiveness and positive effect on blame. Philanthropic history mitigated the negative indirect effect of transgression history on endorsement potential only for male celebrities, not female celebrities. Originality/value This study contributes to the current human brand and celebrity transgression literature and fills the research gap by using real male and female celebrities to incorporate the real history of celebrities as determinants of consumer judgment of celebrity transgression. This study also makes its unique contributions by focusing on the celebrity-related outcomes and demonstrating the moderating roles of past philanthropic behaviors and celebrity gender for their potential to mitigate the negative effects of transgression history on consumer responses to a single transgression.

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Transgression

Cited by 20 publications

References 0 publications

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Culture Biofiction:

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Consumer response to celebrity transgression: investigating the effects of celebrity gender and past transgressive and philanthropic behaviors using real celebrities

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