Pigens blik
Det fortrængtes genkomst, 1865-2023
Resumé
A specific figure of the girl haunts Western visual culture. That is the claim or hypothesis, which this article seeks to develop through an exploration of a certain girl motif or, in Aby Warburg’s terms, a girl pathos-formula and its repetitions from the middle of the nineteenth century until the present day. From two Victorian paintings by John Everett Millais, Cherry Ripe (1879) and Ducklings (1889) to the recent Netflix-series Stranger Things (2016) and The Queen’s Gambit (2020), this girl constitutes an as yet unnoticed symptomatic and subversive (proto-)feminist figure. Her formulaic characteristics of a frontal bodily posture and gaze that in spite of its ambiguous nature challenges the spectator and normative understandings of femininity are often connected to a certain destruction within the represented world or a breakdown of meaning-making at the level of pictorial representation (what Didi-Huberman has called a pan). The article thus presents a first limited image atlas of this overlooked girl pathos-formula and with inspiration from Didi-Huberman’s use of Freudian psychoanalysis explores its persistence across centuries as a case of the return of the repressed.
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Hjemmesider
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Things/Season_1?file=Stranger+Things+Season+1.png (tilgået 4. oktober 2023).
Georges Mérillon, Georges Mérillon – Photographe, sidst opdateret 13. november 2017, http://www.georgesmerillon.com/en/-/galeries/galerie-page-daccueil/-/medias/0b8734bf-6dac-4848-82b6-2cd02d42cd37-kosovo-1990 (tilgået 7. april 2023).
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The National Museum of Western Art i Tokyo, hjemmeside for maleriet Ducklings, sidst opdateret 7. marts 2023, https://collection.nmwa.go.jp/en/P.1975-0004.html (tilgået 7. april, 2023).
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