"Courbet's "L'origine du monde
The Origin without an Original
Bibliographic Data
| ID | 4300374 |
|---|---|
| Authors | Linda Nochlin (corresponding author) |
| Year | 1986 |
| Volume | 37 |
| Pages | 76 |
| Publication date | 1986-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | October (JOURNAL) |
| Journal identifiers | ISSN: 0162-2870 • E-ISSN: 1536-013X |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/778520 |
| OpenAlex | W2315767078 |
| Language | EN |
| Citations received | 3 |
| References cited | 1 |
Nothing could be more Freudian than the scenario I am about to rehearse in this narrative, for it concerns the endlessly repetitive quest for a lost original, an original which is itself, in both the literal and the figurative senses of the word, an origin. I am referring to Courbet's painting, The Origin of the World, a work which is known to us only as a series of repeated descriptions or reproductionsan Origin, then, without an original (fig. 1). But I shall also be discussing notions of origination and originality as they inform the discipline of art history itself: the founding notion that through the logic of research-i.e., the repetitive act of searching over and over again one can finally penetrate to the ultimate meaning of a work of art. In the case of Courbet's Origin, this ultimate-meaning-to-be-penetrated might be considered the reality of woman herself, the truth of the ultimate Other. The subject represented in The Origin is
Art · Diverse Cultural and Historical Studies · French Historical and Cultural Studies · Historical Studies and Socio-cultural Analysis · Philosophy
| Unique citing works | 3 |
|---|---|
| Citations per year | 0,14 |
| Citation span | 2005 - 2018 (14) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 3 |