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| | Beholding the Outcry: The Collision of Utterance, Inscription, and Image as Revenants of the Holocaust in Barnett ... |
 | | Newmans emphasis on statement, utterance, cry, in Stations of the Cross, as well as throughout his artistic and written production, privileges and literally and figuratively accents the concept of voice in a complex play of re-marks, both painted and printed which subverts modernisms association of the site of utterance with masculine authority and originality. |
 | | Newmans criticism of Stations follows a strange conceptual loop or Moebius strip in which the utterance, the declaration, the transcendent word which points to or indicates corporeal exteriority, a realm of pure and unruptured thought or disembodiment cannot be distinguished from an individual body wracked and broken with pain. |
 | | For a cry is not a declaration: the former, like the notion of passion, of The Passion itself, refers to a body situated in space and time by emotion, pain and sensation while declaration signifies coolness, detachment, a distance from the impropriety and contamination of unseemly emotion. |
| epsilon3.georgetown.edu /~coventrm/asa2000/panel1/buchwald.html (4796 words) |
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