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Photography's Courtly Desires: Jacques Lacan, Roland Barthes, and the Photographic Beloved Elizabeth Howie a Dissertation Subm

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Photography's Courtly Desires: Jacques Lacan, Roland Barthes, and the Photographic Beloved Elizabeth Howie a Dissertation Subm Photography’s Courtly Desires: Jacques Lacan, Roland Barthes, and the Photographic Beloved Elizabeth Howie A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements f or the degree of Doctor of Philosophy in the Department of Art Chapel Hill 2007 Approved by: Adviser: Carol Mavor Reader: Jaroslav Folda Reader: Mary Pardo Reader: E. Jane Burns Reader: Ranjana Khanna © 2007 Elizabeth Howie ALL RIGHTS RESERVED ii Abstract Elizabeth Howie: Photography’s Courtly Desires: Jacques Lacan, Roland Barthes, and the Photographic Beloved (Under the direction of Carol Mavor) The medieval poetic genre and performance pra ctice of courtly love elaborates the delirious enjoyment and exqu isite pain of unquenched desire and celebrates its textual performance; ph otography visualizes this highly fraught system of desire. Photography is imbued with courtly love because of its rel ation to desire, distance, and idealization. T he photograph’s referent appears t o be present but is always lost , a paradox which keeps the viewer’s desire inflamed ; I read the unavailability of the referent, and the desires it arouses, in terms of the desi res aroused by the beautiful and idealized but unavailable courtly lady. What photography gives, what it denies, and the desires i t arouses are courtly. I adopt courtly love’s nineteenth - and twentieth -century theorizations, particularly the work of psych oanalyst Jacques Lacan and semiotician Roland Barthes , as a strategy for reading photography. Both Ba rthes and Lacan write of a desire that is idealizing, unrequited, and related to the primordial experience of the mother. Lacan specifically addresses cour tly love as the epitome of the non -rapport between the sexes and the ultimate example of sublimation. Lacanian psychoanalysis revolves around the issue of the subject’s desire; he sees courtly love as the embodiment of d esire in the life of the subject . La can’s discussion of the sublimation of the courtly lady provides a way to theor ize the sublimation operative in photography, and the resulting impact on photographic ethics. If subjectivity is based on iii lack/desire, the photograph is the perfect object to o perate on both: it always represents lack and absence, but simultaneously offers possession, images of wholeness, and illusions of closeness. A close comparative reading of Barthes’s Camera Lucida (1980) with his A Lover’s Discourse (1977) demonstrates sig nificant affinities between the two and links Barthes’s work on photography and desire. The photographs I address include Hiroshi Sugimoto’s Interior Theater s, photographs commissioned by painter and poet Dante Gabriel Rossetti of Pre -Raphaelite icon Jane Burden Morris, and the recently -identified genre of nineteenth -century portraiture of men commemorating their loving friendships. iv Acknowledgements I wish to thank Carol Mavor wholeheartedly for her encouragement, mentorship, friendship, and wisdom , as well as for introducing me to the field of photography studies ; without her this project would not have been possible. I also wish to thank my committee for their wonderful insights into future directions for this project. Finally I would like to than k the UNC Department of Art, and especially its chair Mary Sheriff, for the support I have received during my time at UNC. v Table of Contents Page List of Figures ................................ ................................ ................................ ......................... vii Photography’s Courtly Desires : Introduction ................................ ................................ ........ 10 Chapter 1: Historicizing Courtly Love and Its Theories ................................ ......................... 24 Chapter 2: Lacan, Courtly Love, and the Photograph ................................ ............................ 55 Chapter 3: The Beloved Referent and the Beloved Mother ................................ .................... 99 Chapter 4: Dante Gabriel Rossetti and Jane Morris: Photography in the Garden of Courtly Love ................................ ................................ ................................ ................................ ...... 141 Chapter 5: Bringing Out the Past: Courtly Love and Nineteenth -Century American Men’s Passionate Friendshi p Portraits ................................ ................................ ............................. 184 Conclusion: Photography as Prophecy in Reverse ................................ ............................... 243 Bibliography ................................ ................................ ................................ ......................... 242 vi List of Figures Introduction Fig. 1: Julia Margaret Cameron, “The Parting o f Lancelot and Guenevere” from The Idylls of the King , 1874 ................................ ................................ ................................ .......................... 13 Fig. 2: Lady Clementina Hawarden, “Clementina and Isabella Grace Maude, 5 Princes Gardens,) 1863 -64 ................................ ................................ ................................ .................... 14 Chapter 1 Fig. 1: Anonymous, Netherlands, 1640, cylindrical anamorphosis: Crucifixion w ith the Virgin, St. John and an Angel ................................ ................................ ................................ .. 45 Chapter 2 Fig. 1: Robert Mapplethorpe, “Self Portrait,” 1975 ................................ ................................ .88 Fig. 2: Manabu Yamanaka, “Gyahtei” ................................ ................................ ..................... 89 Chapter 3 Fig. 1: Hiroshi Sugimoto, “Radio City Music Hall, New York,” 1978 ................................ .126 Fig. 2: Sugimoto, “Avalon Theater, Catalina Island,” 1993 ................................ .................. 127 Fig. 3: Sugimoto, Baltic Sea, Rügen, 1996 ................................ ................................ ............ 128 Fig. 4: Sugimoto, “Morning Sun Illuminates the Waves,” 1999, “Japan Sea , Oki, 1981,” inserted into Tiffany and Co. silver art deco compact ................................ ........................... 129 Fig. 5: Daniel Boudinet, “Po laroid,” 1978 ................................ ................................ ............. 130 Fig. 6: Paul Nadar, “Ernestine Nadar,” 1854 -5 ................................ ................................ ..... 131 Chapter 4 Fig. 1: John R. Parsons and Dante Gabriel Rossetti, “Jane Morris,” 1865 ............................ 164 Fig. 2: Rossetti, “The Rose Garden,” 1860 -1 ................................ ................................ ........ 165 Fig. 3: Parsons and Rossetti ................................ ................................ ................................ ... 166 Fig. 4: Parsons and Rossetti ................................ ................................ ................................ ... 167 vii Fig. 5: Parsons and Rossetti ................................ ................................ ................................ ... 168 Fig. 6: “La Dame à la licorne,” 1480 -1490 ................................ ................................ ............ 169 Fig. 7: Parsons and Rossetti ................................ ................................ ................................ ... 170 Fig. 8: Parsons and Rossetti ................................ ................................ ................................ ... 171 Fig. 9: “The Bourne -Jones and Morris Families,” 1874 ................................ ........................ 172 Fig. 10: Parsons and Rossetti ................................ ................................ ................................ .173 Fig. 11: Parsons and Rossetti ................................ ................................ ................................ .174 Chapter 5 Fig. 1: Photographer Unknown, Subjects Unknown, 1845 -50 ................................ .............. 220 Fig. 2: Alexander Gardner, “Portrait of Lewis Payne,” 1865 ................................ ................ 221 Fig. 3: Gardner, “Lewis Payne,” 1865 ................................ ................................ ................... 222 Fig. 4: Gardner, “Lewis Payne,” 1865 ................................ ................................ ................... 223 Fig. 5: Kazuo Funaki ................................ ................................ ................................ .............. 224 Fig. 6: Kazuo Funaki ................................ ................................ ................................ ............. 225 Fig. 7: Eugène Durieu, Academic Nude for Eugène Delacroix, 1853 ................................ ... 226 Fig. 8: Photographer Unknown, Subjects Unknown, 1980 ................................ ................... 227 Fig. 9: Nadar, “Savorgnan de Brazza,” 1882 ................................ ................................ ......... 228 Fig. 10: Nadar, “Savorgn an de Brazza” ................................ ................................ ................. 229 Fig. 11: Real Photo Postcard, Fifteen -Man Football Team, 1909 ................................ ......... 230 Fig. 12: Studio Portrait, Seven -Man Basketball Team and Coach, 1920 .............................. 231 Fig. 13: Roland Barthes with students from his 1974 Seminar at the École des Hautes Études ................................ ................................ ...............................
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