Customer Service | Help | FAQ | PEP-Easy | Report a Data Error | About
:
Login
Tip: To see papers related to the one you are viewing…

PEP-Web Tip of the Day

When there are articles or videos related to the one you are viewing, you will see a related papers icon next to the title, like this: RelatedPapers32Final3For example:

2015-11-06_09h28_31

Click on it and you will see a bibliographic list of papers that are related (including the current one). Related papers may be papers which are commentaries, responses to commentaries, erratum, and videos discussing the paper. Since they are not part of the original source material, they are added by PEP editorial staff, and may not be marked as such in every possible case.

 

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

MacKenzie, I. (1987). Theories of Reading: Carvers and Modellers. Am. Imago, 44(4):241-256.

(1987). American Imago, 44(4):241-256

Theories of Reading: Carvers and Modellers

Ian MacKenzie

The distinction between carving and modelling is long-established in the practice and criticism of sculpture. The English art critic Adrian Stokes extended the use of these two terms to designate, metaphorically, the two most general attitudes an artist can adopt to his medium. Stokes later allied these concepts with the two ‘positions’ an infant adopts, in Kleinian psychoanalytic theory, in relation to objects: the ‘paranoid-schizoid’ position, in which the ego recognizes only ‘part-objects,’ and the ‘depressive’ position which follows from the recognition of whole-objects. Stokes' distinction may fruitfully be further extended to include the audience of art objects, and in particular interpreters of literary texts and theorists of reading, who may be provisionally divided into those who regard the text as a self-sufficient object replete with (authorial/historical/generic) meaning, and those who consider that the meaning is supplied by the reader.

In The (Quattro Cento (1932) and Stones of Rimini (1934), Stokes describes what he considers the supreme attribute of a carver, which he identifies in the sculpture and architecture of fifteenth century Italy—a love of stone or, more generally, of the artist's chosen medium. The carver recognizes and values the inherent qualities (color, texture, grain, weight and shape) in the stone or marble he uses, and produces a work which conserves these qualities and respects the vitality and integrity of the material. In Color and Form (1937), Stokes extends the concept of ‘carving’ to include painting, a love of color replacing that of stone. The ‘carver’ attributes a vitality to the surface of the canvas and endeavors to preserve it, by allowing color to determine form.

The

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

Copyright © 2021, Psychoanalytic Electronic Publishing, ISSN 2472-6982 Customer Service | Help | FAQ | Download PEP Bibliography | Report a Data Error | About

WARNING! This text is printed for personal use. It is copyright to the journal in which it originally appeared. It is illegal to redistribute it in any form.