Pam Gems feminist vision in Stanley. Exploring queer aesthetics through historical reflection
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Table of Contents
- Introduction
- Gems' play: Accurate representational version of Spencer's intimate relationships
- Spencer's demand for total commitment and absorption in his world
- A basic overview of the elements in the play
- Hilda: The biggest victim in the play
- Conclusion
- Bibliography
Abstract
stanley Spencer, one of England's most lauded post-war visual artists, is also among the most obscure outside of the context of his reception in England, which included his being Knighted near the end of his life.(Hauser, 2001) In a "Self-Portrait" from 1914 the artist paints himself in what can be deemed a faux-Renaissance style. (MacCarthy, 1997) The face is illuminated and fleshy, while the backdrop recedes behind the intense vision of self, as if to infinity. It is as if the dark looming presence of the Great War itself, which would for Spencer be a catalyst for transforming trauma into visionary ecstasy through a philosophy of love and sex, is captured in his audacious stare and the dense black background. His eyes are expressive of meaning, a combination of hunger, vision, sexual desire, egoism and fear. Painted before the war, it is as if the portrait corresponds to a line in pam gems 1996 play, "stanley". "Friends --- people you sleep next to in the trench turned into convolvulus - entrails hanging on the wire....How to get to a pure imagination...to beauty?" (gems: 4-5) This paper will explore gems' play, "stanley" an episodic, almost Brechtian epic style play mixed with theatrical realism, the result a biographical study that deepens our understanding of issues of gender and points a way to queer aesthetics and critique. (Butler, 2004; Foucault, 1990; Mulvey, 2002, De Beauvoir, 1967)
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