Skin and the Non-Human Human: Transformation and Reversal in Titian's The Flaying of Marsyas

The article puts forward an aesthetic and psychoanalytic analysis of Titian's painting, The Flaying of Marsyas, arguing that the painting is a reflection on the human subject as a being constituted by skin and by a core of non‐humanity. The analysis is partly an answer to Melanie Hart's (2...

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Published inBritish journal of psychotherapy Vol. 29; no. 1; pp. 98 - 109
Main Author Rosing, Lilian Munk
Format Journal Article
LanguageEnglish
Published London Blackwell Publishing Ltd 01.02.2013
Artesian Books
Wiley Subscription Services, Inc
Subjects
Anton Ehrenzweig
arts and psychoanalysis
Colour
Didier Anzieu
Ego
ethics
Humans
Marsyas
Psychoanalysis
Psychoanalytic theory
Reflection
Research subjects
Reversal
skin ego
Slavoj Zizek
Texture
Titian
Transformation
Online AccessGet full text
ISSN0265-9883
1752-0118
DOI10.1111/j.1752-0118.2012.01326.x

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Abstract The article puts forward an aesthetic and psychoanalytic analysis of Titian's painting, The Flaying of Marsyas, arguing that the painting is a reflection on the human subject as a being constituted by skin and by a core of non‐humanity. The analysis is partly an answer to Melanie Hart's (2007) article ‘Visualizing the mind: Looking at Titian's Flaying of Marsyas', addressing features of the painting not commented on by Hart, and supplementing Hart's (Kleinian) theoretical frame by involving Didier Anzieu's ‘skin ego’, Slavoj Zizek's concept of the ‘non‐human’, Giorgio Agamben's term of the ‘Muselmann’, and Anton Ehrenzweig's psychoanalytic theory of artistic creation. Whereas Hart is focusing on form and colour, I also turn my attention towards the texture of the painting.
AbstractList The article puts forward an aesthetic and psychoanalytic analysis of Titian's painting, The Flaying of Marsyas, arguing that the painting is a reflection on the human subject as a being constituted by skin and by a core of non-humanity. The analysis is partly an answer to Melanie Hart's (2007) article 'Visualizing the mind: Looking at Titian's Flaying of Marsyas', addressing features of the painting not commented on by Hart, and supplementing Hart's (Kleinian) theoretical frame by involving Didier Anzieu's 'skin ego', Slavoj Zizek's concept of the 'non-human', Giorgio Agamben's term of the 'Muselmann', and Anton Ehrenzweig's psychoanalytic theory of artistic creation. Whereas Hart is focusing on form and colour, I also turn my attention towards the texture of the painting. [PUBLICATION ABSTRACT]
The article puts forward an aesthetic and psychoanalytic analysis of Titian's painting, The Flaying of Marsyas, arguing that the painting is a reflection on the human subject as a being constituted by skin and by a core of non-humanity. The analysis is partly an answer to Melanie Hart's (2007) article 'Visualizing the mind: Looking at Titian's Flaying of Marsyas', addressing features of the painting not commented on by Hart, and supplementing Hart's (Kleinian) theoretical frame by involving Didier Anzieu's 'skin ego', Slavoj Zizek's concept of the 'non-human', Giorgio Agamben's term of the 'Muselmann', and Anton Ehrenzweig's psychoanalytic theory of artistic creation. Whereas Hart is focusing on form and colour, I also turn my attention towards the texture of the painting. Adapted from the source document.
The article puts forward an aesthetic and psychoanalytic analysis of Titian's painting, The Flaying of Marsyas, arguing that the painting is a reflection on the human subject as a being constituted by skin and by a core of non‐humanity. The analysis is partly an answer to Melanie Hart's (2007) article ‘Visualizing the mind: Looking at Titian's Flaying of Marsyas', addressing features of the painting not commented on by Hart, and supplementing Hart's (Kleinian) theoretical frame by involving Didier Anzieu's ‘skin ego’, Slavoj Zizek's concept of the ‘non‐human’, Giorgio Agamben's term of the ‘Muselmann’, and Anton Ehrenzweig's psychoanalytic theory of artistic creation. Whereas Hart is focusing on form and colour, I also turn my attention towards the texture of the painting.
Author Rösing, Lilian Munk
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References Lacan, J. (1973[1964]) Les quatre concepts fondamentaux de la psychanalyse. Paris: Seuil.
Segal, H. (1952) A psychoanalytic approach to aesthetics. International Journal of Psychoanalysis 33: 196-207.
Levinas, E. (1999) Alterity and Transcendence, Smith, M. (trans.). New York, NY: Columbia University Press.
Agamben, G. (1999) Remnants of Auschwitz. New York, NY: Zone Books.
Freud, S. (1972[1905]) Drei Abhandlungen zur Sexualtheorie. Studienausgabe V. Frankfurt: Fischer.
Levinas, E. (1969) Totality and Infinity, Lingis, A. (trans.). Pittsburgh, PA: Duquesne University Press.
Hart, M. (2007) Visualizing the mind: Looking at Titian's Flaying of Marsyas. British Journal of Psychotherapy 23(2): 267-280.
Büchner, G. (1995[1835]) Dantons Tod. Stuttgart: Reclam.
Bick, E. (1968) The experience of the skin in early object relations. International Journal of Psychoanalysis 49: 484-486.
Sontag, S. (2003) Regarding the Pain of Others. New York, NY: Farrar, Straus & Giroux.
Hegel, G.W.F. (1998[1823]) Vorlesungen über die Philosophie der Kunst. Gethmann-Siefert, A. (ed.). Hamburg: Meiner.
Freud, S. (1900) Die Traumdeutung. Leipzig, Wien: Deuticke.
Ehrenzweig, A. (1971) The Hidden Order of Art: A Study in the Psychology of Artistic Imagination. Berkeley, CA: University of California Press.
Anzieu, D. (1985) Le moi-peau. Paris: Dunod.
1998[1823]
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1972[1905]
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1952; 33
1968; 49
1536–38
2009
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2007; 23
1969
1999
1900
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SubjectTerms Anton Ehrenzweig
arts and psychoanalysis
Colour
Didier Anzieu
Ego
ethics
Humans
Marsyas
Psychoanalysis
Psychoanalytic theory
Reflection
Research subjects
Reversal
skin ego
Slavoj Zizek
Texture
Titian
Transformation
Title Skin and the Non-Human Human: Transformation and Reversal in Titian's The Flaying of Marsyas
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