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The Sculptural Iconography of Feminine Jouissance: Lacan’s Reading of Bernini’s Saint Teresa in Ecstasy

The Sculptural Iconography of Feminine Jouissance: Lacan’s Reading of Bernini’s Saint Teresa in... Dany nobus The Sculptural Iconography of Feminine Jouissance Lacan's Reading of Bernini's Saint Teresa in Ecstasy A swoon so sweet Should have eternal guise; But since suffering does not rise To the Heavenly Portal Bernini in this stone made it immortal. Pietro Filippo Bernini, on his father's Saint Teresa Ecstasy in thE chapEl Amongst the innumerable architectural splendors of Rome, the church of Santa Maria della Vittoria, in the Sallustiano area of the city, is an unusually modest example of early 17th century Baroque design. Situated on a street corner, and hemmed in by adjacent buildings at the back and to the right, anyone approaching the edifice from the Piazza di San Bernardo will be less than impressed by how the whole of its left side is but a plain terracotta rendered wall, with no artistic features other than a rectangular stained glass window above a small oriel. For the church's travertine façade, Giovanni Battista Soria took inspiration from Carlo Maderno's design for the façade of the nearby church of Santa Susanna, yet it does not incorporate the latter's rich decorations and is far more restrained in its use of figurative sculpture. And so nothing in this rather http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

The Sculptural Iconography of Feminine Jouissance: Lacan’s Reading of Bernini’s Saint Teresa in Ecstasy

Nobus, Dany
The Comparatist , Volume 39 (1) – Nov 20, 2015
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University of North Carolina Press
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Abstract

Dany nobus The Sculptural Iconography of Feminine Jouissance Lacan's Reading of Bernini's Saint Teresa in Ecstasy A swoon so sweet Should have eternal guise; But since suffering does not rise To the Heavenly Portal Bernini in this stone made it immortal. Pietro Filippo Bernini, on his father's Saint Teresa Ecstasy in thE chapEl Amongst the innumerable architectural splendors of Rome, the church of Santa Maria della Vittoria, in the Sallustiano area of the city, is an unusually modest example of early 17th century Baroque design. Situated on a street corner, and hemmed in by adjacent buildings at the back and to the right, anyone approaching the edifice from the Piazza di San Bernardo will be less than impressed by how the whole of its left side is but a plain terracotta rendered wall, with no artistic features other than a rectangular stained glass window above a small oriel. For the church's travertine façade, Giovanni Battista Soria took inspiration from Carlo Maderno's design for the façade of the nearby church of Santa Susanna, yet it does not incorporate the latter's rich decorations and is far more restrained in its use of figurative sculpture. And so nothing in this rather

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The Comparatist – University of North Carolina Press

Published: Nov 20, 2015

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