Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • Chapter 9 - Bodies Dead or Alive?

  • from Part III - Culture’s Theological Mode of the Sacred
  • Edited by Andrew W. Hass, University of Stirling
  • Book:
    Sacred Modes of Being in a Postsecular World
    Published online:
    07 September 2021
    Print publication:
    16 September 2021, pp 183-204

  • Summary

    Both in painting and in film, Christian symbols, especially allusion to the Passion with an emphasis on its ambiguous status of the body, occurs frequently. This chapter examines paintings about dying that show up in films, in what is called intermediality. What the author gleans from Jasper’s work is an attempt to overcome binary oppositions and the separations they entail. The bridge is the imagination, which compels us to take fiction seriously as a knowledge-producing field. If we take Coleridge’s definition of fiction, “the willing suspension of disbelief”, we can see that the three main words help us to be serious about guilt and responsibility, but also about liberation, the latter through the release of fantasy. It is this view of fiction that makes it possible to overcome the dichotomies that rule the world, including the one between sacred and profane. This dichotomy is explored in works of visual art about the body, and especially the dying body, by Velázquez, Grünewald, Mantegna, Zvjagintsev’s film The Return, and the film/video project Madame B by Bal and Williams Gamaker.