|Title||Interpretation of the Jacques Lacan’s Concept of “the Mirror Stage” in the Surrealist Photography|
|Author||Shik, Ida A.||email@example.com|
|About author||Shik, Ida A. — student, St. Petersburg State University. 7–9 Universitetskaya embankment, St. Petersburg, Russian Federation, 199034. firstname.lastname@example.org|
|In the section||Western Art of the 20th Century and Theory of Art|
|Type of article||RAR||Index UDK||7.038.53:77||Index BBK||85.14|
The paper explores the peculiarities of interpretation of Jacques Lacan’s concept of “the mirror stage” in the surrealist photography. In the context of addressing to the concept of “the mirror stage” the surrealist photography concentrates on the problems of the encounter of a person with his double, and also of narcissism and gender identifi cation. Th e author makes the conclusion that practice of using the mirrors and other ways of duplication of an image in the surrealist photography may be considered as fi xation on “the mirror stage”, as well as the interpretation of the photographic process as the medium of an endless repetition of an image of the other.
|Reference||Shik, Ida A. Interpretation of the Jacques Lacan’s Concept of “the Mirror Stage” in the Surrealist Photography. Actual Problems of Theory and History of Art: Collection of articles. Vol. 4. Eds: Svetlana V. Maltseva, Anna V. Zakharova. St. Petersburg, NP-Print Publ., 2014, pp. 368–373. ISSN 2312-2129.|
|Full text version of the article||Article language||russian|