Issue Details: First known date: 2015... 2015 Allegory and the Resistance to Meaning
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AbstractHistoryArchive Description

'Allegoresis, or allegorical interpretation, is the interpretive mode of finding a 'truth' or meaning concealed in words or images, regardless of whether this truth was intended by their composer. The Homeric allegorists are the earliest known practitioners of this tradition, which predates the kind of intentional allegorical construction that began in Late Antiquity with Prudentius's Psychomachia and dominated the tradition through the Early Modern era. Commonly identified by the name of their European 'discoverer' as 'The Bradshaws,' the Gwion Gwion paintings of the Kimberley region have inspired much of this king of allegoresis. A major goal of western investigators is to make a reasonable claim about the meaning to this peculiar rock art. In other words, to allegorize it. All such attempts at allegoresis, and the apparently overwhelming desire to find meaning beyond the literal images, indicate an unwillingness to experience the images as unknowable and further, an inability to resist appropriating the images to a western way of knowing. Aboriginal views of the rock art are generally ignored or dismissed as inferior to the scientifically substantiated theories of western researchers. Just as the voices of Aboriginal peoples often inaudible in the current political and social contexts of Australia, their experience of the rock art itself is overwritten with knowledge, or what might better be called 'allegories of knowing'. (Introduction)

Notes

  • Epigraph: I sincerely believe that the best criticism is the criticism that is entertaining and poetic; not a cold analytical type of criticism, which claiming to explain everything, is devoid of hatred and love, and deliberately rids itself of any trace of feeling, but since a fine paining is nature reflected by an artist, the best critical study, I repeat, will be the one that is the painting reflected by an intelligent and sensitive mind. Thus the best accounts of a picture my well be a sonnet or an elegy. –Charles Baudelaire, "What is the Good of Criticism?)

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Allegory of the Cave Painting Mihnea Mircan (editor), Vincent W.J. Van Gerven Oei (editor), Milan : Mousse Publishing , 2015 10906952 2015 anthology essay art work interview

    'Accompanying the group exhibition ‘Allegory of the Cave Painting’ – at Extra City (20.09-07.12.2014) and at Middelheim Museum (26.10.2014-29.03.2015) – an extended reader, co-edited by Mihnea Mircan and Vincent van Gerven Oei, is published by Mousse Milan.

    'The publication includes contributions by Haseeb Ahmed, Ignacio Chapela, Justin Clemens, Georges Didi-Huberman, Jonathan Dronsfield, Christopher Fynsk, Adam Staley Groves, Sean Gurd, Adam Jasper, Susanne Kriemann, Landings (Vivian Ziherl en Natasha Ginwala), Brenda Machosky, Alexander Nagel, Rosalind Nashashibi, Tom Nicholson, Jack Pettigrew, Raphaël Pirenne, Susan Schuppli, Lucy Steeds, Jonas Tinius, Marina Vishmidt, Christopher Witmore and Khadija von Zinnenburg Carroll.' (Publication summary)

    Milan : Mousse Publishing , 2015
    pg. 135-149
Last amended 27 Mar 2017 12:49:52
135-149 Allegory and the Resistance to Meaningsmall AustLit logo
Subjects:
  • Kimberley, Deloraine area, Meander Valley, Northeast Tasmania, Tasmania,
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