{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/20072"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/20072","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"\"With \"\"homage and outrage\"\": Man Ray and the dangerous woman\"","abstract":"One of the most striking aspects of Man Ray's oeuvre is the artist's fascination with the unmediated female presence and his need to manipulate and control its image. To him, male and female interaction meant conflict and confrontation, and he often used game metaphors and Sadian imagery to express this world view. Because of early traumatic episodes, with both his mother and his peers, Man Ray developed a deficient self-image and a narcissistic personality. He believed that his mother had denied him his artistic and sexual freedom, and he sought retribution from the other women in his life. They were surrogates of his mother from whom, in turn, he could wrest creative initiative. Many of his major works (Coat Rack, Le Cadeau, L'Objet a detruire, A l'heure de l'observatoire--Les Amoureux and others) are explicit or implicit expressions of either the terrifying female (as vagina dentata) or the ideal female (bound in some way).","abstract_html":"One of the most striking aspects of Man Ray's oeuvre is the artist's fascination with the unmediated female presence and his need to manipulate and control its image. To him, male and female interaction meant conflict and confrontation, and he often used game metaphors and Sadian imagery to express this world view. Because of early traumatic episodes, with both his mother and his peers, Man Ray developed a deficient self-image and a narcissistic personality. He believed that his mother had denied him his artistic and sexual freedom, and he sought retribution from the other women in his life. They were surrogates of his mother from whom, in turn, he could wrest creative initiative. Many of his major works (Coat Rack, Le Cadeau, L'Objet a detruire, A l'heure de l'observatoire--Les Amoureux and others) are explicit or implicit expressions of either the terrifying female (as vagina dentata) or the ideal female (bound in some way).","abstract_has_math":false,"creators":["Schrock, Peggy Elaine"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"Art History","degree_department":null,"school":null,"contributors":["Fineberg, Jonathan"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2011,"date_issued":"2011-05-07T12:27:56Z","date_published":"2011-05-07T12:27:56Z","updated_at":"2026-07-22T22:25:15Z","subjects":["Art History","Psychology, Social","Women's Studies"],"languages":["eng"],"rights":["Copyright 1992 Schrock, Peggy Elaine"],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9236588","(UMI)AAI9236588"],"render_values":[{"text":"AAI9236588","href":null,"code":true},{"text":"(UMI)AAI9236588","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/20072","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Fineberg, Jonathan"]},{"key":"dc:creator","label":"Author","values":["Schrock, Peggy Elaine"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2011-05-07T12:27:56Z","10000-01-01","1992"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Art History"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Art History","Psychology, Social","Women's Studies"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 1992 Schrock, Peggy Elaine"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["AAI9236588","(UMI)AAI9236588","http://hdl.handle.net/2142/20072"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["One of the most striking aspects of Man Ray's oeuvre is the artist's fascination with the unmediated female presence and his need to manipulate and control its image. To him, male and female interaction meant conflict and confrontation, and he often used game metaphors and Sadian imagery to express this world view. Because of early traumatic episodes, with both his mother and his peers, Man Ray developed a deficient self-image and a narcissistic personality. He believed that his mother had denied him his artistic and sexual freedom, and he sought retribution from the other women in his life. They were surrogates of his mother from whom, in turn, he could wrest creative initiative. Many of his major works (Coat Rack, Le Cadeau, L'Objet a detruire, A l'heure de l'observatoire--Les Amoureux and others) are explicit or implicit expressions of either the terrifying female (as vagina dentata) or the ideal female (bound in some way).","His violent and aggressive images of women were readily accepted by his surrealist colleagues because of the early twentieth-century revival in Paris of the aesthetic of the sublime--now reconfigured on the model of Freudian psychoanalysis. In this atmosphere he could openly express his fear of the dangerous woman in imagery which crossed media boundaries and, following the surrealist code, deny all moral responsibility.","Made available in DSpace on 2011-05-07T12:27:56Z (GMT). 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To him, male and female interaction meant conflict and confrontation, and he often used game metaphors and Sadian imagery to express this world view. Because of early traumatic episodes, with both his mother and his peers, Man Ray developed a deficient self-image and a narcissistic personality. He believed that his mother had denied him his artistic and sexual freedom, and he sought retribution from the other women in his life. They were surrogates of his mother from whom, in turn, he could wrest creative initiative. Many of his major works (Coat Rack, Le Cadeau, L'Objet a detruire, A l'heure de l'observatoire--Les Amoureux and others) are explicit or implicit expressions of either the terrifying female (as vagina dentata) or the ideal female (bound in some way).","His violent and aggressive images of women were readily accepted by his surrealist colleagues because of the early twentieth-century revival in Paris of the aesthetic of the sublime--now reconfigured on the model of Freudian psychoanalysis. In this atmosphere he could openly express his fear of the dangerous woman in imagery which crossed media boundaries and, following the surrealist code, deny all moral responsibility.","Made available in DSpace on 2011-05-07T12:27:56Z (GMT). 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