Responding to Modern Sensibilities: Emma and Edvard Entangled

Patricia G. Berman

doi:10.1515/texmat-2017-0008

Authors

Patricia G. Berman Wellesley College

DOI:

https://doi.org/10.1515/texmat-2017-0008

Keywords:

Munch, Bovary, desire, entanglement

Abstract

This article is an edited version of the response paper offered at the conclusion of the symposium, Modern Sensibilities. It ties together themes from the symposium papers, as well as ideas prompted by Mieke Bal’s exhibition, Emma & Edvard: Love in the Time of Loneliness, and her accompanying book, Emma and Edvard Looking Sideways: Loneliness and the Cinematic. It focuses on the anachronistic entanglements among Flaubert’s “Emma,” Munch’s motifs, Mieke Bal and Michelle Williams Gamaker’s Madame B, the Munch Museum’s architecture and exhibition scenography, and the exhibition viewer.

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Author Biography

Patricia G. Berman, Wellesley College

Patricia G. Berman is the Theodora L. and Stanley H. Feldberg Professor of Art at Wellesley College (US) where she teaches modern and contemporary art, the history of photography and propaganda studies. Her scholarship has focused on European and American modernism, with a particular interest in national identity, gender and self-representation. She has done significant work on Edvard Munch and Nordic art. Her books also include studies of the work of James Ensor, Danish painting of the 19th century and modern figure drawing. Her most recent essay on Edvard Munch appears in the exhibition catalogue Edvard Munch: Between the Clock and the Bed (San Francisco Museum of Modern Art and the Metropolitan Museum, 2017).

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