On the edge of the gender

Semiology of connotation was explored by Roland Barthes. In his theory of realistic representation a work of art pretend to be a part of real word throughout ideal mystification, which is supported by the “rule of stereotype and detail”. A work of art seem to be realistic when it repeats a conventional belief. On ground of this sentence Barthes builds a distinction between: “pleasant show” and “show of bliss (delight)”. The first one recalls a stereotype. For example: every nude brings in our mind a stereotype of the women. The second makes a play with spectator; sticks him out from automatism, like Sleeping Indymin of Girodet-Trisson. His pose is feminine but we recognize a men through his penis. Through association in the first view we become some kind of fear, if words are able to reflect the real “meaning of the thing”; meaning of the essence. We lost our sure about power of the words – they are defeated by the power of the picture; power of the sign. Thanks to margins, which were left, this picture is unclear and we focus all our attention on the problem of representation, not of identification. We don’t ask if he is a women, but how women’s part of him exists in this creation. He breaks an order of Hegel’s conception. In Endymion's case the thesis and antithesis aren’t a new thesis, but there are connected in once. The world doesn’t base on dichotomy any more, it’s doesn’t base on different statements, where a meaning profits their rightness through their denial. That's why it brings us to delight...