This book rewrites the history of 'Victorian' art to explore the relationship between feminism and visual culture in a period of heady excitement and political struggle.
This book rewrites the history of 'Victorian' art to explore the relationship between feminism and visual culture in a period of heady excitement and political struggle.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Deborah Cherry is Professor of the Histoy of Art at the University of Sussex. Her previous publications include Painting Women: Victorian Women Artists (Routledge 1993).
Inhaltsangabe
Acknowledgements; Abbreviations; Introduction; Section 01 1 Artists and militants, 1850 66; Section 01 01 01 Artists and militants; Section 01 01 02 Geographies of art and feminism; Section 01 01 03 Modern women, modern life; Section 01 01 04 Writing women, art and feminism; Section 02 2 In/between the colonial theatre: visuality, visibility and modernity; Section 02 01 01 Shuttling, 'soul making' and the art of travel; Section 02 01 02 Modernity, visuality and visibility; Section 03 3 The 'worlding' of Algeria: feminism, imperialism and visual culture; Section 03 01 01 Worlding; Section 03 01 02 'a texting, textualising': feminist subjects in the landscape; Section 03 01 03 'a making into art, a making into an object to be understood'; Section 04 4 Harriet Hosmer's Zenobia: a question of authority; Section 04 01 01 Authorship and authority; Section 04 01 02 The making of a name and a statue; Section 04 01 03 Warrior queen, savant and woman of colour; Section 05 5 Tactics and allegories, 1866 1900; Section 05 01 01 Feminist politics and professional strategies; Section 05 01 02 Women, power, knowledge: the image of the learned woman in the 1860s; Section 05 01 03 Feminism and the tactics of representation; Section 05 01 04 Towards an allegorical reading; Appendix: selected publications on Algeria, 1857 68; Notes; Suggestions for further reading; Index;
Acknowledgements; Abbreviations; Introduction; Section 01 1 Artists and militants, 1850-66; Section 01-01-01 Artists and militants; Section 01-01-02 Geographies of art and feminism; Section 01-01-03 Modern women, modern life; Section 01-01-04 Writing women, art and feminism; Section 02 2 In/between the colonial theatre: visuality, visibility and modernity; Section 02-01-01 Shuttling, 'soul making' and the art of travel; Section 02-01-02 Modernity, visuality and visibility; Section 03 3 The 'worlding' of Algeria: feminism, imperialism and visual culture; Section 03-01-01 Worlding; Section 03-01-02 'a texting, textualising': feminist subjects in the landscape; Section 03-01-03 'a making into art, a making into an object to be understood'; Section 04 4 Harriet Hosmer's Zenobia: a question of authority; Section 04-01-01 Authorship and authority; Section 04-01-02 The making of a name and a statue; Section 04-01-03 Warrior queen, savant and woman of colour; Section 05 5 Tactics and allegories, 1866-1900; Section 05-01-01 Feminist politics and professional strategies; Section 05-01-02 Women, power, knowledge: the image of the learned woman in the 1860s; Section 05-01-03 Feminism and the tactics of representation; Section 05-01-04 Towards an allegorical reading; Appendix: selected publications on Algeria, 1857-68; Notes; Suggestions for further reading; Index;
Acknowledgements; Abbreviations; Introduction; Section 01 1 Artists and militants, 1850 66; Section 01 01 01 Artists and militants; Section 01 01 02 Geographies of art and feminism; Section 01 01 03 Modern women, modern life; Section 01 01 04 Writing women, art and feminism; Section 02 2 In/between the colonial theatre: visuality, visibility and modernity; Section 02 01 01 Shuttling, 'soul making' and the art of travel; Section 02 01 02 Modernity, visuality and visibility; Section 03 3 The 'worlding' of Algeria: feminism, imperialism and visual culture; Section 03 01 01 Worlding; Section 03 01 02 'a texting, textualising': feminist subjects in the landscape; Section 03 01 03 'a making into art, a making into an object to be understood'; Section 04 4 Harriet Hosmer's Zenobia: a question of authority; Section 04 01 01 Authorship and authority; Section 04 01 02 The making of a name and a statue; Section 04 01 03 Warrior queen, savant and woman of colour; Section 05 5 Tactics and allegories, 1866 1900; Section 05 01 01 Feminist politics and professional strategies; Section 05 01 02 Women, power, knowledge: the image of the learned woman in the 1860s; Section 05 01 03 Feminism and the tactics of representation; Section 05 01 04 Towards an allegorical reading; Appendix: selected publications on Algeria, 1857 68; Notes; Suggestions for further reading; Index;
Acknowledgements; Abbreviations; Introduction; Section 01 1 Artists and militants, 1850-66; Section 01-01-01 Artists and militants; Section 01-01-02 Geographies of art and feminism; Section 01-01-03 Modern women, modern life; Section 01-01-04 Writing women, art and feminism; Section 02 2 In/between the colonial theatre: visuality, visibility and modernity; Section 02-01-01 Shuttling, 'soul making' and the art of travel; Section 02-01-02 Modernity, visuality and visibility; Section 03 3 The 'worlding' of Algeria: feminism, imperialism and visual culture; Section 03-01-01 Worlding; Section 03-01-02 'a texting, textualising': feminist subjects in the landscape; Section 03-01-03 'a making into art, a making into an object to be understood'; Section 04 4 Harriet Hosmer's Zenobia: a question of authority; Section 04-01-01 Authorship and authority; Section 04-01-02 The making of a name and a statue; Section 04-01-03 Warrior queen, savant and woman of colour; Section 05 5 Tactics and allegories, 1866-1900; Section 05-01-01 Feminist politics and professional strategies; Section 05-01-02 Women, power, knowledge: the image of the learned woman in the 1860s; Section 05-01-03 Feminism and the tactics of representation; Section 05-01-04 Towards an allegorical reading; Appendix: selected publications on Algeria, 1857-68; Notes; Suggestions for further reading; Index;
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