"Melville and Readings have done a superb job, not only in their choice of essays, but in their elaborate and highly ambitious introduction. It is the best assessment that I know of the current state of contemporary art history and criticism, the most subtle analysis of the theoretical alternatives open to contemporary and future work in these disciplines."--Keith Moxey, Barnard College and Columbia University
"Melville and Readings have done a superb job, not only in their choice of essays, but in their elaborate and highly ambitious introduction. It is the best assessment that I know of the current state of contemporary art history and criticism, the most subtle analysis of the theoretical alternatives open to contemporary and future work in these disciplines."--Keith Moxey, Barnard College and Columbia UniversityHinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Stephen Melville is Associate Professor of History of Art at Ohio State University. Bill Readings was Associate Professor in the Department of Comparative Literature at the University of Montréal at the time of his death in 1994.
Inhaltsangabe
List of Illustrations ix Acknowledgments xiii Notes on Contributors xvi Part I 1. General Introduction / Stephen Melville and Bill Readings 3 Part II 2. Basic Concepts Of Art History / Stephen Melville 31 3. Beholding Art History: Vision, Place and Power / Griselda Pollock 38 4. Past Looking / Michael Ann Holly 67 5. A Discourse (With Shape of Reason Missing) / John Tagg 90 6. The Aesthetics of Post-History: A German Perspective / Irit Rogoff 115 Part III 7. How Oblivious is Art? Kitsch and the Semiotician / Bill Readings 143 8. Reading the Gaze: The Construction of Gender in 'Rembrandt' / Mieke Bal 147 9. Philostratus and the Imaginary Museum / Norman Bryson 174 10. Topic and Figures of Enunciation: Is it Myself that I Paint / Louis Marlin 195 11. Armour Fou / Hal Foster 215 Part IV 12. The Pen and the Eye: The Politics of the Gazing Body / Francoise Lucbert 251 13. Impersonal Violence: The Penetrating Gaze and the Field of Narration in Caleb Williams / John Bender 256 14. The Visibility of Visuality: Vauxhall Gardens and the Sitting of the Viewer / Peter de Bolla 282 15. B/G / Thomas Crow 296 Part V 16. Vision Procured / Bennet Schaber 317 17. In the Master's Bedroom / Rosalind Krauss 326 18. Photo-unrealism: The Contribution of the Camera to the Crisis of Ocularcentrism / Martin Jay 344 19. Chance Encounters: Flaneur and Detraquee in Breton's Nadja / Victor Burgin 361 Index 373
List of Illustrations ix Acknowledgments xiii Notes on Contributors xvi Part I 1. General Introduction / Stephen Melville and Bill Readings 3 Part II 2. Basic Concepts Of Art History / Stephen Melville 31 3. Beholding Art History: Vision, Place and Power / Griselda Pollock 38 4. Past Looking / Michael Ann Holly 67 5. A Discourse (With Shape of Reason Missing) / John Tagg 90 6. The Aesthetics of Post-History: A German Perspective / Irit Rogoff 115 Part III 7. How Oblivious is Art? Kitsch and the Semiotician / Bill Readings 143 8. Reading the Gaze: The Construction of Gender in 'Rembrandt' / Mieke Bal 147 9. Philostratus and the Imaginary Museum / Norman Bryson 174 10. Topic and Figures of Enunciation: Is it Myself that I Paint / Louis Marlin 195 11. Armour Fou / Hal Foster 215 Part IV 12. The Pen and the Eye: The Politics of the Gazing Body / Francoise Lucbert 251 13. Impersonal Violence: The Penetrating Gaze and the Field of Narration in Caleb Williams / John Bender 256 14. The Visibility of Visuality: Vauxhall Gardens and the Sitting of the Viewer / Peter de Bolla 282 15. B/G / Thomas Crow 296 Part V 16. Vision Procured / Bennet Schaber 317 17. In the Master's Bedroom / Rosalind Krauss 326 18. Photo-unrealism: The Contribution of the Camera to the Crisis of Ocularcentrism / Martin Jay 344 19. Chance Encounters: Flaneur and Detraquee in Breton's Nadja / Victor Burgin 361 Index 373
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