Vision and textuality

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書誌事項

Vision and textuality

edited by Stephen Melville and Bill Readings

Duke University Press, c1995

  • : pbk

タイトル別名

Vision & textuality

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注記

Cover title of pbk. ed.: Vision & textuality

Contributors: Mieke Bal ... [et al.]

"First published 1994 by the Macmillan Press Ltd. Houndmills, Basingstoke, Hampshire"--T.p. verso of hardcover ed

"The studies collected here spring, for the most part, from a series of lectures held under the title 'Vision and textuality' at Syracuse University during the winter and spring of 1991."--P. 3

Includes bibliographical references and index

内容説明・目次

内容説明

The influence of contemporary literary theory on art history is increasingly evident, but there is little or no agreement about the nature and consequence of this new intersection of the visual and the textual. Vision and Textuality brings together essays by many of the most influential scholars in the field-both young and more established writers from the United States, England, and France-to address the emergent terms and practices of contemporary art history. With essays by Rosalind Krauss, Hal Foster, Norman Bryson, Victor Burgin, Martin Jay, Louis Marin, Thomas Crow, Griselda Pollock, and others, the volume is organized into sections devoted to the discipline of art history, the implications of semiotics, the new cultural history of art, and the impact of psychoanalysis. The works discussed in these essays range from Rembrandt's Danae to Jorge Immendorf's Cafe Deutschland, from Vauxhall Gardens to Max Ernst, and from the Imagines of Philostratus to William Godwin's novel Caleb Williams. Each section is preceded by a short introduction that offers further contexts for considering the essays that follow, while the editors' general introduction presents an overall exploration of the relation between vision and textuality in a variety of both institutional and theoretical contexts. Among other issues, it examines the relevance of aesthetics, the current concern with modernism and postmodernism, and the possible development of new disciplinary formations in the humanities.Contributors. Mieke Bal, John Bender, Norman Bryson, Victor Burgin, Thomas Crow, Peter de Bolla, Hal Foster, Michael Holly, Martin Jay, Rosalind Krauss, Francoise Lucbert, Louis Martin, Stephen Melville, Griselda Pollock, Bill Readings, Irit Rogoff, Bennet Schaber, John Tagg

目次

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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