Vision and TextualityStephen W. Melville, Bill Readings Duke University Press, 1995 - 391 pages 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 Café 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, Françoise Lucbert, Louis Martin, Stephen Melville, Griselda Pollock, Bill Readings, Irit Rogoff, Bennet Schaber, John Tagg |
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... Narration in Caleb Williams 256 John Bender 14 The Visibility of Visuality : Vauxhall Gardens and the Siting of the Viewer 282 Peter de Bolla 15 B / G Thomas Crow Part V 16 Vision Procured Bennet Schaber 17 In the Master's Bedroom ...
... Narration in Caleb Williams 256 John Bender 14 The Visibility of Visuality : Vauxhall Gardens and the Siting of the Viewer 282 Peter de Bolla 15 B / G Thomas Crow Part V 16 Vision Procured Bennet Schaber 17 In the Master's Bedroom ...
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Contents
Basic Concepts Of Art History | 31 |
Vision Place and Power | 38 |
Past Looking | 67 |
A Discourse With Shape of Reason Missing | 90 |
A German Perspective | 115 |
How Obvious is Art? Kitsch and the Semiotician | 143 |
Philostratus and the Imaginary Museum | 174 |
It is Myself that I Paint | 195 |
Armour Fou | 215 |
The Politics of the Gazing Body | 251 |
Vauxhall Gardens | 282 |
BG | 296 |
Vision Procured | 317 |
The Contribution of the Camera | 344 |
Flâneur and Detraquée in Bretons Nadja | 361 |
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Common terms and phrases
aesthetic analysis art history artist Bellmer body Breton Caleb Caleb Williams castration collages concept construction contemporary context critical cultural desire discourse essay example fantasy Fascism female field figure focalization Foucault frame Freud Gallery gaze gender Girodet Godwin Gogh Hans Bellmer Herakles historian human Ibid ideology Illustration Imagines interpretation Jacques Lacan Jochen Gerz Klein group Lacan language Lehmann literary London look Max Ernst meaning memory metaphor modern modernist Museum Nadja narrative object painter painting Paris Philostratus photographic picture pleasure political position postmodernism practice precisely present produced proto)fascist psychoanalysis question reading relation Rembrandt Rembrandt van Rijn representation represented rhetorical Sarrasine scene semiotics sense sexual signifiers social space specific spectator story structure surface theory Theweleit tion trans University Press Victor Burgin viewer viewing Vincent Van Gogh visual arts voyeurism Wellcome Trust woman words writing York