A Critical Anthology
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Köp båda 2 för 656 krJohanne Lamoureux, University of Montreal Review from previous edition vivid and inspiring... a flamboyant book
Norman Bryson, Havard University Definitely the best introduction to art history currently available
Robert S. Nelson, Yale Inspires productive debate and contemplation. What makes this anthology more than an arresting assemblage is the author's critical stance toward what he has wrought.
Robert S. Nelson, Yale
<br>Donald Preziosi is a member of the History Faculty at Oxford University and Emeritus Professor of Art History and Critical Theory at UCLA. He is the author of many books, including In the Aftermath of Art and Rethinking Art History.<br>
Introduction to the New Edition; Art History: Making the Visible Legible; 1. ART AS HISTORY; Introduction; Preface to Part III of 'The Lives'; Reflections on the Imitation of Greek Works in Painting and Sculpture; Winckelmann Divided: Mourning the Death of Art History; Patterns of Intention; 2. AESTHETICS; Introduction; What is Enlightenment?; Philosophy of Fine Art; Impure Mimesis, or the Ends of the Aesthetic; Fetish; 3. FORM, CONTENT, AND STYLE; Introduction; Principles of Art History; Style; 'Form', Nineteenth-Century Metaphysics, and the Problem of Art Historical Description; 'Style'; 4. ANTHROPOLOGY AND/OR ART HISTORY; Introduction; Leading Characteristics of the Late Roman 'Kunstwollen'; Images from the Region of the Pueblo Indians of North America; Warburg's Concept of 'Kunstwissenschaft' and its Meaning for Aesthetics; Silent Moves: On Excluding the Ethnographic Subject from the Discourse of Art History; 5. MECHANISMS OF MEANING; Introduction; Iconography and Iconology: An Introduction to the Study of Renaissance Art; Semiotics and Iconography; Semiotics and Art History: A Discussion of Contexts and Senders; Meaning/Interpretation; 6. THE LIMITS OF INTERPRETATION; Introduction; The Temptation of New Perspectives; The Origin of the Work of Art; The Still Life as a Personal Object - a Note on Heidegger and van Gogh; Restitutions of the Truth in Pointing [Pointure]; 7. AUTHORSHIP AND IDENTITY; Introduction; What is an Author?; The Discourse of Others: Feminists and Postmodernism; Re-Viewing Modernist Criticism; Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory; Postmodern Automatons; 'Every Man Knows How Beauty Gives Him Pleasure': Beauty Discourse and the Logic of Aesthetics; Queer Wallpaper; 8. GLOBALIZATION AND ITS DISCONTENTS; Introduction; Orientalism and the Exhibitionary Order; The Museum as Ritual; The Work of Art in the Age of its Technological Reproducibility (Third Version); Can Our Values be Objective? On Ethics, Aesthetics, and Progessive Politics; Visual Culture Studies: Questions of History, Theory, and Practice; 'Life-Like': Historicizing Process in Digital Art; Epilogue: The Art of Art History; Coda: Plato's Dilemma and the Tasks of the Art Historian Today