IRHiS

 Axe transversal IRHiS Cultures visuelles – Visual Studies Acquisitions Bibliothèque Georges Lefebvre IRHiS-­‐ Institut de recherches historiques du Septentrion IRHiS- Institut de recherches historiques du Septentrion
UMR 8529 – université de L3ille 3-­‐ CNRS – Bâtiment UMR
8529
– université
de Lille
CNRS
– Bâtiment
A – A – Niveau « Garage souterrain Niveau
« Garage
souterrain
» » BAL Mieke (ed.)
The practice of cultural analysis : exposing
interdisciplinary interpretation.
Stanford (Calif.) : Stanford university press, 1999, 1 vol.
(XIX-392 p.). Collection Cultural memory in the present.
Bibliogr. p. [367]-383. Index.
MOND 442
Résumé :
This volume presents an interdisciplinary approach to humanistic scholarship, one that can be situated
somewhere between cultural studies and cultural history while being more specific than either. Cultural
analysis as a critical practice is based on a keen awareness of the critic’s situatedness in the present - the
social and cultural present from which we look, and look back, at objects that are already of the past, objetcs
that we take to define our present culture. Thus it can be summarized by the phrase «cultural memory in the
present». Far from being indifferent to history, cultural analysis is devoted to understanding the past as part of
the present, as what we have around us.
The essays gathered here represent the current state of an emerging field of inquiry. At the same time, they
suggest to the larger academic world what cultural analysis can and should do, or be, as an interdisciplinary
practice. The challenge for this volume is to counter the common assumption that interdisciplinary makes the
object of inquiry vague and the methdology muddled. In meeting that challenge, it offers close textual and
visual readings of subjects ranging from Vermeer to abstract expressionism, from the Book of Ruth to Djuna
Barne’s Nightwood, from the history of cinema to popular culture in Zaire.
The essays in Part I, «Don’t look now : visual memory in the present», explore in detailed case studies centered on the theme of visuality or looking - the tricky consequences of the uncertainties regarding history
that the presentness of the past entails. Part II, «Close-ups and mirrors : the return of close reading, with a
difference», demonstrates and advocates «listening» to the object without the new critical naïveté that claims
the text speaks for itself. Instead, the essays create the kind of dialogical situation that is a major characteristic
of cultural analysis ; the text does not speak for itself, but it does speak back. The essays in Part III, «Method
matters : reflections on the identity of cultural analysis», do not propose any «directions for use» or authoritative
statements on how to do cultural analysis. Arranged in pairs of opposites, the essays represent the kind of
fruitful tension that stimulates debate. Though no definite answers are proposed, and conflicting views are left
in conflict, the essays stimulate a (self-)reflection on cultural analysis, its practices, and its understandings.
Mieke Bal is professor of literary theory at the University of Amsterdam and co-founder of the Amsterdam
School for Cultural Analysis, Theory, and Interpretation.
Contents :
List of illustration
Contributors
xi
xv
Introduction, Mieke Bal
Prelude : Dia-logic - A dialogue in images between Edwin Janssen and Janneke Lam,
Janneke Lam
1
15
Part I. Don’t look now : visual memory in the present
The finishing touch, Evelyn Fox Keller
Vermeer’s women : shifting paradigms in midcareer, Nanette Salomon
«Le cinéma d’après Lumière» : rereading the «Origins» of the filmic image, Thomas
Elsaesser
Killing men and dying women : gesture and sexual difference, Griselda Pollock
Imagining the ‘Shtetl’ : visual theories of nationhood, Carol Zemel
The veils of time : on the historical dimension in cultural analysis, Stephen Bann
23
29
44
60
75
102
122
Part II. Close-ups and mirrors : the return of close reading, with a difference
Venice and the violence of location, Helga Geyer-Ryan
Affective reading : loss of self in Djuna Barnes’s ‘nightwood’, Ernest van Alphen
«Is this Naomi ?» : misreading, gender blurring and the biblical story of Ruth, J. Cheryl
Exum
Three local cases of Cross-Atlantic reading : a discussion on space and identity, Isabel
Hoving
Variety & standard, Siegfried Zielinski
137
143
151
189
Part III. Method matters : reflections on the identity of cultural analysis
Culture and critique, Johannes Fabian
Cultural variety and metaphysical unity, Louis Dupré
Desire, distance, and insight, Theo de Boer
Cultural analyss and the ghost of ‘geistesgeschichte’, John Neubauer
The techno-university and the future of knowledge : thoughts after lyotard, Jon Cook
229
235
255
268
287
303
Double afterwords
Why interdisciplinary isn’t enough, William P. Germano
What is cultural studies ?, Jonathan Culler
325
327
335
Notes
Bibliography
Index
351
367
385
203
219
BAL Mieke
Looking in the art of viewing.
Londres ; New-York : Routledge, 2001, 1 vol. (VIII-298 p.).
Collection Critical voices in art. Bibliogr. p. 285-298.
ISBN 90-5701-112-3
MOND 441
Résumé :
Mieke Bal is one of Europe’s foremost theorist and critics. Her work within feminist art history and cultural
studies provides a fascinating alternative to prevailing thinking in these fields. In this remarkable collection she
outlines a theory of visual experience as an ongoing struggle between cutlural modes that seek to determine
and confine the visual subject. Ranging across an astonishing variety of objects and institutions of art - from
the culture of the museum to the visual representation of rape, from the baroque of Carabaggio and the neobaroque of David Reed to the visuality of the closet in Proust - Bal reveals the unsuspected capacities of the
act of viewing to reshape and redirect the dominant cultural narratives. She brings a keen visual sense to these
studies and an understanding of how literature represents visuality and how the aesthetics within museums
affect the cultural artifacts displayed.
In his engaging introduction, eminent art historian Norman Bryson has selected several of Bal’s essays,
focusing on her extraordinarily rich and inventive work in visual culture. Bryson, who has had a significant
effect on the contemporary practice of visual studies, conveys to the reader why the cumulative effect of Bal’s
original approach to the interdisciplinary study of art and visual culture has had such wide-reaching influence.
Mieke Bal is professor of the theory of literature at the University of Amsterdam, and a founding director of the
Amsterdam School for Culture Analysis. Central to Bal’s thinking about narrative and semiotics is the question
of the role of visual art in directing and contesting cultural authority, a subject explored in numerous articles,
as well as in Reading Rembrandt : beyond the word/image opposition (1991) and in Quoting carabaggio :
contemporary art, preposterous history (1999).
Norman Bryson is chair, history and theory of art at the Slade School of Fine Art in London (UK). His books
include Word and image : french painting of the Ancient Regime (1981) and Looking at the overlooked : four
essays on still life painting (1990). He is general editor of Cambridge Studies in New Art history and Criticism.
Contents :
Introduction to the series
Introduction : art and intersubjectivity
Essays
Dispersing the gaze : focalization
Dispersing the image : Vermeer story
Calling to witness : Lucretia
On show : inside the ethnographic museum
On grouping : the Caravaggio corner
Vision in fition : Proust and photography
Second-person narrative : David Reed
The knee of Narcissus
Afterword : looking back
List of figures
References
vii
1
41
65
93
117
161
191
213
239
259
281
285
BANDRÉS OTO Maribel
La moda en la pintura : Velàzquez : usos y costumbres
del siglo XVII.
Pamplona : EUNSA, Ediciones universidad de Navarra,
2002, 1 vol. (401 p.). Collection Astrolabio. Historia ; 324.
Bibliogr. p. 397-401.
ISBN 84-313-2038-9
ESP 38
Résumé :
Además de ser un magnífico pintor, la importancia de Diego de Velázquez trasciende el ámbito de la pintura
para alzarse como cronista de su tiempo. A través de su obra nos ha legado una valiosa y rica información
sobre las costumbres, la moda o la alimentación de la España del siglo XVII. Su iconografia abarca todos los
ámbitos : ternas religiosos, escenas de la calle, personajes de la corte..., incluso el papado.
La investigación histórica multidisciplinar desarrollada por la autora se ha servido de la obra de Velázquez,
pero también de la de los autores clásicos del siglo XVII (Baltasar Gracián, Tirso de Molina, Francisco de
Quevedo...) para retratar ese intenso momento de la historia de España, basándose en la idea de que Velázquez
pintaba lo que veía, que era lo mismo que estos autores plasmaban en sus novelas.
Acompañada de numerosas ilustraciones de la propia autora, esta obra nos introduce en los usos y costumbres
de la época.
Maribel Bandrés Oto, investigadora histórica, ejerce como conferenciante y articulista de temas relacionados
con el arte y la moda. Como dibujante y pintora ha participado en numerosas exposiciones y es ilustradora
de todos sus libros.
Licenciada en historia y en bellas artes, ha sido profesora en la Universidad de La Laguna y ha trabajado en
el Departemento de antropología de la Universidad de Quito (Ecuador).
Ligada al mundo de la moda como creadora, empresiaria y diseñadora textil, es autora del Diccionario
Larousse del vestido y la moda, publicado en 1998, que recibió un reconocimiento de la Real Academia
Española a través de Fernando Lazaro Carreter, y de La imagen del hombre profesional. Vestido, etiqueta y
protocolo, publicado en 2002.
Índice :
Introducción
13
I. Velázquez, cronista de su época
15
II. La moda y los usos en el siglo XVII según los escritores de la época
Villanos y cortesanos
El ideal de mujer
Las mantillas y las tapadas
El estrado
¿Cómo vestían las mujeres ?
Ropas de diario
Ropas de vestir
El verdugado
El guardainfante
El traje de corte
El lujo y las pragmáticas reales
¿Cómo vestían los hombres ?
La famosa golilla
Las prendas atacadas
Ropas orientales
Los peinados
El peinado de guardainfante
El peinado fontanges
Las pelucas
Los peluqueros
Los cosméticos
El tejido
La higiene y los bichos en la ropa
Las joyas
Los joyeros
Las piedras
La joya en la indumentaria
Las joyas femeninas
Las joyas masculinas
57
30
31
32
35
39
41
42
44
45
47
48
53
55
62
63
67
69
70
71
72
73
77
80
83
84
85
86
88
93
III. Cuadros costumbristas y religiosos. Etapa sevillana (1623-1629)
Inmaculada concepción, 1617
El vestido
Fervor mariano de Felipe IV
Los músicos, 1617
La vihuela
El bodegón
Los vestidos
99
101
101
103
105
106
107
Cristo en casa de Marta, 1618
Los vestidos
La servidumbre
Vieja friendo huevos, 1618
Los vestidos
El aguador de Sevilla, 1619
El oficio de aguador
Los vestidos
La alimentación en la literatura de la época
La comida en la época de Velázquez
Las bebidas
El tabaco
111
113
114
119
122
125
126
129
133
133
138
141
IV La llegada a la corte. Los primeros retratos
El retrato oficial
El retrato real como signo de representación
Don Diego del Corral y Arellano, 1624
El vestido
La beca
La toga judicial
Conde duque de Olivares, 1624
El vestido
La capa
Las órdenes militares
Felipe IV, Hacia 1628
El vestido
El guadamecí
Felipe IV
Felipe IV y el teatro
147
151
153
155
156
157
159
163
165
165
169
171
174
175
180
V. El primer viaje a Italia (1629-1630)
El concepto de coleccionismo
La reina Isabel de Borbón, 1630
El vestido
El peinado
Las joyas
El abanico en Espaňa
Isabel de Borbón, una buena reina
La reina Isabel de Borbón a Caballo, 1634-1635
El vestido
Las joyas
El peinado
¿Cómo era la moda femenina en la corte de Francia ?
Isabel de Borbón y los caballos
El príncipe Baltasar Carlos con un enano, 1631
184
187
189
192
192
192
193
197
199
202
202
203
204
205
Los vestidos
El traje infantil
Los retratos con enanos
208
210
212
VI. Los cuadros de caza para la torre de la parada
El cardenal infante, 1632-1633
El vestido
El arcabuz
La devoción, el clero y el concepto de religiosidad en el siglo XVII
Los conventos de monjas
Felipe IV en traje de caza, 1635-1636
El vestido
El príncipe Baltasar Carlos, Cazador, 1635-1636
El vestido
Cacería de jabalíes en el hoyo, 1635-1636
Los vestidos
La rendición de Breda, 1634-1635
El Palacio del Buen Retiro
Historia de la rendición
Los términos de la rendición
Las tropas mercenarias
Los personajes
Los vestidos
El uniforme
El encaje
El sitio de Breda como obra de teatro
El ejército y las levas de soldados, los tercios
Las casa a la malicia
Las armaduras, la fabricación
El damasquinado
Vestiduras para debajo de la armadura
La dama del abanico, 1638
El vestido
La mantilla
Las joyas
El abanico y sus variedades
Felipe IV en fraga, 1644
El vestido
Las joyas
El uniforme militar
El Toisón de Oro
217
221
223
225
230
233
237
239
242
245
246
249
250
252
254
254
258
260
264
264
265
267
271
273
276
277
279
281
285
287
288
291
295
297
297
298
VII. Segundo viaje a Italia (1649-1651)
Inocencio X, 1650
El vestido
303
305
VIII. Los cuadros de la última etapa de su vida (1651-1660)
La reina Mariana de Austria, 1652-1653
El vestido
El peinado
Las joyas
La infanta María Teresa, 1652-1653
La dote de la infanta
El vestido
El peinado
Las joyas
La boda de la infanta
La moda en la corte francesca
La porcelana
La infanta Margarita vestido de Rosa, 1653
El vestido
Las joyas
Los abanicoas
El vestido de los niño
Las hilanderas o la fábula de aracne, 1656-1658
El mito del rapto de Europa
Los vestidos
La mesta
Las meninas o la familia de Felipe IV, 1656
Menina
Los vestidos
Las prendas se transformaban
Los peinados
Los joyas
La concesión del hábito de Santiago
Los enanos
Los enanos y los escritores de la época
El príncipe Felipe próspero, 1659
El vestido
Las joyas
La infanta Margarita de Austria, 1660
El vestido
El peinado
Las joyas
311
316
320
321
323
325
327
330
331
332
333
335
337
340
342
342
343
345
348
349
351
353
356
358
362
363
363
363
365
367
369
371
373
375
377
379
379
Glosario
Bibliografía
381
397
BARNARD Malcolm
Approaches to understanding visual culture.
Houndmills : Palgrave, 2001, 1 vol. (XI-212 p.). Bibliogr.
p. 201-206. Index.
ISBN 978-0-333-77288-1
MOND 422
Résumé :
How do we understand art and design ? What are the best methods to use in the study of visual culture ? What
are we doing - what is happening - when we watch a film, interpret a painting or read a comic strip ? Are we
always, or ever, in control of our understanding ?
Approaches to understanding visual culture clearly introduces the principal approaches that have been used to
understand art and design - stylistic, formal, expressionist, marxist, feminist, iconographical and semiological
approaches, for example. Using a wide variety of examples from european and american visual culture (including
film, advertising, architecture, painting, fashion, automotive, typographic, interior and furniture design), this
book identifies the main proponents and explains the most important ideas, debates and achievements of these
approaches. The strengths and weaknesses of each approach are clearly assessed, demonstrating that a method
which help us understand film may be no use with architecture or interior design, for example. Finally, each
chapter provides further reading, suggesting alternative and more in-depth applications of the approaches.
Malcolm Barnard studied philosophy at the Universities of York and Warwick and is senior lecturer in the
history and theory of art and design at the University of Derby. He has written books and essays on modern
french philosophy, advertising, fashion and visual culture.
Contents :
List of illustrations
Acknowledgements
Introduction
What is visual culture ?
Who wants to understand visual culture ?
What this book is about
Chapter outline
Further reading
x
xi
1
1
3
4
6
11
1. Understanding visual culture
Introduction
Understanding visual culture
So, who understands visual culture ?
Can we tell when we understand a piece of visual culture ?
What kind of thing are we doing when we understand a piece of visual culture ?
What is understanding ?
Conclusion
12
12
12
15
16
16
17
18
2. Explanation and understanding : visual culture and social science
Introduction
Explanation and understanding : science and social science
Hermeneutic traditions
Structural traditions
Conclusion
Further reading
19
19
21
29
33
38
39
3. Interpretation and the individual
Introduction
Fifteenth-century Italy : a church-going business man with a taste for dancing
Twentieth-century England : a fashion-conscious pansy with a taste for violence
The strenghts and weaknesses of the hermeneutic account
Conclusion
Further reading
41
41
42
48
54
61
63
4. Expression and communication
Introduction
Expression
Auteur theory
Psychoanalysis : unconscious expression
64
64
66
74
77
Strenghts and weaknesses
Conclusion
Further reading
83
87
87
5. Feminism : personal and political
Introduction
Feminism and understanding
Feminism : personnel, objects, institutions and practices
Strenghts and weaknesses
Conclusion
Further reading
89
89
91
94
108
112
113
6. Marxism and the social history of art and design
Introduction
Marxism, understanding and structure
Arnold Hauser
Nicos Hadjinicolaou
Tim Clark
Gen Doy
Griselda Pollock
Strenghts and weaknesses
Conclusion
Further reading
115
115
118
120
122
124
129
132
134
139
140
7. Semiology, iconology and iconography
Introduction
The sign
143
143
146
8. Form and style
Introduction
Form and style : Clive Bell, Heinrich Wölfflin and Clement Greenberg
Strenghts and weaknesses
Dick Hebdige and Ted Polhemus
Conclusion
Further reading
168
168
171
180
184
192
193
9. Conclusion
Hermeneutics and structure
194
194
Bibliography
Index
201
207
Denotation and connotation
Structure : narrative, syntagm and paradigm
Strenghts and weaknesses
Conclusion
Further reading
149
152
159
164
166
BARRETT Terry
Interpreting art : reflecting, wondering and
responding.
Boston ; London ; Madrid [etc.] : McGraw-Hill, 2002,
1 vol. (XXIII-262 p.-[16] p. de pl. en coul.). Bibliogr.
p. 241-248. Index.
ISBN 978-0-7674-1648-1
MOND 440
Résumé :
Interpreting art : reflecting, wondering, and responding by Terry Barrett, author of our highly successful
text Criticizing photographs, introduces readers to the varied methodologies of art interpretation wihtout
unnecessary jargon, presenting difficult and complex issues in an understandable manner for a beginning
student without alienating the more sophisticated reader.
The methodologies in the book are presented in order to give readers a broad introduction to the process of
art interpretation. Throughout the book, readers are introduced to more complex concepts and encouraged to
become active interpreters rather than passive absorbers of art.
Like an archeologist piecing together meaning through the events, artifacts, and remnants of ancient civilizations,
chapter one : about interpretation, guides readers step-by-step through the processes of researching and
developing plausible interpretations of the mysterious artworks of René Magritte.
Focusing on Édouard Manet’s A bar at the Folies-Bergère, chapter two acknowledges and describes multiple
interpretations for the work, showing the varied conclusions possible for a single artwork.
Because students often find unfamiliar and controversial art most difficult to contextualize and understand for
themselves, Interpreting art deals directly with it in a meaningful and objective style providing methods of
looking at art that the readers may then apply, enhancing their abilities to think critically.
Contents :
List of illustrations
Acknowledgements
xii
xiv
Introduction
Valuing art
Valuing interpretations of art
Consequences of interpretation
The centrality of interpretation
Multiple interpretations, voices, and references
Visual culture
A western emphasis
Logic of the chapters
About the author
xv
xiv
xvii
xvii
xviii
xviii
xvix
xvix
xvix
xxiii
Chapter 1. About interpretation : René Magritte
René Magritte, The postcard
Interpreting out Loud
How does The postcard fit with other works by Magritte ?
Suzi Gablik’s Magritte
Other scholarly interpretations of Magritte’s work
Magritte and everyday interpreters
Summary and conclusions
1
2
3
6
13
19
30
35
Chapter 2. Multiple interpretations of one work of art : Édouard Manet’s A bar at the
Folies-Bergère
Édouard Manet
Manet’s Luncheon on the grass
Manet’s Olympia
Manet’s A bar at the Folies-Bergère
Paris in the second half of the nineteenth century
The Folies-Bergère, Paris
The Barmaid in a bar
The mirror
The bar
The man in the top hat
The form of the painting
Readings of narratives in the painting
Conclusion
38
Chapter 3. Interpretation and judgment : controversial art
Religiously controversial art : The holy virgin Mary by Chris Ofili
Sexually controversial art : paintings by Eric Fischl
Ideologically controversial art : illustrations by Norman Rockwell
56
57
64
68
39
40
41
43
43
44
45
46
47
48
48
49
52
Racially controversial art : Kara Walker and Michael Ray Charles
Kara Walker
Michael Ray Charles
The controversy
Conclusion
75
77
78
82
84
Chapter 4. Interpretation and appreciation : abstract painting
Aesthetic attitude
An overview of abstraction
Terms
History
Willem de Kooning : Two women series
Subject matter and the subject of women
Sean Scully’s paintings
An intentionally restricted vocabulary
Conjunctions of opposites
Scully’s biography : natural and aesthetic
Appreciating Scully’s White robe Out loud
Interpretations by teenagers
Conclusion
87
87
88
88
90
93
96
99
100
101
103
105
107
108
Chapeter 5. Interpreting old and foreign art
Material evidence and explanation of The feast of the gods
Old art current relevance : paintings by Johannes Vermeer
Building new meaning from old art : high school students, Lucas Cranach, Cardinal Albrecht,
Saint Jerome, and Arnold Schwarzenegger
An ideological interpretation of old paintings by John Berger
Foreign art
The temple Dharna Vihara in Ranakpur
Conclusion
111
113
119
122
Chapter 6. Interpretation and medium : photography
Selectivity
Instantaneity
Credibility
Sally Mann : Immediate family
Credibility and Immediate family
Instantaneity
Selectivity : subject matter and Immediate family
Selectivity : form and Immediate family
Conclusion
139
140
148
151
153
154
155
155
159
160
Chapter 7. A sampler of interpretations
Interpretations of Edward Hopper’s paintings
Who, what, when, where, why ?
162
163
163
124
129
129
137
Mark Strand on the paintings of Edward Hopper
«Cape cod evening», a short story by Ann Beattie
A poem about Hopper’s nighthawks by Joyce Carol Oates
Interpretations of Rain, a dance choreographed and performed by Bebe Miller
Interpretations and popular culture
David Carrier : the aesthetics of a Gary Larson cartoon
Spalding gray interprets «Bad words»
«Girls, girls, girls» : a McDonald’s tv commercial
Henry Giroux, The little mermaid, The lion king, and Aladdin
Interpreting a building
On the table : Interpretations of tables and tableware
Denotations, connotations, and a Rolling stone magazine cover
Conclusion
164
166
172
173
179
179
180
181
184
188
189
192
195
Chapter 8. Principles for interpreting art
Artworks and «aboutness»
Artworks and meaning
Interpretation, language, and understanding
Feelings and interpretation
Interrelated and interdependent activities of interpretation
Multiple interpretations
Ranges of interpretations
Meanings and artictic intent
«Right» interpretations
Interpretations and world-views
Interpretations and interpreters
Objects of interpretations
Art and social world
Art and other art
Criteria for interpretations
Individual and communal interpretations
Better interpretations
Admissibility and communal interpretations
Seeing for ourselves
197
198
199
200
204
205
206
208
209
215
215
216
217
217
218
219
220
225
226
227
Notes
Bibliography
Credits
Index
229
241
249
251
BARRY Anne Marie Seward
Visual intelligence : perception, image and manipulation
in visual communication.
Albany : State University of New York press, 1997, 1 vol.
(425 p.). Bibliogr. p. 389-415. Index.
ISBN 0-7914-3436-2
MOND 439
Résumé :
Today, our environment is dominated by the visual. This book explores «visual intelligence» as a basic and
indispensable tool of cultural survival. The author offers a practical manual on a non-superficial level for those
who seriously want to know how images are processed, how they function in relation to our innermost beings,
and how they form the psychological fabric of our political, social and economic environment. Barry defines
how we derive meaning from images and examines perceptual process, how it has evolved, and the role it
plays in our thinking. She critically examines the concept of rationality and explores how visual logic works
to create meaning. The book goes behind the obvious and beyond the superficial as it critically examines the
visual power and logic of images, cutting across a variety of areas : perceptual psychology, art, television, film,
literature, advertising, and politics.
The second section of Visual intelligence examines the role which various media play in creating the images
which impact our lives : how visual images create a language with profound psychological meaning, and how
print, television, and film media manipulate images to create desired emotional effects. Close-ups explore visual
subtleties in such areas as digital manipulation, camera attitudes, and contextual framing, as well as the social
consequences of «image» as an abstract concept expressed in concrete visual terms. Part III looks critically at
the most controversial areas of image persuasiveness today - advertising, politics, and entertainment.
Ann Marie Seward Barry is associate professor of communication at Boston College. She is the author of The
advertising portfolio.
Contents :
List of figures
Acknowledgments
Introduction
I. Perceiving images
1. Perception and visual «common sense»
Evolution, emotion, and subliminal perception - Fallacies of rationality - Perceptual illusion Remnants of former perceptual «truths» - Neurology of perception - Holistic versus analytical
perceptual views - Gestalt roots - From Phi to AM - Event perception, media, and logic Perceptual principles and artistic manipulation - Multisensory surrounds and virtual reality
- Brain wiring - Conclusion
2. The nature and power of images
Defining the image - Primal invariance : cave art to comics - Image affordance - Inner necessity
- Mental imagery - Metaphors of mind - Eiconics - Conclusion
II. Mediated images
3. The language of images
Language - Comics and hieroglyphics - Proxemics - Deep structure - Semiotics - Literary
imagery : breaking through words - Color - Light, grain, angle and size - Conclusion
Close up : Manipulating public images in the age of digitalization : J.F.K. Marries Marilyn ;
O.J. metamorphoses from black to white
ix
xi
1
15
69
107
4. Video’s moving images
Video experience and the nature of the image - Low and high definition - The O.J. phenomenon
- Sensation, information, and dreams - Manipulating TV images
Close-up : Manipulating public image through television image : «Teddy»
157
5. Film logic and rhetoric
Perception and the development of montage - folm origins - Editing and perceptual process Kuleshov workshop - Pudovkin : linkage montage - Eisenstein : dialectical montage - From
long take to CG - Sound and mental imagery - Hollywood style and linear narrative - Color
comes to black and white - 2-D to 3-D - SFX - The third phase - Conclusion
Close-up : Tailhook «Top guns» : living up to the image
191
III. Controversial images
6. Advertising images : seduciton, shock, and the unwary
Ads as gestalts - Tension and closure - The big idea - Embeds and subliminal advertising Advertising and color - The sex-sell : women’s bodies and normative images - The sex-sell
: men and their machines - Joe Camel and the Marlboro man : images that kill - Conclusion
7. Political images : public relations, adverising, and propaganda
Hill and knowlton’s PR war effort - Political advertising and public image - Images of Hitler
- Image and group psychology - Conclusion
253
281
8. Media images and violence
Physical causes of violence - Desensitivity - Attitudinal studies and image : mean world
consequences - How violent is TV ? - Imitative violence - Long term studies - The new
violence - The public trust - Video games - Conclusion
301
Conclusion
333
Notes
Bibliography
Index
339
389
417
BARTHOLEYNS Gil, DITTMAR Pierre-Olivier,
JOLIVET Vincent
Image et transgression au Moyen Âge
Paris : Presses universitaires de France, 2008, 1 vol.
(195 p.). Collection Lignes d'art. Notes bibliogr. Index.
ISBN 978-2-13-056765-3
EUR 773
Résumé :
Pourquoi une image choque-t-elle ? Une réponse s'élabore au fil des pages autour du concept de montage :
agencement des regards et des lieux, des figures et des temps. La méfiance croissante face aux images du mal,
la naissance de l'émotion pornographique, l'émergence du graffiti contestataire, la destruction d'images par
l'autorité qui les a commandées, l'élaboration savante de l'inimaginable : autant de phénomènes qui éclairent
la transformation du rapport aux images en Occident. Transgression et image forment ici un couple dont
l'histoire est mise en perspective avec le présent. Ce faisant, c'est la croissance en un pouvoir des images qui
est décryptée.
Gil Bartholeyns, historien anthropologue, est chercheur à l'Université libre de Bruxelles
Pierre-Olivier Dittmar, historien anthropologue, est chercheur à l'EHESS
Vincent Jolivet est éditeur à l'École nationale des Chartes
Table des matières :
Avant-propos. À l'arrière de nos images
Une manière de voir la transgression. Arguments
9
I. Le drame des catégories
Frontières de l'humanité. Portrait de l'homme en hybride. La société contre elle-même.
Logique de la défiguration. D'Adam à la grenouille
21
II. Modèles, contre-modèles
Les limites de la décence. Distinguer, disqualifier. Le mal exemplaire. La transgression
positive. Le paradoxe chrétien de la transgression
47
III. Montages normatifs
Un espace subversif ? Images taboues. Les marges avec le centre. Nouveau territoire du sacré
75
IV. L'épreuve du temps
Les images sauvages. Une culture du graffiti. Du sexe au sexuel. Le destin des images
protectrices
99
V. Montages transgressifs
Des raisons de détruire. Diables et pudibonds. Des montages transgressifs. Synthèse
127
VI. La transgression dépassée
L'image verbale : prolifération descriptive et termes génériques. Le visuel : surface et
ornement. Transgression positive et théologie négative
151
Épilogue. Une éthique de l'image ?
Le statut du mal. L'art de la transgression
169
BARTHOLEYNS Gil (dir.), DITTMAR Pierre-Olivier
(dir.), GOLSENNE Thomas (dir.) et al.
Adam et l’Astragale : essais d’anthropologie et d’histoire
sur les limites de l’humain
Paris : Éditions de la Maison des sciences de l’homme, 2009,
1 vol. (IX-390 p.). Notes bibliogr. Index.
ISBN 978-2-7351-1218-0
C 1010
Résumé :
Adam et l’astragale, deux faces d’une même question : celle de l’homme et de son humanité.
Un homme, dans la tradition occidentale, c’est l’évidence un fils d’Adam, qui fut créé de toutes pièces et d’un
coup par Dieu à son image. L’homme y est animé de raison, pour se distinguer de l’animal, mortel pour se
distinguer des anges. Autant de définitions créationnistes de l’origine de l’homme : celui-ci existe d’emblée et
sa nature le sépare radicalement de son environnement.
L’astragale, c’est ce petit os du pied présent chez tous les primates et chez l’homme. C’est parce que l’astragale
humain forme un angle droit que l’homme peut se déplacer debout longtemps, libérer ses mains, développer
son cerveau. Cet os minuscule, comme tant d’autres critères, incarne une vision plus continuiste de l’origine de
l’homme : l’homme est ici un animal parmi d’autres. Ce n’est que par l’apprentissage d’une culture spécifique,
par l’acquisition de certains comportement et valeurs, qu’il devient un humain.
Face à une vision simpliste de l’histoire de l’idée d’humanité, qui expliquerait en termes de progrès unilatéral
le passage d’Adam à l’astragale, d’une vision religieuse à une vision matérialiste, ce livre révèle l’imbrication
voire les tensions des deux modèles à travers les époques. Au lieu de définir l’être de l’humain en s’appuyant
sur les seules références philosophiques ou drogmatiques, il interroge les discours et les pratiques qui ont
déterminé et déterminent les limites de l’humain. Un tel questionnement demande une approche transversale,
multidisciplinaire.
L’humanité mise à l’épreuve, en tant que valeur communautaire, principe d’exclusion, modèle normatif de
comportement, tel est le fil conducteur de ces essais d’histoire, de philosophie, d’anthropologie et d’éthologie.
L’Occident médiéval est ici leur centre de gravité. Car c’est là qu’Adam, le chrétien, l’image de Dieu, qui nous
semble si étranger, évidemment triomphe. Mais c’est aussi à cette époque que sont clairement posés un certain
nombre de problèmes qui rendront possible la pensée de l’astragale.
Avec des essais de Francis Affergan, Agnès Bellanger, Gil Bartholeyns, Claude Calame, Pierre-Olivier Dittmar,
Thomas Golsenne, Misgav Har-Peled, Vincent Jolivet, Frédéric Joulian, Maud Pérez-Simon, Bertrand Prévost,
Annamaria Rivera, jean-Jacques Vincensini.
Table des matières :
Préface, par Jean-Claude Schmitt
v
Introduction. L’humain par ses limites, Gil Bartholeyns, Pierre-Olivier Dittmar, Thomas
Golsenne, Vincent Jolivet, Misgav Har-Peled
1
Préambule. Fabrications grecques de l’humain. Identités de l’homme civilisé et culture
des autres, Claude Calame
Genre humain et civilisation des hommes dans la poésie homérique
Constitution du genre humain : une «anthropopoiésis» poétique
Civilisation technique et civique in fieri
Traits distinctifs de l’humain : qualités intellectuelles
Pour conclure : distinctions internes au genre humain
19
Adam
Folie et renoncement à soi. L’apparition du saint homme dans l’Orient chrétien, Agnès
Bellanger
Les aveux de la chair et le roncement à soi
Défaire et dénoncer les oeuvres de la chair
Retrouver la pureté adamique des anges
La résistance de saint homme à la normalisation humaine
L’épilogue augustinien : la divergence entre l’Orient et l’Occident
20
25
30
34
37
45
47
54
61
71
81
Entre le boeuf et l’âne. Réflexion sur la machine dialogique, Misgav Har-Peled
Le boeuf et l’âne
Le modèle dialogique
Jacob et Ésaü
La lecture chrétienne de Jacob et Ésaü
Retour à l’âne et au boeuf
Le nouvel Adam
87
88
91
92
94
95
96
L’homme au risque du vêtement. Un indice d’humanité dans la culture occidentale, Gil
Bartholeyns
Nature et condition humaines
La figure cumulée : de la démesure au dénuement
Un être social et double
La plasticité (culturelle) de l’homme
L’homme ou l’animal vêtu
De l’essence à l’histoire
99
102
105
113
117
123
129
Nature adamique et nature déchue. Une culture qui ne dit pas son nom, Vincent Jolivet
Libido et sexe contre nature
L’animal, modèle du comportement naturel
Naturaliser la culture
Animaliser la déviance
137
139
143
146
149
Le propre de la bête et le sale de l’homme, Pierre-Olivier Dittmar
Naissance de la bestialité
Bestialité, historicité
153
155
164
De la merveille à la connaissance. Vocation anthropologique de la narration médiévale,
Jean-Jacques Vincensini
Est-il légitime de porter sur la fiction médiévale, tout particulièrement, un regard
anthropologique ?
Histoire littéraire et culture médiévale
Positivisme et «poétiques»
L’explication anthropologique dans ses oeuvres
Fonction symbolique, pensée mythique et réalité de la connaissance
173
Conquête du monde, enquête sur l’autre et quête de soi. Alexandre le Grand au Moyen
Âge, Maud Pérez-Simon
Hommes sauvages et merveilles de l’Orient dans les textes consacrés à Alexandre
Les historiens et romanciers de l’Antiquité et de l’Antiquité tardive
Les romans d’Alexandre au Moyen Âge : entre réécriture et invention
Explorer les marges de l’humain
Le traumatisme originel d’Alexandre : point de départ de la quête
La démarche investigatrice d’Alexandre
Un héros mis en question
Enquêter sur l’autre : des méthodes radicales
En quête de soi : l’hybridité fondamentale d’Alexandre
Conclusion
195
L’astragale
«L’homme est la mesure de toutes choses» (ou comment l’humanisme de la Renaissance
est fondé sur deux malentendus), Thomas Golsenne
L’humanisme aujourd’hui : l’idéologie du monde occidental
L’humanisme à la Renaissance existe-t’-il
Une formule problématique : «l’homme est la mesure de toutes choses»
Protagoras et les sophistes
Le mythe de la Renaissance et sa fonction pédagogique
Alberti : éthique et esthétique
Nicolas de Cues et la théologie de l’incommensurable
L’humanisme néoplatonicien
175
180
182
185
191
196
196
199
203
204
205
211
211
215
217
223
223
226
227
229
236
237
250
255
La parade amoureuse. Rituel érotique et événement esthétique dans l’Italie de la
Renaissance, Bertrand Prévost
263
L’humain est-il encore un objet anthropologique ?, Francis Affergan
Les obstacles, des concepts flous
La culture
L’identité
279
282
282
284
La cause, la règle et la raison
Des inférences douteuses
Des méthodes approximatives
Les programmes de recherches
L’anthropologie comme théorie de la description
L’anthropologie entre un relativisme bien tempéré et un universalisme interrogatif
Des «modèles» pour une troisième voie ?
289
294
297
298
299
302
305
Humains et animaux : la construction de la nature et de la culture, de l’identité et de
l’altérité, Annamaria Rivera
Le paradigme naturaliste et son dualisme constitutif
Le «cercle vicieux» de l’humanisme occidental
La bestialité des autres et «la bestialité qui est en nous»
Déshumanisation et bestialisation : le racisme
311
311
313
315
320
Non-humain primates, Frédéric Joulian
De la difficulté de nommer
«Esscience»
Au commencement était...
325
327
330
332
Résumés
Les auteurs
Index des notions
Index des noms
Liste des illustrations
337
345
351
367
385
BARTHOLEYNS Gil, GOVOROFF Nicolas,
JOULIAN Frédéric (dir.)
Cultures matérielles : anthologie raisonnée de
Techniques & Culture
Paris : Maison des sciences de l'homme, 2011, 2 vol.
(741 p.). Collection Techniques & culture.
ISBN 978-2-7351-1396-5 (vol. 1)
ISBN 978-2-7351-1331-6 (vol. 2)
MOND 483
Résumé :
Partant du constat qu'il n'existe à ce jour aucun manuel en français d'étude de la culture matérielle et des
techniques prises sous l'angle de leurs dimensions sociales, ce livre propose de répondre à ce manque en
rééditant et commentant les articles les plus représentatifs de la revue Techniques & culture. Parmi plus de
500 parus depuis 1976, une trentaine d'articles ont été retenus pour composer une anthologie méthodique et
illustrée.
Cet ouvrage présenté sous la forme de deux tomes indissociables est destiné aux étudiants et aux chercheurs
en anthropologie, sociologie, histoire, histoire de l'art, archéologie, mais aussi à tous ceux qui oeuvrent dans
les domaines des techniques, du travail, de la communication ou de la psychologie.
Ce spectre très large reflète l'histoire de la revue, creuset d'idées et de méthodes testées au fil des ans sur des
terrains ethnographiques et historiques les plus divers.
Par sa forme, ce livre se démarque des manuels universitaires qui présentent des synthèses sur une méthode
ou une question particulière, ou encore des anthologies exhaustives consacrées à un sujet particulier. Ce choix
a été guidé par le double souci de donner à lire des textes emblématiques du domaine de l'anthropologie des
techniques, dont certains parmi les plus fondamentaux, sont à ce jour quasiment introuvables ; et de fournir un
corpus élémentaire à des fins pédagogiques.
Table des matières :
Cultures matérielles 1 - Numéro 54/55 - Année 2010
Introduction
Une anthologie en forme de manuel, Gil Bartholeyns, Nicolas Govoroff & Frédéric Joulian
(2010)
I. Technologie culturelle
Techniques et culture : les bases d'un programme de travail, Robert Cresswell (1976)
L'étude des systèmes techniques, une urgence en technologie culturelle, Pierre Lemonnier
(1983)
Hommage à André Leroi-Gourhan, Jean-François Quilici-Pacaud (présenté par Pierre
Lemonnier) (1987)
Des idées pour observer, François Sigaut (1987)
Tendance et analyse des documents matériels, Hélène Balfet (présenté par Olivier Gosselain)
(1993)
II. Du geste et de la parole
Linguistique et technologie culturelle : l'exemple du métier à tisser vertical berbère, Claude
Lefébure (1978)
La transmission des savoir-faire : un objet pour l'ethnologie des techniques ?, Marie-Noëlle
Chamoux (1978)
Les mots et les actes, Marie-Claude Mahias (1989)
Qu'est-ce qu'un texte technique ?, Francesca Bray (1997)
III. Décrire l'objet et l'action
Comment décrire les objets techniques ?, Madeleine Akrich (1987)
L'analyse praxéologique. Composition, ordre et articulation d'un procès, Claudine de France
(1983)
Description du geste technique : quelles méthodes ?, Blandine Bril (1983)
Les techniques de tissage ont-elles un sens ? Sophie Desrosiers (1988)
IV. Techniques/Technologies
Outils, esprit et machines : une excursion en philosophie des techniques, Tim Ingold (1988)
Le savoir technologique de l'Orient, Britta Rupp-Eisenreich (1989)
Travail et technique chez les Grecs, Charles Kanelopoulos (présenté par Gil Bartholeyns)
(1992)
La formule de Mauss, François Sigaut (2002)
Index
6
20
46
68
84
98
112
136
162
182
200
220
242
260
288
313
332
354
368
Table des matières :
Cultures matérielles 2 - Numéro 54/55 - Année 2010
V. Évolution, expérimentation
Comparaison d'une activité technique chez les hommes et chez les chimpanzés, Frédéric
Joulian & Paulette Roulon-Doko (1994)
Systèmes techniques de production lithique, Jean-Michel Geneste (1991)
Construction et destruction des monuments mégalithiques, Claude Masset (1991)
La roue pleine et ses dérivés, Jean Spruytte (présenté par François Sigaut) (1985)
VI. Économies matérielles et symboliques
Retour aux modes de production, sans contrôle philosophique, Geroges Guille-Escuret
(2002)
Le chasseur et son fusil en haute-Provence, Nicolas Govoroff (présenté par Frédéric Joulian)
(1993)
De la collecte en milieu urbain chez les Mataco (Chaco argentin), François-René Picon
(1998)
Quand le rite devient technique. Sacrifice et abattage rituel dans le monde musulman, Pierre
Bonte (1993)
VII. Techniques du corps et esthétique
Les premiers traités de danse au XVe siècle en Italie, Sylvie Garnero (1993)
La mise au propre en architecture, Monique Eleb (1989)
Du beau à l'identité. Représentations touarègues de l'expression esthétique, Catherine
Hincker (2003)
Les costumes du sud de la Laponie : organisation et désorganisation d'un système symbolique,
Yves Delaporte (1988)
VIII. Artefacts modernes, et après ?
Film ou vidéo, réflexions sur la pérennité d'une controverse technique, Jérôme Bourdon
(1990)
La queue qui remue le chien, Paul Jorion (1994)
Le savoir-prendre, Christian Bessy & Francis Chateauraynaud (1992)
Faut-il être résolument amoderne ?, Jean-Luc Jamard (1992)
Index
384
414
448
468
484
504
524
542
562
584
608
626
646
668
686
712
738
BERGER John
Ways of seeing : based on the BBC television series with
John Berger.
London : British Broadcasting Corporation : Penguin Books,
2008, 1 vol. (165 p.). Collection Penguin modern classics.
ISBN 978-0-141-03579-6
MOND 455
Résumé :
John Berger’s Ways of seeing changed the way people think about painting and art criticism. This watershed
work shows, through word and image, how what we see is always influenced by a whole host of assumptions
concerning the nature of beauty, truth, civilization, form, taste, class and gender. Exploring the layers of
meaning within oil paintings, photographs and graphic art, Berger argues that when we see, we are not just
looking - we ware reading the language of images.
BREDEKAMP Horst
Les coraux de Darwin : premiers modèles de
l’évolution et tradition de l’histoire naturelle.
[Dijon] : les Presses du réel, 2008, 1 vol. (155 p.).
Collection Oeuvres en sociétés. Série Albums. Bibliogr.
p. 137-152. Index.
ISBN 978-2-84066-266-2
MOND 408
Résumé :
Le darwinisme a consacré l’image de l’arbre pour représenter l’évolution des espèces. Or, cette image impose
une vision hiérarchique et téléologique absente du raisonnement initial de Darwin. Dans une étude scrupuleuse
des esquisses du père de l’évolutionnisme, l’historien d’art Horst Bredekamp montre que Darwin a préféré
à la métaphore de l’arbre, l’image du corail, de ses branches fragiles et de son dévelopement anarchique.
Avec les coraux, Darwin a introduit dans sa théorie de l’évolution naturelle une pièce maîtresse issue de la
tradition des cabinets de curiosités. Il a ainsi renoué avec une vision ancienne de l’équilibre naturel et lui a
ajouté la signification politique associé au XIXe siècle à ces êtres sous-marins : le pouvoir du nombre. La
métamorphose, au-delà de ses enjeux esthétiques et politiques n’est pas sans intérêt pour les discussions dont
«l’arbre de la vie» fait l’objet dans la biologie évolutionniste.
Historien d’art et philosophe, Horst Bredekamp est professeur à l’Université Humboldt de Berlin et permanent
fellow du Wissenschaftskolleg de la même ville. Il a été successivement visiting member à l’Institute for
advanced studies de Princeton, Research scholar au Getty research Institute et visiting scholar au Collegium
de Budapest. Plusieurs de ses oeuvres ont été traduites en français, notamment : Le football florentin. Les
jeux et le pouvoir à la Renaissance, Paris, 1995 ; La nostalgie de l’antique. Statues, machines et cabinets de
curiosités, Paris, New York et Amsterdam, 1996 ; Les stratégies visuelles de Thomas Hobbes ; Le Léviathan,
archétype de l’Etat moderne : illustrations des oeuvres et portraits, Paris, 2001.
Sommaire :
Prologue
5
La trouvaille (1834)
9
De l’arbre au corail (1837)
Le modèle de l’arbre
Les premières esquisses
Le modèle cartographique
15
26
31
Les alternatives de Strickland (1840)
Critique des métaphores
De l’arbre à la carte
Le modèle cartographique
49
53
55
Des esquisses de cercles au diagramme (1851-1858)
Les arcs de cercle
La réponse à Wallace
La précision du premier modèle
59
66
75
Le tableau de l’origine des espèces
La forme
La lacune sémantique
L’évolution comme corail
87
91
95
L’histoire naturelle du corail
L’art de la métamorphose
Le culte du corail et les aquariums
L’image darwinienne du corail comme artiste
103
109
113
L’évolution et le problème de la beauté
Le chêne de Haeckel
Les limites des arbres
L’oeil de l’abondance
121
125
129
Conclusion
133
Bibliographie
Références des illustrations
Index
137
153
154
BRENNAN Teresa (ed.), JAY Martin (ed.)
Vision in context : historical and contemporary
perspectives on sight
New York ; London : Routledge, 1996, 1 vol. (V-240 p.).
Bibliogr. p. 231-232. Index.
ISBN 978-0-415-91474-1
MOND 438
Résumé :
Vision and the gaze are key concepts in the analysis of cultural and artistic objects. In recent theory, vision
has been as a means of control, but this view disregards the question of why contemporary theory is critical of
vision, yet generous towards listening and language.
Thinking about these questions entails consideration of historical perspectives on vision. This collection
of original essays brings together historical studies and contemporary theoretical perspectives on vision.
Historical studies focus on Ancien Greece, the Renaissance, the Enlightenment, and the nineteenth century, and
provide a rigorous background for several new, exciting articles on vision and its bearings for feminism, race,
sexual orientation, art, and film. This volume is the first of its kind to juxtapose historical and contemporary
perspectives.
Contributors include : Parveen Adam, Mieke Bal, Gillian Beer, Peter de Bolla, Teresa Brennan, Tom Conley,
Helga Geyer-Ryan, Simon Goldhill, Renée C. Hoogland, Martin Jay, Stephen Melville, Irit Rogoff, Janet
Martine Soskice, Ernst van Alphen, Cathryn Vasseleu.
Teresa Brennan is visiting professor of philosophy at the New School for Social Research. She is the author of
The interpretation of the flesh and History after lacan.
Martin Jay is professor of history at the University of California, Berkeley. He is the author of Fin-de-siècle
socialism and Downcast eyes : the denegration of vision in twentieth century french thought.
Contents :
Acknowledgments
v
Introduction
1. Vision in context : reflections and refractions, Martin Jay
1
Part one : Historical perspectives
2. Refracting classical vision : changing cultures of viewing, Simon Goldhill
3. Sight and vision in medieval Christian thought, Janet Martin Soskice
4. The wit of the letter : Holbein’s lacan, Tom Conley
5. The visibility of visuality, Peter de Bolla
6. «Authentic tidings of invisible things» : vision and the invisible in the later nineteenth
century, Gillian Beer
15
29
45
63
83
Part two : Contemporary perspectives
7. Division of the gaze, or, remarks on the color and tenor of contemporary «theory», Stephen
Melville
101
Feminism, nationspace
8. Imaginary identity : space, gender, nation, Helga Geyer-Ryan
9. Illuminating passion : irigaray’s transfiguration of night, Cathryn Vasseleu
Sexual orientation and the gaze
10. The gaze in the closet, Mieke Bal
11. The gaze of inversion : the Lesbian as visionary, Renée C. Hoogland
12. The homosocial gaze according to Ian McEwan’s The comfort of strangers, Ernst van
Alphen
117
127
139
155
169
Film/art : redefinitions
13. «Other’s others» : spectatorship and difference, Irit Rogoff
14. «Father, can’t you see i’m filming ?», Parveen Adams
187
203
Conclusion
15. «The contexts of vision» from a specific standpoint, Teresa Brennan
217
Contributors
Index
231
233
CRARY Jonathan
Techniques of the observer : on vision and modernity
in the nineteenth century.
Cambridge (Mass.) ; London : MIT Press, 1992, 1990, 1
vol. ([IX]-171 p.). Collection October books. Bibliogr.
p. [151]-162. Index.
ISBN 978-0-262-53107-8
MOND 412
Résumé :
This is a book about vision and its historical construction. Although it primarily adresses events and
developments before 1850, it was written in the midst of a transformation in the nature of visuality probably
more profound than the break that separates medieval imagery from Renaissance perspective. The rapid
development in little more than a decade of a vast array of computer graphics techniques is part of a sweeping
reconfiguration of relations between an observing subject and modes of representation that effectively nullifies
most of the culturally established meanings of the terms observer and representation. The formalization and
diffusion of computer-generated imagery heralds the ubiquitous implantation of fabricated visual «spaces»
radically different from the mimetic capacities of film, photography, and television.
Jonathan Crary is professor of art history at Columbia University. A founding editor of Zone Books, he is
the author of Suspensions of perceptions (MIT Pres, 1999), winner of the 2001 Lionel Trilling Award, and
coeditor of Incorporations (Zone Books, 1992). He has been the recipient of Guggenheim, Getty, Mellon, and
National Endowment for the Arts fellowship and was a member of Institute for Advanced Study in Princeton.
Contents :
Acknowledgments
ix
1. Modernity and the problem of the observer
2. The camera obscura and its subject
3. Subjective vision and the separation of the senses
4. Techniques of the observer
5. Visionary abstraction
1
25
67
97
137
Bibliography
Index
151
163
CRARY Jonathan
Suspensions of perception : attention, spectacle, and
modern culture.
Cambridge (Mass.) ; London : The MIT Press, 1999,
1 vol. (x-397 p.). Collection October books. Bibliogr.
p. [371]-379.
ISBN 978-0-262-53199-3
MOND 411
Résumé :
Suspensions of perception examines the paradoxical nature of modern attention, which was both a fundatmental
condition of individual freedom, creativity and experience and a central element in the efficient functioning
of economic and disciplinary institutions. Crary argues that the ways in which we intently look at or listen to
anything result from crucial changes in the nature of perception that can be traced back to the second half the
nineteenth century.
Jonathan Crary is Professor of Art history at Columbia University. A founding editor of Zone books, he is the
author of Techniques of the observer (MIT, Press, 1990) and coeditor of Incorporations (Zone books, 1992)
Contents :
Acknowledgments
Introduciton
ix
1
1. Modernity and the problem of attention
2. 1879 : Unbinding vision
3. 1888 : illuminations of disenchantment
4. 1900 : Reinventing synthesis
Epilogue : 1907 : Spellbound in Rome
11
81
149
281
361
Bibliography
Illustration credits
Index
371
381
383
DEBRAY Régis
Introduction à la médiologie.
Paris : Presses universitaires de France, 2000, 1 vol. (X223 p.). Collection Premier cycle. Bibliogr. p. [217]-223.
ISBN 2-13-050105-2
U4 274
Résumé :
Loin de la sociologie des médias avec laquelle on la confond parfois, la médiologie a pour objet les interactions,
passées et présentes, entre technique et culture. Il s’agit de confronter, mieux : réconcilier, ces deux champs
traditionnelement et dangereusement opposés.
Réflexion sur la trace, l’archive et la mémoire, l’enquête médiologique, qui peut aller de l’histoire ancienne
à la nôtre, de l’écriture à Internet, tie au jour ls effets symboliques des innovations techniques comme les
conditions culturelles des tournants technologiques.
Son utilité : faire valoir les impératifs de la transmission face aux urgences de la communication. Réhabiliter
la maîtrise des temps longs, que pourrait bientôt compromettre la conquête obsessionnelle des espaces, est
devenu un enjeu capital de civilisaiton. la démarche médiologique, avec d’autres, peut y contribuer.
Un domaine d’études en émergence trouve ici sa première mise au point, accompagnée d’un retrou critique sur
ses présupposés et ses voisinages. Synthèse apéritive et accessible, à l’usage des étudiants comme des simples
curieux.
Sommaire :
Chapitre I. Le temps de la transmission
L’angle d’attaque
Plus que communiquer : transmettre
L’extension du champ de fouilles
Le propre de l’homme
Priorité au monument
1
1
1
9
16
24
Chapitre II. «The medium is the message»
Le starter de la méthode
Radioscopie d’un cliché
Les médiasphères, première approche
Technique et/ou culture : comment s’y reconnaître ?
La preuve par l’art
33
33
33
42
52
61
Chapitre III. «Ceci tuera cela»
L’objet : des rapports, non des objets
Entre ceci et cela : les ouvertures de compas (du vélo au bon Dieu)
La question du déterminisme : le médium et le milieu
Les précurseurs en perspective
69
69
69
87
98
Chapitre IV. L’efficacité symbolique
Le trajet : du médium à la médiation
«Puissance de la parole» : une boîte noire encore fermée
Le code inaugural : l’Incarnation
Le double corps du médium
107
107
107
117
124
Chapitre V. Le conseil des disciplines
Le projet : un service auxiliaire
Quels centres d’hébergement ?
Sémiologie - Psychologie - Sociologie - Pragmatique - Histoire culturelle
L’inconscient technique, résistances et dénégations
Un mur de plus à abattre
139
139
139
Chapitre VI. Une médiologie, pour quoi faire ?
But du jeu : calmer le jeu
Ni science ni panacée
Techniques versus ethnies : la zone dangereuse
Le prophétisme high-tech ou l’excès de logique
L’effet-jogging
Vers une techno-éthique : ce qui dépend de nous, et le reste
181
181
181
188
194
198
206
Bibliographie
217
159
171
DIDI-HUBERMAN Georges
Quand les images prennent position.
Paris : les Éditions de Minuit, 2009, 1 vol. (268 p.).
Collection L’oeil de l’histoire ; 1. Notes bibliogr.
ISBN 978-2-7073-2037-7
GER 168
Résumé :
Dans un monde où les images prolifèrent en tous sens et où leurs valeurs d’usage nous laissent si souvent
désorientés - entre la propagande la plus vulgaire et l’ésotérisme le plus inapprochable, entre une fonction
d’écran et la possibilité même de déchirer cet écran -, il semble nécessaire de revisiter certaines pratiques
où l’acte d’image a véritablement pu rimer avec l’activité critique et le travail de la pensée. On voudrait
s’interroger, en somme, sur les conditions d’une possible politique de l’imagination.
Cet essai, le premier d’une série intitulée L’Oeil de l’histoire, tente d’analyser les procédures concrètes et les
choix théoriques inhérents à la réflexion de Bertolt Brecht sur la guerre, réflexion menée entre 1933 et 1955
par un poète exilé, errant, constamment soucieux de comprendre une histoire dont il aura, jusqu’à un certain
point, subi la terreur. Dans son Journal de travail comme dans son étrange atlas d’images intitulé ABC de la
guerre, Brecht a découpé, collé, remonté et commenté un grand nombre de documents visuels ou de reportages
photographiques ayant trait à la Seconde Guerre mondiale. On découvrira comment cette connaissance par les
montages fait office d’alternative au savoir historique standard, révélant dans sa composition poétique - qui
est aussi décomposition, tout montage étant d’abord le démontage d’une forme antérieure - un grand nombre
de motifs inaperçus, de symptômes, de relations transversales aux événements. On découvrira ainsi, dans ces
montages brechtiens, un lieu de croisement exemplaire de l’exigence historique, de l’engagement politique et
de la dimension esthétique.
On verra enfin comment Walter Benjamin - qui a été, en son temps, le meilleur commentateur de Brecht
- déplace subtilement les prises de parti de son ami dramaturge pour nous enseigner comment les images
peuvent se construire en prises de position.
Sommaire :
I. La position de l’exilé : exposer la guerre
Exil. Pour savoir il faut prendre position : s’approcher, s’écarter. Position de l’exilé : Bertolt
Brecht entre 1933 et 1948
Journal. Brecht, Benjamin, Kraus et la presse. La littérature moderne comme démontage et
recomposition de l’actualité
Travail. L’Arbeitsjournal de Brecht comme journal de pensée. Intimité, actualité, historicité
: au-delà du «je»
Guerre. «Le désordre du monde, voilà le sujet de l’art». L’Arbeitsjournal comme écriture du
montage documentaire où l’image est investie d’une puissance épique
Document. Puissance de la vue chez Brecht : déconstruire et remonter pour exposer. La
Kriegsfibel : histoire d’un atlas d’images
Lisibilité. Observation et imagination. «Quiconque oublie le passé ne saurait lui échapper».
La lisibilité du temps à travers celle des images
10
11
II. Disposition aux choses : observer l’étrangeté
Légende. Les images de la Kriegsfibel légendées par des poèmes lyriques. Position dialectique
et montages temporels : événements, réminiscences, prévision
Épigramme. Sens et tradition de l’épigramme, du poème funéraire à la satire politique. Le
concept brechtien de «photoépigramme»
Polarité. Polarisations spatiales dans la Kriegsfibel : haut et bas, construit et détruit.
Polarisations chosales : documents du non-sens
Épique. La forme épique comme méthode d’observation par le montage : Walter Benjamin
commentateur de Brecht. Cadrages, intervalles et chocs. Prendre position, prendre
connaissance, prendre forme
Distanciation. Distancier, c’est montrer et monter : citation, critique, historicisation
Étrangeté. Distancier, c’est démontrer en démontrant. L’élément de la surprise. Connaissance
par l’étrangeté, ou la ressemblance inquiète. De la disposition aux choses à la redisposition
des choses
40
41
III. La dysposition des choses : démonter l’ordre
Division. Poésie et dispersion : lorsque tout semble rompu, brisé, sans rapport. Valeur
heuristique et opératoire du montage. Roland Barthes sur Brecht et Eisenstein : le découpage
comme unité, «tableau», «sens idéel». Théâtre et «montage des attractions»
Montage. Disposer les différences en dys-posant les choses. Esthétiques du montage après la
Première Guerre mondiale. Ernst Bloch et la modernité du montage : jeu subversif, méthode
archéologique, dialectique des formes
Dialectique. Brecht avec Socrate, Hegel, Marx. Poser la vérité dans son devenir et ses
contradictions. Du devenir à l’interruption. La dialectique du monteur n’est pas celle du
philosophe
Désordre. Walter Benjamin sur la méthode brechtienne : document, recadrage, décalage,
retard. Le travail dialectique de l’image dans l’élément du geste. Monter, c’est démonter
l’ordre des discours. Désordre, transgression, violence, humour
76
77
IV. La composition des forces : remontrer la politique
Réalisme. Histoire et imagination : les contradictions de Brecht. Ce que veut dire «être
réaliste». Primat du sens et prise de parti : vers le réalisme socialiste
102
103
15
19
24
28
32
44
51
60
65
69
86
90
94
Critique. Réalisme critique et critique du réalisme. Georg Lukács et la question du montage.
Rendre le réel ou rendre le réel problématique ? Critique brechtienne du réalisme socialiste
Parti. L’exposition de la politique et le réalisme comme méthode de combat. Prendre
parti, rejoindre le Parti. La «littérature de parti» selon Lénine. «Je suis devenu quelque peu
doctrinaire». La prise de parti brechtienne prise à partie par Adorno et Hannah Arendt
Position. Prendre position : du message au montage. L’imagination opératoire et politique.
Critique de la violence, «caractère destructeur» et politique de l’exposition selon Benjamin.
L’auteur comme producteur. Montage et Umfunktionierung : formes, forces et chocs efficaces
107
V. L’interposition des champs : remonter l’histoire
Anachronie. Démontage du temps : transgresser, prendre position. L’origine selon Benjamin
: une manière philosophique de «remonter» l’histoire. Avant-garde et archéologie. Montage
et non-contemporanéité selon Ernst Bloch. Brecht entre le sens de l’histoire et les fusées de
la mémoire
Interposition. Distanciation temporelle : la fable n’est ni pur passé, ni pur présent. Entre
phylactères médiévaux et cartons de cinéma. L’effrangement des arts selon Adorno
Allégorie. Le temps passe entre les images : la mort apparaît. Visage, masque, crâne. Structure
emblématique de la Kriegsfibel. «Pauvre Yorick» : message historique et montage allégorique.
Le document rendu plus ambigu, cruel, dialectique. Histoire et allégorie selon Benjamin.
Pathos. Immanence politique et expressive de l’allégorie. L’histoire comme Leidensgeschichte.
Brecht et la «mémoire des souffrances» : la Pietà de Singapour et le cri de Mère courage. Le
geste tragique dans la geste épique. Pathos, éthos, polis : la compassion chez Brecht selon
Ruth Berlau et Hannan Arendt. Quand l’émotion devient geste politique
Mémoire. La survivance des formules du pathos. Lyrisme documentaire et photographie ; la
légende dialectisée. Style épique : mettre sous les yeux et nommer malgré tout. Le temps de
l’aoriste, ou la mémoire incidente
Lyrisme. Il n’y a d’écriture qu’affrontée. Lyrisme critique et révolutionnaire. Prendre position
et prendre le rythme. La césure selon Hölderlin et le vers à rythmes irréguliers chez Brecht.
Lyrisme de guerre, entre la peur et le jeu
128
129
VI. La position de l’enfant : s’exposer aux images
Pédagogie. Brecht, pédagogue en temps de guerre. La pédagogie comme champ de bataille
politique : entre asservissement et libération. La Kriegsfibel entre Krieg dem kriege ! et The
family of man. Apprendre malgré tout
Abécédaire. Un livre où la lecture est geste et désir. Lisibilité et figurabilité. Brecht, la
pédagogie jésuite et l’histoire des abécédaires : lectio et delectatio. Abécédaires dans l’avantgarde artistique. Benjamin et le geste d’apprendre
Naïveté. Un état natif de la connaissance. Puissance heuristique de la naïveté. La dialectique
passe par une «pensée balourde». Regarder comment bougent les corps : Hitler vu par Chaplin.
Quand le naïf prend position : Les temps modernes
Ivresse. Moment d’anarchie : jouer avec un monde déplacé dans l’imagination. Brecht
et l’ivresse poétique. Le montage comme ivresse des images. Benjamin et ses ivresses
expérimentales : quand l’étrangeté fait revenir l’«aura authentique» des choses. Des «rafales
d’images» documentaires-hallucinatoires. Connaissance par les gouffres
Illumination. Benjamin : «Je brousse les images». L’enfant et le savant : du geste régressif
au geste philosophique. L’illumination comme instant utopique de l’image. Energie
révolutionnaire. Rimbaud, illuminateur de la Commune. Position du surréalisme : l’«exactitude
automatique» de l’ivresse, de l’érotisme et du document. Photographie et «illumination
profane»
186
187
112
118
137
145
159
171
179
198
213
220
228
Imagination. Construction temporelle et documentaire de l’illumination profane. Hitler, la
flèche et le bison. Brecht vs Benjamin : position de l’imagination chez Baudelaire et Kafka.
Engagement majeur vs position mineure. Les deux sens de la Beschreibung et la connaissance
par les images selon Benjamin. Liberté esthétique et position de l’étrangeté : une politique de
l’imagination
238
DIERKENS Alain (ed.), BARTHOLEYNS Alain
(ed.), GOLSENNE Thomas (ed.)
La performance des images.
Bruxelles : Ed. de l'Université de Bruxelles, 2010,
1 vol. (260 p.). Coll. Problèmes d'histoire des
religions ; 19. Notes bibliogr.
ISBN 978-2-8004-1474-4
C 991
Résumé :
L'image, avant de représenter, de signifier, agit et fait agir. La performance des images, dont ce livre entreprend
l'exploration, est à comprendre d'abord comme l'évaluation de leur efficacité : quels sont les effets des
images ? C'est ensuite leur agentivité : en quelle manière les images sont-elles des êtres vivants ? C'est aussi
leur performativité : comme il y a des actes de parole, il y a des actes d'image dont les modalités peuvent être
détaillées. Enfin, c'est leur puissance : que peut une image, dont un texte, par exemple, serait incapable ?
L'image chrétienne tient ici une place à part car, loin d'être une simple "Bible des illettrés" soumise au régne du
texte, elle imprègne tous les aspects de la vie et de la pensée des sociétés chrétiennes, depuis leurs fondements
théologiques et anthropologiques - Dieu créa l'homme à son image ; le Fils est l'image du Père - jusqu'aux
utilisations les plus diverses des objets visuels. Mais en Occident ce n'est pas seulement au Moyen Âge que
les images sont actives : ce livre est aussi consacré aux nouvelles formes de performances visuelles qui sont
apparues avec la Renaissance ou la société mass-médiatique.
Sommaire :
Note de l'éditeur de la collection, Alain Dierkens
Prologue. Images en acte et agir social, Jérôme Baschet
Une théorie des actes d'image, Gil Bartholeyns et Thomas Golsenne
Agentivité
Les images et le sacré, Jean-Claude Schmitt
Miracles et images. Les relations entre l'image et le prototype céleste d'après quelques récits
des Xe-XIIIe siècles, Jean-Marie Sansterre
Performances symboliques et non symboliques des images animales, Pierre-Olivier Dittmar
Parure et culte, Thomas Golsenne
Efficacité
Des compétences changeantes. Petit essai sur l'évolution des rôles assignés aux images dans
les retables romans, gothiques et renaissants, Brigitte d'Hainaut-Zveny
Aura et standardisation des images flamandes de dévotion au tournant du XVe siècle, Valentine
Henderiks
Image et autorité au Bas Moyen Âge : l'Allegoria della Commedia par Domenico di Michelino
(1465), Elisa Brilli
Performativité
Performativité de l'image ?, Jean Wirth
Les objets contre les symboles. Une sociologie chrétienne et médiévale du signe, Gil
Bartholeyns
Le tableau efficace. Réflexions sur la performativité de la peinture (religieuse), Bertrand
Rougé
La lune est pour demain. La promesse des images, André Gunthert
La construction des phénomènes ovnis par l'image : parasciences ou vulgarisation scientifique
?, Pierre Lagrange
Puissance
Des deux morts et trois naissances. Images de théâtre et images pour le théâtre à la fin du
Moyen Âge, Corneliu Dragomirescu
Image-action. La performance avec et entre les images : quelques exemples à la fin du Moyen
Âge et aujourdh'ui, Chloé Maillet
Quand voir fait chanter. Images et neumes dans le tonaire du ms. BNF latin 1118 : entre
performance et performativité, Jean-Claude Bonne et Eduardo H. Aubert
Épilogue
Les mots et les images, Irène Rosier-Catach
Liste des auteurs
7
9
15
29
47
59
71
87
101
111
125
137
157
169
179
195
209
225
243
255
DITOVITSKAYA Margaret
Visual culture : the study of the visual after the
cultural turn.
Cambridge (Mass.) : MIT Press, 2005, 1 vol. (316 p.).
Bibliogr. p. [295]-306. Index.
ISBN 978-0-262-54188-6
MOND 428
Résumé :
In recent years visual culture has emerged as a growing and important interdisciplinary field of study. Visual
culture regards images as central to the representation of meaning in the world. It encompasses «high» art
without assuming its higher status. But despite the current proliferation of studies and programs in visual
culture, there seems to be no consensus within the field itself as to its scope and objectives, definitions, and
methods. In Visual culture, Margaret Dikovitskaya offers an overview of this new area of study in order to
reconcile its diverse theoretical positions and understand its potential for further research. Her aim is to show
how visual culture can avoid what she defines as the Scylla and Charybdis that threaten it : the lack of a
specific object of study (given its departure from the traditional hierarchies of art history) and the expansion
of the field to the point of incoherence as it seems to subsume everything related to the cultural and the visual.
Dikovitskaya gives us an archaeology of visual culture, examining the «cultural turn» away from art history
and the emergence of visual studies. She discusses first the field’s history, theoretical frameworks, and
methods, and then examines four groprams and courses in visual culture - those at the University of Rochester,
the University of Chicago, the University of California, Irvine, and the State University of New York at
Stony Brook. Bringing together considerations of theory and practice, Dikovitskaya charts the future of visual
culture programs in the twenty-first century
Margaret Dikovitskaya is landsdowne professor of art history at the University of Victoria, British Columbia.
Contents :
Acknowledgments
Introduction
About this book
The study of visual culture : a bibliographic essay
ix
1
1
6
Chapter 1. Theoretical frameworks
Genealogy and the object(s) of visual studies
Between art history and cultural studies : methodology of visual studies
47
47
64
Chapter 2. Institutions and pedagogy
Teaching undergraduates
Graduate programs
85
86
91
Concluding remarks
119
Appendix
An interview with Thomas Conley
An interview with Douglas Crimp
An interview with George Dimock
An interview with Paul Duro
An interview with Anne Friedberg
An interview with Brian Goldfarb
An interview with Thomas Gunning
An interview with James D. Herbert
An interview with Michael Ann Holly
An interview with Martin Jay
An interview with David Joselit
An interview with Laura U. Marks
An interview with Nicholas Mirzoeff
An interview with W.J.T. Mitchell
An interview with David N. Rodowick
An interview with Howard Singerman
An interview with Janet Wolff
123
125
131
142
146
154
162
173
181
193
203
210
215
224
238
258
268
276
Notes
References
Index
285
295
307
DYRNESS William A.
Reformed theology and visual culture : the
protestant imagination from Calvin to Edwards.
Cambridge (UK) ; New York : Cambridge University
Press, 2004, 1 vol. (xv-339 p.). Bibliogr. p. 315-334.
Index.
978-0-521-54073-5
MOND 409
Résumé :
With the walls of their churches bereft of imagery and color and their worship centered around sermons with
carefully constructed outlines (as opposed to movement and drama), reformed protestants have often been
accused of being dour and unimaginative. Here, William Dyrness explores the roots of reformed theology in an
attempt to counteract these prevailing notions. Studying sixteenth-century Geneva and England, seventeenth
and eighteenth-century puritan New England, Dyrness argues that, though this tradition impeded development
of particular visual forms, it encouraged others, especially in areas of popular culture and the ordering of
family and community. Exploring the theology of JohnCalvin, William Ames, John Cotton, and Jonathan
Edwards, Dyrness shows how this tradition created a new aesthetic of simplicity, inwardness, and order to
express underlying theological commitments. With over forty illustrations, this book will prove invaluable to
those interested in the reformed tradition.
William Dyrness is professor of theology and culture in the School of theology at Fuller Theological Seminary,
Pasadena, California. He is the author of over a dozen books on theology and culture including The earth is
god : a theology of american culture (1997) and Visual faith : art, theology and workship in dialogue (2001).
Contents :
List of figures
preface
viii
xiii
1. Introduction : imagination, theology and visual culture
2. Medieval faith and the ambiguity of sight
3. John Calvin : seeing God in the preache word
4. England and the visual culture of the Reformation
5. William Ames, John Cotton and seventeenth-century puritanism
6. Seventeenth-century visual culture
7. Jonathan Edwards : the world as image and shadow
Epilogue
1
16
49
90
142
186
240
300
Bibliography
Index
315
335
EICHER Joanne B., EVENSON Sandra Lee,
LUTZ Hazel A.
The visible self : global perspectives on dress,
culture, and society.
New York : Fairchild publications, 2008, 1 vol.
(485 p.-8 p. de pl.). Bibliogr. p. 453-472. Index.
ISBN 978-1-56367-642-0
MOND 415
Résumé :
Everywhere around the world, people make daily decisions about what to wear or how to dress. The visible
self, third edition, presents a systematic approach to analyzing these daily rituals that we all share - not simply
the act of putting on clothing, but also cleansing the body and adorning it.
Using western and non-western examples, the authors take a three-pronged approach to understanding dress
across cultures, uncovering its relationship to human beings as biological, aesthetic, and social animals.
Readings collected from classic books and academic journals enable students to appreciate the complexity of
dress from a multidisciplinary perspective that includes anthropology, sociology, economics, fine arts, and the
natural sciences.
Contents :
Preface
Acknowledgments
vii
ix
Part I : The systematic study of dress
1. The classification system of dress
2. Dress, culture, and society
3. Records of the types of dress
4. Written interpretations of dress
Readings fort Part I
I.1. The baths, Alev Lytle Croutier
I.2. Body ritual among the Nacirema, Horace Miner
I.3. Eurocentrism in the study of ethnic dress, Suzanne Baizerman, Joanne B. Eicher, and
Catherine Cerny
I.4. Many disciplines, many rewards : inuit clothing research, Betty Kobayashi Issenman
I.5. Dress as a reflection and sustainer of social reality : a cross-cultural perspective, Jean
A. Hamilton and James W. Hamilton
1
2
34
64
90
115
115
119
123
PART II : Physical appearance, environment, and dress
5. Physical appearance and dress
6. Body, dress, and environment
Readings for Part II
II.1. Pressure of menswear on the neck in relation to visual performance, Leonora M.
Langan and Susan M. Watkins
II.2. Innerskins/outerskins : gut and fishskin, Pat Hickman
151
152
174
200
200
Part III : Scales of culture and dress
7. Domestic-scale culture and dress
8. Political-scale culture and dress
9. Commercial-scale culture and dress
Readings for Part III
III.1. Ga’anda scarification : a model for art and identity, Marla C. Berns
III.2. They don’t wear wigs here, Barbara A. Schreier
III.3. In service of the dragon throne, John E. Vollmer
III.4. Helping or hindering ? Controversies around the international second-hand clothing
trade, Karen Tranberg Hansen
211
212
232
256
279
279
288
294
298
Part IV : Art, aesthetics, and dress
10. The art of creating dress
11. Ideals for individual appearance and the art of dress
12. The art of dress : conformity and individuality
13. Dress and the arts
Readings for Part IV
IV.1. The aesthetics of men’s dress of the Kalabari of Nigeria, Tonye V. Erekosima and
Joanne B. Eicher
309
310
334
358
376
402
402
132
141
204
IV.2. The sweetness of fat : health, procreation, and sociability in rural Jamaica, Elisa J.
Sobo
IV.3. Scruffy is badge of pride, but some physicists long for cool, Malcolm W. Browne
IV.4. Signature style : falling off the fashion train with Frida, Georgia and Louise, Jo Ann
C. Stabb
415
Part V : Dress and the future
14. Your future and dress
Reading for Part V
V.1. Cosmic couture, Elizabeth Snead
431
432
448
448
Bibliography
Credits for figures
Index
453
473
475
420
422
ELKINS James
The object stares back : on the nature of seeing.
San Diego [Calif.] ; New York [N.Y.] ; London : Harcourt,
1996, 1 vol. (271 p.). Collection Harvest books. Bibliogr.
p. [243]-251. Index.
ISBN 978-0-15-600497-8
MOND 423
Résumé :
At first it appears that nothing could be easier than seeing. We just focus our eyes and take in whatever is
before us. This ability seems detached, efficient, and rational, as if the eyes were competent machines telling
us everything about the world without distorting it in any way. But those ideas are just illusions, James Elkins
argues in this «excellent and thorough study» (Boston Globe), and he suggests that seeing is undependable,
inconsistent, and caught up in the threads of the unconscious. Blindness is not the opposite of vision, but
its constant companion, and even the foundation of seeing itself. Using drawings, paintings, diagrams, and
photographs to illustrate his points, Elkins raises intriguing questions and offers astonishing perceptions about
the nature of vision. Ultimately, he concludes, «Seeing is metamorphosis, not mechanism» : it «alters the thing
that is seen and transforms the seer.»
James Elkins lives a Chicago, where he is an art historian at the School of Art Institute of Chicago
Contents :
Introduction
11
1. «Just looking»
2. The object stares back
3. Looking away, and seeing too much
4. Seeing bodies
5. What is a face ?
6. Blindness
17
46
86
125
160
201
Envoi
For further reading
Photo credits
Index
237
243
253
259
ELKINS James
The domain of images.
Ithaca : Cornell university press, 2001, 1 vol. (XXI-282 p.).
Collection Cornell paperbacks. Bibliogr. p. 263. Index.
ISBN0-8014-8724-2
MOND 437
Résumé :
In the domain of visual images, those from fine art form a tiny minority. This brilliantly original book calls upon
art historians to look beyond their traditional subjects - painting, drawing, photography, and printmaking - to
study the vast array of «nonart» images, including those from science, technology, commerce, medicine, music,
and archaeology. Such images, James Elkins asserts, can be as rich and expressive as those in any canonical
painting. Providing scores of illustrations as examples, he proposes a radically new way of thinking about
visual analysis, one that relies on an object’s own internal sense of organization. Elkins blends philosophical
insight with historical detail to produce startling new meanings for such basic terms as pictures, writing, and
notation.
James Elkins teaches in the Department of art history, theory, and criticism at the School of the Art Institute
of Chicago. His books include How to use your eyes, The object stares back : on the nature of seeing, What
painting is, and, also from Cornell, The poetic of perspective.
Contents :
Preface
Acknowledgments
List of plates
ix
xi
xiii
Part I
1. Art history and images that are not art
2. Art history as the history of crystallography
3. Interpreting nonart images
4. What is a picture ?
5. Picture as ruined notations
6. Problems of classification
3
13
31
52
68
82
Part II
7. Allographs
8. Semasiographs
9. Pseudowriting
10. Subgraphemics
11. Hypographemics
12. Emblemata
13. Schemata
14. Conclusion : ghosts and natural images
95
120
143
164
181
195
213
236
Glossary
Frequently cited sources
Picture credits
Index
253
263
165
271
ELKINS James
How to use your eyes.
New York ; London : Routledge, 2010, 1 vol. (XIII-258 p.).
Notes bibliogr. p. 247-253.
ISBN 978-0-415-99363-0
MOND 414
Résumé :
Grass, the night sky, a postage stamp, a crack in the sidewalk, a shoulder. Ordinary objects of everyday life.
But when we look at them - really look at them - what do we see ?
In the tradition of John Berger’s bestselling Ways of seeing, James Elkins’s How to use your eyes invites
us to look at - and maybe see for the first time - the world around us, with breathtaking results. Here are the
common artifacts of life, often misunderstood and largely ignored, brought into striking focus. A butterfly’s
wing pattern encodes its identity. A cloudless sky yields a precise sequence of colors at sunset. A bridge
reveals the relationship of a population with its landscape. With the discerning eye of a painter and the zeal
of a detective, Elkins also explores complicated things like mandalas, the periodic table, or a hieroglyph,
remaking the world into a treasure box of observations - eccentric, ordinary, marvelous. How to use your eyes
will transform your view of nature and the mind.
James Elkins is E.C. Chadbourne chair in the Department of art history, theory and criticism at the School of
the Art Institute of Chicago. His many books include What painting is, Pictures and tears, Stories of art,Visual
studies, Why are our pictures puzzles, On the strange place of religion in contemporary art, and Master
narratives and their discontents, all published bu Routledge.
Contents :
Preface
ix
Things made by man
1. How to look at a postage stamp
2. How to look at a culvert
3. How to look at an oil painting
4. How to look at Pavement
5. How to look at an X ray
6. How to look at linear B
7. How to look at chinese and japanese script
8. How to look at egyptian hieroglyphs
9. How to look at egyptian scarabs
10. How to look at an engineering drawing
11. How to look at a rebus
12. How to look at mandalas
13. How to look at perspective pictures
14. How to look at an alchemical emblem
15. How to look at special effects
16. How to look at the periodic table
17. How to look at a map
2
12
20
28
34
48
54
62
68
74
80
86
92
100
108
118
126
Things made by nature
18. How to look at a shoulder
19. How to look at a face
20. How to look at a fingerprint
21. How to look at grass
22. How to look at a twig
23. How to look at sand
24. How to look at moths’ wings
25. How to look at halos
26. How to look at sunsets
27. How to look at color
28. How to look at the night
29. How to look at mirages
30. How to look at a crystal
31. How to look at the inside of your eye
32. How to look at nothing
132
146
154
164
170
176
182
190
196
202
212
218
224
232
238
Postscript : How do we look to a scallop ?
For futher reading
Figure credits
243
247
255
ELKINS James (ed.)
Visual cultures.
Bristol ; Chicago [Ill.] : Intellect, 2010, 1 vol. (112 p).
Bibliogr. à la fin de chaque partie.
ISBN 978-1-84150-307-3
MOND 425
Résumé :
Visual cultures is the first study of the place of visuality and literacy in specific nations around the world,
featuring authoritative, insightful essays on the value accorded to the visual and the verbal in Japan, Poland,
China, Russia, Ireland, and Slovenia.
Focusing on the national instead of the global, distinguished art critic James Elkins offers a critique of general
histories of visuality, such as those of Martin Jay or Jean Baudrillard, as well as a critique of local histories of
visuality, as in Third text and other postcolonial studies. The content is not only analytic, but also historical,
tracing changes in the significance of visual and verbal literacy in each nation. Visual cultures also explores
questions of national identity and the many issues raised suggest a wealth of promising avenues for future
research.
Contributors include : James Elkins, Luke Gibbons, Sunil Manghani, Viktoria Musvik, Ding Ning, Esther
Sanchez-Pardo, Andrej Smrekar and Kris Van Heuckelom.
James Elkins is the E. C. Chadbourne professor in the Department of art history, theory, and criticism at the
School of Art Institute of Chicago.
Contents :
Introduction
1
Slovenia : Visuality and literarity in slovene culture, Andrej Smrekar
7
Ireland : Words upon the windowpane : image, text, and irish culture, Luke Gibbons
43
Poland : A visually-oriented literary culture ?, Kris Van Heuckelom
57
China : Verbal above visual : a chinese perspective, Ding Ning
71
Russia : To read, to look : teaching visual studies in Moscow, Viktoria Musvik
83
Critical response, Esther Sánchez-Pardo
97
Contributors
111
FOSTER Hal (ed.)
Vision and visuality.
Seattle [Wash.] : Bay Press, 1988, 1 vol. (XIII-135 p.). Collection
Discussions in contemporary culture ; 2.
ISBN 978-1-56584-461-2
MOND 424
Résumé :
Why vision and visuality, why these terms ? Although vision suggests sight as a physical operation, and
visulity sight as a social fact, the two are not opposed as nature to culture : vision is social and historical too,
and visuality involves the body and the psyche. Yet neither are they identical : here, the difference between
the terms signals a difference within the visual - between the mechanism of sight and its historical techniques,
between the datum of vision and its discursive determinations - a difference, many differences, among how
we see, how we are able, allowed, or made to see, and how we see this seeing or the unseen therein. With its
own rhetoric and representations, each scopic regime seeks to close out these differences : to make of its many
social visualities one essential vision, or to order them in a natural hierarchy of sight.
Contents :
- Hal Foster, Preface
- Martin Jay, Scopic regimes of modernity
- Jonathan Crary, Modernizing vision
- Rosalind Krauss, The im/pulse to see
- Norman Bryson, The gaze in the expanded field
- Jacqueline Rose, Sexuality and vision : some questions
Contents :
Preface, Hal Foster
ix
Scopic regimes of modernity, Martin Jay
3
Modernizing vision, Jonathan Crary
29
The im/pulse to see, Rosalind Krauss
51
General discussion
79
The gaze in the expanded field, Norman Bryson
87
Sexuality and vision : some questions, Jacqueline Rose
115
General discussion
131
GELL Alfred
L’art et ses agents, une théorie anthropologique.
Dijon : Les presses du réel, 2009, 1 vol. (XVII-327 p.). Collection
Fabula. Bibliogr. p. XVII et p. 309-316. Index
ISBN 978-2-84066-252-5
MOND 407
Résumé :
L’art et ses agents, ouvrage posthume paru en 1998 sous le titre Art and agency, est sans doute l’une des
anthropologies de l’art les plus singulières et les plus fécondes. Plutôt que de penser l’oeuvre d’art en terme
de beauté, Alfred Gell propose de la situer à l’intérieur d’un réseau de relations entre agents et patients qui
manifestent une certaine agentivité (agency) par l’intermédiaire de l’oeuvre. Cette théorie a une vocation
universelle : il s’agit moins de relativiser le système occidental de l’esthétique que de se rendre sensible aux
mécanismes de l’intentionalité, des ignames décorés de Nouvelle-Guinée aux ready-made de Duchamp.
Pour universelle qu’elle soit, cette théorie demeure bien anthropologique : envisager l’oeuvre d’art implique
que l’on s’intéresse aux contextes de sa production et de sa circulation. C’est pourquoi Alfred Gell entend
produire pour l’art ce que Marcel Mauss ou Claude Lévi-Strauss ont théorisé pour les systèmes de l’échange
ou de la parenté. Empruntant à la linguistique d’Umberto Eco et à la sémiotique de C.S. Peirce (sans se plier
à leurs principes interprétatifs), les termes qui entrent en jeu dans une combinatoire propre à l’objet d’art sont
l’indice (l’objet lui-même), l’artiste, le destinataire et le prototype - le «réseau de l’art» désignant l’ensemble
des relations qui font qu’un objet d’art est reconnu comme tel par les différents acteurs sociaux.
Les attitudes que nous avons face à ces objets doivent être comprises en les rapprochant des systèmes de
causalité propres à la sorcellerie : nous inférons à travers l’objet d’art la présence d’une personne disséminée.
Cette théorie déplace doublement les termes de l’esthétique occidentale (dont le concept de style) car il s’agit
non seulement d’abolir les frontières théoriques entre l’art «ethnographique» des musées et celui, bien vivant,
qui est produit et circule dans les sociétés, mais aussi de trouver la trame cognitive commune à La Joconde et
aux proues de navires mélanésiens. L’objet d’art, dans toute culture, a un certain pouvoir de fascination, qu’on
ne peut comprendre qu’en saisissant l’ensemble des interactions sociales qui président à son émergence.
Sommaire :
Une nouvelle théorie de l’art, par Maurice Boch
vii
I. Définition du problème : la nécessité d’une anthropologie de l’art
1
II. La théorie du réseau de l’art (Art nexus)
15
III. Le réseau de l’art (Art nexus) et l’indice
35
IV. L’involution de l’indice dans le réseau de l’art
63
V. La constitution de l’indice
81
VI. La critique de l’indice
91
VII. La personne disséminée
119
VIII. Style et culture
189
IX. Conclusion. L’élargissement de l’esprit
265
Bibliographie
Remerciements
Index
309
317
319
HALL Stuart
Identités et cultures : politiques des cultural studies.
Paris : Éd. Amsterdam, 2008, 1 vol. (411 p.). Notes bibliogr.
ISBN 978-2-35480-030-7
MOND 406
Résumé :
A l’heure où se développent en France les premiers cursus d’études culturelles inspirés des cultural studies
anglophones et où les politiques de l’identité et des représentations suscitent un intérêt croissant, la publication
de ce recueil de dix-sept essais classiques du sociologue britannique Stuart Hall constitue un détour nécessaire
par les origines multiples et complexes de ce champ de réflexion. Intellectuel de renom international, Stuart
Hall nous livre ici une généalogie critique des cultural studies, de leurs fondements théoriques marxistes
et gramsciens à leur redéfinition des notions de «culture» et de «populaire, en passant par leur résistance
aux disciplines classiques. Mettant en relief les préoccupations théoriques et politiques majeures des études
culturelles, il interroge le concept d’«identité» et ses déclinaisons (ethnicité, race, classe, genre, sexualité)
et développe une théorie qui situe la culture au coeur même du processus de construction identitaire. Qu’il
analyse la formation des cultures diasporiques, les politiques noires britanniques, les situations postcoloniales
ou le concept de «multiculturalisme», Hall éclaire d’une lumière singulière nombre d’enjeux centraux de la
scène politique internationale contemporaine.
Directeur du Center for Contemporary Cultural Studies de Birmingham à la fin des années 1960, puis
professeur à l’Open University de Londres, Stuart Hall a notamment publié Culture, Media, Language (coédité avec Dirithy Hobson et Andrew Lowe, 1980), Questions of cultural identity (co-édité avec Paul du Gay,
1996) et, en français, Le populisme autoritaire. Puissance de la droite et impuissance de la gauche au temps
du thatchérisme et du blairisme (Editions Amsterdam, 2008).
Sommaire :
Identités et cultures, par Maxime Cervulle
9
Cultural studies
I. Les cultural studies et leurs fondements théoriques
II. Les cultural studies et le Centre de Birmingham : problématiques et problèmes
III. Cultural studies : deux paradigmes
IV. L’émergence des cultural studies et la crise des humanités
V. Notes sur la déconstruction du «populaire»
17
33
81
105
119
Idéologies, hégémonies et médias
VI. La redécouverte de l’«idéologie» : retour du refoulé dans les media studies
VII. Codage/Décodage (traduit par Michèle Albaret et Marie-Christine Gamberini)
VIII. Déviance, politique et médias
IX. Le crapaud dans le jarin : thatchérisme et théorie
X. Le blanc de leurs yeux : idéologies racistes et médias
129
169
185
229
259
Identités et politiques des représentations
XI. Qui a besoin de l’«identité» ?
XII. Nouvelles ethnicités
XIII. Quel est ce «noir» dans «culture populaire noire» ?
XIV. Identité culturelle et diaspora
XV. Penser la diaspora : chez-soi de loin
267
287
299
311
327
Multiculturalismes et moment postcolonial
XVI. Quand commence le «postcolonial» ? Penser la limite
XVII. La question multiculturelle
351
373
HALSALL Francis (ed.), JANSEN Julia (ed.), O'CONNOR
Tony (ed.)
Rediscovering aesthetics : transdisciplinary voices from art
history, philosophy, and art practice.
Stanford (Calif.) : Stanford university press, 2009, 1 vol. (XIV322 p.). Notes bibliogr. en fin d’ouvrage. Index.
ISBN 978-0-8047-5991-5
MOND 436
Résumé :
Rediscovering aesthetics brings together prominent international voices from art history, philosophy, art artistic
practice to discuss the current role of aesthetics within and across their disciplines. Following a period in
which theories and histories of art, art criticism, and artistic practice seemed to focus exclusively on political,
social, or empirical interpretations of art, aesthetics is being rediscovered both as a vital arena for discussion
and as a valid interpretive approach outside its traditional philosophical domain. This volume is distinctive
because it provides a selection of significant but divergent positions. The diversity of the views presented here
demonstrates that a critical rethinking of aesthetics can be undertaken in a variety of (possibly incompatible)
ways. The contributions open a transdisciplinary debate from which a new field of aesthetics may begin to
emerge.
Francis Halsall lectures in history and theory of modern and contemporary art at the National College of Art
and Design, Dublin.
Contents :
List of contributors
(Re)Discovering aesthetics : an introduction, Francis Halsall, Julia Jansen, and Tony
O’Connor
Part I. Aesthetics in art history and art theory
1. Kunstwissenschaft versus Ästhetik : the historians’ revolt against aesthetics, Richard
Woodfield
2. Aesthetics and the two cultures : why art and science should bu allowed to go their
separate ways, James Elkins
3. Stones of Solace, Michael Ann Holly
4. The dogma of conviction, David Raskin
5. Sensation in the wild : on not naming Newman, Judd, Riley, and Serra, Richard Shiff
6. Kant’s «free-play» in the light of minimal art, Thierry de Duves
Part II. Aesthetics in philosophy
7. The future of aesthetics, Arthur C. Danto
8. Retrieving Kant’s aesthetics for art theory. After greenberg : some remarks on Arthur C.
Danto and Thierry de Duve, Diarmuid Costello
9. Artistic creativity : illusions, realities, futures, Paul Crowther
10. Gadamar and the ambiguity of appearance, Nicholas Davey
11. Modernisms and mediations, Peter Osborne
12. Aesthetics beyond aesthetics, Wolfgang Welsch
13. Intuition and concrete particularity in Kant’s. Transcendental aesthetic, Adrian Piper
ix
1
19
34
51
66
75
87
103
117
133
147
163
178
193
Part III. Aesthetics in artistic and curatorial practice
14. Seasonal fractional political idiosyncratic aesthetics, Carole Schneemann
15. Toward an ophthalmology of the aesthetic and an orthopedics of seeing, Robert Morris
16. The social turn : collaboration and its discontents, Claire Bishop
17. The richter effect on the regeneration of aesthetics, Michael Kelly
213
225
238
256
Notes
Index
275
313
HARPER Sue
Picturing the past : the rise and fall of the British costume
film.
London : BFI Publishing, 1994, 1 vol. (X-239 p.). Bibliographie
p. 219-222. Index.
ISBN 0-85170-449-2
GB 181
Résumé :
From the riotous banqueting scenes of The private life of Henry VIII to the sexual banditry of The wicked lady,
british costume film attracted controversy. This book charts the development of a flamboyant genre from the
1930s to the 1950s. A pioneering study which combines the interpretation of unknown archival material with
attention to visual style, it establishes the ways in which historical film responded to social change and provided
potent metaphors for its audiences. Sue Harper demonstrates how producers such as Alexander Korda, Herbert
Wilcox, Michael Balcon and the Ostrers constructed images of the past which drew, variously and selectively,
on key themes in popular culture. She shows that official bodies feared the effects of historical film and
attempted to influence it. She conducts a broad survey of contemporary audience response, establishing that it
was for women and the working class that costume film had an important symbolic function.
Sue Harper has published widely on british cinema. She teaches film and cultural history at the University of
Portsmouth.
Contents :
Acknowledgments
Introduction
ix
1
1. Historical feature film 1933-39 : political constraints
2. Korda and balcon : aristocratic and bourgeois symbolism
3. Dean, Wilcox, and others : the politics of the marketplace
4. Lowbrow and middlebrow responses in the 1930s
5. Highbrow interventions : the historical association and its friends
6. Official histories in the war years
7. Commercial film production and history 1939-45
8. A middle-class view of history : ealing 1939-49
9. History and the working class : Gainsborough 1942-50
10. Wartime and postwar responses to historical film
11. The postwar period : contexts and constraints
12. Monopoly and history : rank films 1945-50
13. A fossilised history : independent producers 1945-50
8
20
39
56
64
77
95
109
119
136
147
154
170
Conclusion
Notes
Select bibliography
Filmography
Index
181
189
219
223
233
HARRIS Jonathan
The new art history : a critical introduction.
London ; New York : Routledge, 2001, 1 vol. (XVIII-302 p.).
Bibliogr. en fin de chapitres. Index.
ISBN 978-0-415-23008-7
MOND 435
Résumé :
The new art history provides a comprehensive introduction to the fundamental changes which have occured
in both the institutions and practice of art history over the last thirty years. Jonathan Harris examines and
accounts for the new approaches to the study of art which have been grouped loosely under the term «the new
art history». He distinguishes between these and earlier forms of «radical» or «critical» analysis, explores the
influence of other disciplines and traditions on art history, and relates art historical ideas and values to social
change.
Structured around an examination of key texts by major contemporary critics, including Timothy Clark,
Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key
moment in the discipline of art history, tracing the development and interaction of marxist, feminist and
psychoanalytic critical theories.
Jonathan Harris is senior lecturer in the School od Architecture at Liverpool University. He is the author of
Federal art and national culture (1995), co-author of Modernism in dispute : art since the forties (1993), and
co-editor of Art in modern culture (1992)
Contents :
List of illustrations
Acknowledgements
ix
xi
Introduction
Aims and readers
New, critical, radical, social
Terms and texts
Readings, meanings, values, and politics
Art history, radical art history, and real history
Notes
1
1
6
10
17
22
28
1. Radical art history : back to its future ?
Prejudices, perspectives, and principles
For ‘new’ read ‘old’ ?
Politics, modernity, and radical art history
Structure, agency, and art
Notes
Select bibliography
35
35
39
43
47
56
60
2. Capitalist modernity, the nation-state and visual representation
‘... no art history apart from other kinds of history’
Elements within ‘the social history of art’
Institutions and ideologies
Meanings and materialism
Notes
Select bibliography
63
64
67
73
81
88
91
3. Feminism, art, and art history
Politics, position, perspective
Greatness, creativity, and cultural value
Ideologies, sexual difference, and social change
Modernism, modernity, and feminist art history in the 1990s
Notes
Select bibliography
95
96
100
106
113
123
126
4. Subjects, identities, and visual ideology
Psychoanalysis and radical politics after the 1960s
Self, sex, society, and culture
Psychoanalysis and systems of signification
Sight, social ordering, and subjectivity
Notes
Select bibliography
129
130
136
143
147
156
159
5. Structures and meanings in art and society
Signs, discourse, and society
Marks and meanings
Making and masking the ‘real’
Perception, narration, and ‘visual culture’
Notes
Select bibliography
161
162
166
170
178
188
190
6. Searching, after certainties
Beyond subjects and structures
Signs, surfaces, and civilisation
Politics, culture, and post-modernism
Cultivating nature
Notes
Select bibliography
193
194
196
208
213
222
225
7. Sexualities represented
Matter and materialism
Semantic/somatic : Charles Demuth and Rosa Bonheur
Body heat
The matter of ideals
Notes
Selected bibliography
227
228
232
241
246
257
259
Conclusion : the means and ends of radical art history
Radicalism in art history and ‘identity-politics
Race and representation
Somatic/aesthetic/exotic : bodies and blackness
‘Arguments and values’, not ‘theories and methods’
Notes
Select bibliography
261
262
267
276
285
288
290
Index
291
HAYES Patricia
Visual genders, visual histories : a special issue of Gender &
history.
Malden (Mass.) ; Oxford ; Victoria (Australia) : Blackwell, 2006,
1 vol. (VIII-350 p.). Notes bibliogr. Index.
MOND 410
Résumé :
Visual genders, visual histories breaks new ground in visual studies by exploring the visual dimensions of
gender. Comprising a series of contributions from different continents, the book helps readers to move beyond
consideration of gender as a social construct, towards an understanding of the visual constructions of gender.
Chapters explore the ways in which the visual shapes meaning, with material ranging from documentary film
footage of liberated concentration camps after world war II, contemporary fashion photography in Tehran,
to a queer art exhibition with overtones of a nineteenth-century archive. The book is organised thematically
under the headings of documenting, trafficking and experimenting. They focus mainly on the nineteenth and
twentieth centuries, covering not only Europe and North America but also Argentina, Iran and southern Africa.
A diverse selection of exceptional and provocative images accompanies the text.
Patricia Hayes is associate professor of history at the University of the Western Cape in South Africa. She
directs research and postgraduate studies in visual history
Contents :
Notes on contributors
vii
Introduction
1. Introduction : visual genders, Patricia Hayes
1
Documenting
2. Does gender matter ? Filmic representations of the liberated nazi concentration camps,
1945-46, Ulrike Weckel
3. Images of virtuous women : morality, gender and power in Argentina between the world
wars, María Fernanda Lorenzo, Ana Lía Rey and Cecilia Tossounian
4. The general view and beyond : from slum-yard to township in Ellen Hellmann’s
photographs of women and the african familial in the 1930s, Marijke du Toit
5. Racialising the virile body : Eadweard Muybridge’s locomotion studies 1883-1887,
Elspeth H. Brown
Trafficking
6. History, memory and trauma in photography of the tondues : visuality of the Vichy past
through the silent image of women, Alison M. Moore
7. A glance into the camera : gendered visions of historical photographs in Kaoko (NorthWestern Namibia), Lorena Rizzo
8. Decoration and desire in the Watts Chapel, Compton : narratives of gender, class and
colonialism, Elaine Cheasley Paterson
Experimenting
9. Faces and bodies : gendered modernity and fashion. Photography in Tehran, Alec H.
Balasescu
10. Arne Svenson’s queer taxonomy, elizabeth C. Birdsall
11. The temperance temple and architectural representation in late-nineteenth-century
Chicago, Paula Young Lee
12. There’s something about Mary Wigman : the woman dancer as subject in german
expressionist art, Susan Laikin Funkenstein
Index
20
49
75
109
139
164
196
219
251
275
308
342
HEESEN Ake te
The world in a box : the story of an eighteenth-century
picture encyclopedia.
Chicago (Ill.) ; London : University of Chicago press, 2002,
1 vol. (XII-237 p.). Bibliogr. p. 203-226.
ISBN 0-226-32287-4
GER 170
Résumé :
This is a book about a box that contained the world. The box was the Picture academy for the young, a popular
encyclopedia in pictures invented by preacher-turned-publisher Johann Siegmund Stoy in eighteenth-century
Germany. Children were expected to cut out the pictures from the Academy, paste them onto cards, and
arrange those cards in ordered compartments - the whole world filed in a box of images.
As Anke to Heesen demonstrates, Stoy and his world in a box epitomized the enlightenment concern with
creating and maintaining an appropriate moral intellectual, and social order. The box, and its images from
nature, myth, and biblical history, were intented to teach children how to collect, store, and order knowledge.
Te Heesen compares the Academy with other aspects of enlightenment culture, such as commercial warehouses
and natural history cabinets, to show how the kinds of collecting and ordering practices taught by the Academy
shaped both enlightenment thought an the developing middle class in Germany. The world in a box, illustrated
with a multitude of images of and from Stoy’s Academy, offers a glimpse into a time when it was believed that
know could be contained and controlled.
Anke te Heesen is a research associate at the Max Planck Institute for the history of science in berlin. She is
coeditor of Sammeln als Wissen : das sammeln und seine wissenschaftsgeschichtliche bedeutung.
Contents :
List of illustrations
Acknowledgments
Introduction : «A storehouse of the finest materials»
vii
xi
3
Book
1. The work and its author
2. From the manufacture of books to the pedagogical cabinet
13
42
Image
3. Sources and structure of the picture academy for the young
4. Man and his image in the eighteenth century
65
105
Box
5. The box and collecting
6. The box and its uses
135
163
Conclusion : the world boxed in, then and now
Appendix : bibliographic record of the picture academy
Bibliography
Index
193
197
203
227
HOLLY Michael Ann (ed.), MOXEY Keith (ed.)
Art history, aesthetics, visual studies.
Williamstown (Mass.) : Sterling and Francine Clark
Art Institute ; New Haven ; London : distributed by Yale
University Press, 2002, 1 vol. (XVII-271 p.). Collection
Clark studies in the visual arts. Notes bibliogr.
ISBN 978-0-931102-49-9
C 1008
Résumé :
Art history, aesthetics, and visual studies today find themselves in contested new philosophical and institutional
circumstances. Based on the 2001 Clark conference, Art history, aesthetics, visual studies explores both
the connections and divergences among these three modes of investigating visual representation. What are
the dominant aestthetic assumptions underlying art historical inquiry ? How have these assumptions been
challenged by visual studies ? Are questions of quality, form, content, meaning, and spectatorship culturally
specific ? Can we still define the parameters of what should properly constitute the objects of the history
of art ? Have art history and visual studies anything to learn from one another ? Where do ideas about the
aesthetic begin and end, both in the academy and in the museum ? Fifteen eminent scholars critically examine
the relationships among art history, aesthetics, and visual studies from their founding moments through their
contemporary practives.
With essays by David Carrier, Philip Fisher, Hal Foster, Ivan Gaskell, Jonathan Gilmore, Thomas DaCosta
Kaufmann, Michael Kelly, Karen Lang, Stephen Melville, Kobena Mercer, Nicholas Mirzoeff, W.J.T. Mitchell,
Griselda Pollock, Irene J. Winter, and Janet Wolff.
Contents :
Introduction, Michael Ann Holly and Keith Moxey
Part one : In time
Defining "Aesthetics" for non-western studies : the case of ancient Mesopotamia, Irene J.
Winter
Romare bearden : african american modernism at mid-century, Kobena Mercer
Chaps and cosmos : points of view in art history and aesthetics, Karen Lang
National stereotypes, prejudice, and aesthetic judgments in the historiography of art, Thomas
DaCosta Kaufmann
vii
3
29
47
71
Part two : Out of time
Darkness and the demand for time in art, Philip Fisher
Censorship, autonomy, and artistic form, Jonathan Gilmore
Danto and krauss on Cindy Sherman, Michael Kelly
The aesthetics of difference, Griselda Pollock
Recollections of Rembrandt's Jeremiah, Ivan Gaskell
87
105
122
147
175
Part three : With time
Ghostwriting : working out visual culture, Nicholas Mirzoeff
"Theory". Discipline, and institution, Stephen Melville
Dialectics of seeing, Hal Foster
Showing seeing : a critique of visual culture, W.J.T. Mitchell
Current issues in art history, aesthetics, and visual studies, David Carrier
Mixing metaphors and talking about art, Janet Wolff
189
203
215
231
251
260
Contributors
269
HOLLY Michael Ann (ed.), SMITH Marquard (ed.)
What is research in the visual arts ? : obsession, archive,
encounter.
Williamstown (Mass.) : Sterling and Francine Clark Art Institute
; New Haven ; London : distributed by Yale University Press,
2008, 1 vol. (XXVI-215 p.). Collection Clark studies in the
visual arts. Notes bibliogr. en fin des contributions.
IBN 978-0-931102-80-6
C 1009
Résumé :
Based on the 2007 Clark Conference, What is research in the visual arts ? explores fundamental questions,
both philosophical and pratical, for those working with visual art. What is research, why and how do we do
it, and what place does it have in art making and the understanding of art today ? Thirteen authors consider
the pleasures, passions, and dangers of research and its attendant obsessions and encounters with incoherence,
chaos, and wonder. How does the process if inquiry engender meaning ? In what complex ways in research
bound up with writing, teaching, curating, and making ? Why are we obsessed with the idea of research ?
With essays by Ernst van Alphen, Mieke Bal, Marc Gotlieb, Serge Guilbaut, Michael Ann Holly, Akira Mizuta
Lippt, W.J.T. Mitchell, Joanne Morra, Sina Najafi, Alexander Nemerov, Celeste Olalquiaga, Alex Potts, and
Reva Wolf.
Contents :
Preface, Michael Ann Holly
vii
Introduction : Why "What is research in the visual arts ? Obsession, archive, encounter" ?,
Marquard Smith
x
Part one : Encounters and obsessions
What is research in art history, anyway ?, Michael Ann Holly
Seeing ghosts : The turn of the screw and art history, Alexander Nemerov
Dead stock : the researcher as collector of failed goods, Celeste Olalquiaga
The work of research : remembering, repeating, and working-through, Joanna Morra
Archival obsessions and obsessive archives, Ersnt van Alphen
Our monstrous double : the dream of research in "Outsider art history", Marc Gotlieb
3
13
33
47
65
85
Part two : The world and the archive
Factory of facts : research as obsession with the scent of history, Serge Guilbaut
The artwork, the archives, and the living moment, Alex Potts
Cut the bean : curiosity and research in the pages of Cabinet magazine, Sina Najafi
The scholar and the fan, Reva Wolf
The Abu Ghraib archive, W.J.T. Mitchell
The world archive and universal research, Akira Mizuta Lippit
Research practice : new words on cold case, Mieke Bal
105
119
138
158
168
183
196
Contributors
213
LEADER Darian
Ce que l'art nous empêche de voir
Paris : Éd. Payot & Rivages, 2011, 1 vol. (233 p.). Collection
Petite bibliothèque Payot ; 789.
ISBN 978-2-228-90619-7
MOND 474
Résumé :
Le 21 août 1911, La Joconde disparaît du Louvre. Volée. Apollinaire et Picasso figurent parmi les suspects.
Surtout, des milliers de personnes - dont Franz Kafka et son ami Max Brod - se précipitent au musée dans
le seul but de contempler l'emplacement vide du tableau ! Parmi ces fiévreux visiteurs, beaucoup n'avaient
auparavant jamais mis les pieds au Louvre. Qu'est ce que cela signifiait ? Pourquoi éprouvaient-ils subitement
le besoin d'y venir en masse ?
À partir de cette curieuse histoire, le psychanalyste anglais Darian Leader explore les ressorts psychologiques
qui font que l'on regarde les oeuvres d'art. Qu'espérons-nous y trouver ? Et qu'est-ce qu'elles nous cachent ?
MAEDER Edward
Hollywood and history : costume design in film.
New York (N.Y.) : Thames and Hudson ; [Los Angeles] :
Los Angeles County Museum of Art, 1987, 1 vol. (256 p.).
Bibliogr. p. 250-251. Index.
ISBN 0-500-01422-1
MOND 454
Résumé :
Since their earliest days, the movies have been concerned with historical and Biblical subjects. The first
cinematic genius, D. W. Griffith, turned for his greatest themes to the American Civil War, the French
Revolution and ancient Babylon. Then came the era of Cecil B. De Mille’s extravaganzas, drawing on the
Bible, the wickedness of ancient Rome, and early America.
The sense of history and its suitability for film treatments has always been present among American filmmakers. But their view of the past has constantly altered, so that a film about ancient Rome made in the
1930s would be quite different in its approach and in its costuming and make-up from one made on the same
subject in the 1950s or the 1970s. It is this fluctuation that is comprehensively and entertainingly examined in
Hollywood and History.
The Los Angeles County Museum of Art possesses by far the most important collection of costumes made for
Hollywood films. In addition, its archives hold an enormous assortment of designers’ costume sketches from
all the movie studios, as well as a treasure-house of stills.
In this absorbing volume, Edward Maeder, Curator of Costumes and Textiles at the Museum, examines the
social and economic conditions reflected in the changing tastes of the cinema ; Alicia Annas contributes a
section on make-up and hairstyles ; and Satch LaValley writes about the historical film and retail fashion.
With an extensive filmography which describes the costumes in hundreds of period films, and with nearly 300
illustrations, Hollywood and History offers an unparalleled record of this endlessly fascinating phenomenon.
It will prove invaluable not only to film buffs but also to costume designers, social historians and anyone
interested in the history of film.
Contents :
Foreword, Earl A. Powell III, Director
Acknowledgments, Edward Maeder
7
8
I. The celluloid image : historical dress in film, Edward Maeder
The three faces of Cleopatra (photo essay)
9
II. The photogenic formula : Hairstyles and makeup in historical films, Alicia Annas
52
III. Hollywood and seventh avenue : The impact of period films on fashion, Satch LaValley
Visions of the future : costume in science fiction films (photo essay), Elois Jenssen
78
97
Exhibition checklist
Filmography, Edward Maeder and David Ehrenstein
Notes to the text
Index
113
193
250
252
MARLING Karal Ann
As seen on TV : the visual culture of everyday life in the
1950s.
Washington (Mass.) ; London (GB) : Harvard university press,
1994, 1 vol. (328 p.). Notes bibliogr. Index.
ISBN 0-674-04882-2
MOND 449
Résumé :
America in the 1950s : the world was not so much a stage as a setpiece for TV, the new national phenomenon.
It was a time when how things looked – and how we looked – mattered, a decade of design that comes to
vibrant life in As seen on TV. From the painting-by-numbers fad to the public fascination with the First Lady’s
apparel to the television sensation of Elvis Presley to the sculptural refinement of the automobile, Marling
explores what Americans saw and what they looked for with a gaze newly trained by TV. A study in style, in
material culture, in art history at eye level, this book shows us a never before those artful every day objetcs
that stood for American life in the 1950s, as seen on TV.
Contents :
Prologue
1. Mamie Eisenhower’s new look
2. Hyphenated culture : painting by numbers in the new age of leisure
3. Disneyland, 1955 : the place that was also a TV show
4. Autoeroticism : America’s love affair with the car in the television age
5. When Elvis cut his hair : the meaning of mobility
6. Betty Crocker’s picture cook book : the aesthetics of food in the 1950s
7. Nixon in Moscow : appliances, affluence, and americanism
Afterword
1
8
50
86
128
164
202
242
284
Notes
Illustration credits
Acknowledgments
Index
289
319
321
323
McNEIL Peter (ed.)
Fashion : critical and primary sources. Vol. 1, Late medieval
to Renaissance.
Oxford ; New York : Berg, 2009, 1 vol. (XLII-479 p.).
ISBN 978-1-84788-506-7
ISBN 978-1-84788-292-9 (éd. complète)
MOND 416-1
Résumé :
Fashion : critical and primary sources is a major multi-volume work of reference which brings together
seminal writings on fashion.
The geographical range of the essays crosses Europe, Asia and North America. The essays reveal the wide
set of methodological approaches which all bear on the study of fashion - sociology, art history and cultural
history, anthropology, social theory, dress and textile studies.
Ordered chronologically, the four volumes cover late medieval to Renaissance, the eighteenth century, le
ninetheenth century and the twentieth century to today. Each volume is separately introduced and the essays
structured into coherent sections on specific themes.
Fashion : critical and primary sources will prove a major scholarly resource for any researchers involved in
the study of fashion, dress and costume.
Peter McCeil is professor of design history at the University of Technology, Sydney, Australia, and professor
of fashion studies at Stockholm University. he is a co-editor with G. Riello of Shoes : A history from sandals
to sneakers.
Contents :
Preface
Editor’s introduction
Part 1 : Graceful or magnificient : fashion and aesthetics
1. Costume and fashion, Fernand Braudel
2. Fashion in french crusade literature : desiring infidel textiles, Sarah-Grace Heller
3. Art and life, Johan Huizinga
4. The medieval aesthetic sensibility, Umberto Eco
5. Society and festivals, Jacob Burckhardt
6. Order and fashion in clothes : The King, his household, and the city of London at the end
of the fifteenth century, Anne F. Sutton
7. Summer : the last century, Timothy Brook
Part 2 : Fashion, appearance and cultural order
8. Between clothing and nudity, Mario Perniola
9. Women and sumptuary law, Catherine Kovesi
10. The upward training of the body from the age of Chivalry to courtly civility, Georges
Vigarello
11. The Renaissance beard : masculinity in early modern England, Will Fisher
12. Appearances, Georges Vigarello
Part 3 : Fashion’s forms - Costums and foreigners
13. The devil and his striped clothes : 13th-16th centuries, Michel Pastoureau
14. Venice and the dress of foreigners, Stella Mary Newton
15. Costume and the boundaries of bodies, Bronwen Wilson
16. Sewing connections : Elizabeth Tudor, Mary Stuart, Elizabeth Talbot, and seventeenthcentury anonymous needleworkers, Susan Frye
17. Feathers and flies : Aphra Behn and the seventeenth-century. Trade in exotica, Margaret
W. Ferguson
Part 4 : Trading in looks
18. Cloting provision and the great wardrobe in the mid-thirteenth century, Kay Staniland
19. The currency of clothing, Ann Rosalind Jones and Peter Stallybrass
20. Gendered space in Renaissance Florence : theorizing public and private in the «rag
trade», Carole Collier Frick
21. The economics of clothing in the late seventeenth century, N.B. Harte
22. The cost of apparel in seventeenth-century England, and the accuracy of Gregory King,
Margaret Spufford
Part 5 : Fashion and reinforcement
23. Looks and appareance, Baldesar Castiglione
24. Gesture, ritual and social order in sixteenth- to eighteenth-century Poland, Maria Bogucka
25. Prescribing fashion : dress, politics and gender in sixteenth-century italian conduct
literature, Elizabeth Currie
xiii
xix
3
19
34
39
49
57
83
95
110
130
163
190
203
222
234
263
279
299
315
342
357
380
411
413
427
26. Masculine apparel, Stephen Orgel
27. To fashion a self : dressing in seventeenth-century England, Sue Vincent
28. ‘Twisted’ poses : the Kabuku aesthetic in early Edo genre painting, John T. Carpenter
444
452
470
McNEIL Peter (ed.)
Fashion : critical and primary sources. Vol. 2, The
eighteenth century.
Oxford ; New York : Berg, 2009, 1 vol. ( XXVII-280 p.).
ISBN 978-1-84788-507-4
ISBN 978-1-84788-292-9 (éd. complète)
MOND 416-2
Résumé :
Fashion : critical and primary sources is a major multi-volume work of reference which brings together
seminal writings on fashion.
The geographical range of the essays crosses Europe, Asia and North America. The essays reveal the wide
set of methodological approaches which all bear on the study of fashion - sociology, art history and cultural
history, anthropology, social theory, dress and textile studies.
Ordered chronologically, the four volumes cover late medieval to Renaissance, the eighteenth century, le
ninetheenth century and the twentieth century to today. Each volume is separately introduced and the essays
structured into coherent sections on specific themes.
Fashion : critical and primary sources will prove a major scholarly resource for any researchers involved in
the study of fashion, dress and costume.
Peter McCeil is professor of design history at the University of Technology, Sydney, Australia, and professor
of fashion studies at Stockholm University. he is a co-editor with G. Riello of Shoes : A history from sandals
to sneakers.
Contents :
Preface
Editor’s introduction
Part 1 : The power of dress
1. The cavaliers and the parvenus as imitators of the court, Werner Sombart
2. Lord Chesterfield’s letters to his son, The Earl of Chesterfield
3. Regrets on parting with My old dressing gown, or, A warning to those who have more
taste than money, Denis Diderot
4. Eros and liberty at the English masquerade, 1710-90, Terry Castle
5. Freedom of dress in Revolutionary France, Lynn Hunt
Part 2 : Fashion - art - artifice
6. The purged century, Piero Camporesi
7. Popular dress, Daniel Roche
8. Image-object-space, Katie Scott
9. The artistic expression of Iki, Kuki Shûzô
10. Street style : dress in John Gay’s Trivia, Aileen Ribeiro
11. Nature and artifice, Georges Vigarello
12. Fleshing out the Revolution, Ewa Lajet-Burcharth
Part 3 : Fashion and the appearance industries
13. Consumer behaviour, textiles and dress in the late seventeenth and early eighteenth
centuries, Lorna Weatherill
14. European consumption and asian production in the seventeenth and eighteenth centuries,
John E. Wills, Jr
15. Taxes upon consumable commodities, Adam Smith
16. The Queen and her ‘minister of fashion’ : gender, credit and politics in Pre-Revolutionary
France, Clare Haru Crowston
17. The production and marketing of populuxe goods in eighteenth-century Paris, Cissie
Fairchilds
18. Developing consumerism and the ready-made clothing trade in Britain, 1750-1800,
Beverly Lemire
19. Involuntary consumer ? Servants and their clothes in eighteenth-century England, John
Styles
vii
xiii
3
16
22
26
42
61
68
98
108
116
131
140
159
176
187
192
216
241
266
McNEIL Peter (ed.)
Fashion : critical and primary sources. Vol. 3, The
nineteenth century.
Oxford ; New York : Berg, 2009, 1 vol. (XXIX-412 p.).
ISBN 978-1-84788-508-1
ISBN 978-1-84788-292-9 (éd. complète)
MOND 416-3
Résumé :
Fashion : critical and primary sources is a major multi-volume work of reference which brings together
seminal writings on fashion.
The geographical range of the essays crosses Europe, Asia and North America. The essays reveal the wide
set of methodological approaches which all bear on the study of fashion - sociology, art history and cultural
history, anthropology, social theory, dress and textile studies.
Ordered chronologically, the four volumes cover late medieval to Renaissance, the eighteenth century, le
ninetheenth century and the twentieth century to today. Each volume is separately introduced and the essays
structured into coherent sections on specific themes.
Fashion : critical and primary sources will prove a major scholarly resource for any researchers involved in
the study of fashion, dress and costume.
Peter McCeil is professor of design history at the University of Technology, Sydney, Australia, and professor
of fashion studies at Stockholm University. he is a co-editor with G. Riello of Shoes : A history from sandals
to sneakers.
Contents :
Preface
Editor’s introduction
ix
xv
Part 1 : Fashion and urban life
1. Adolf Loos and the english dandy, Jules Lubbock
2. The treatises of dandyism, Rhonda K. Garelick
3. The invisible flâneur, Elizabeth Wilson
4. The actress : covent garden and the strand 1880-1914, Christopher Breward
5. The suffrage response, Joel H. Kaplan and Sheila Stowell
6. Tigersprung : fashioning history, Ulrich Lehmann
3
19
56
78
106
132
Part 2 : From the love of finery to honest cloth
7. The love of finery : fashion and the fallen woman in nineteenth-century social discourse,
Mariana Valverde
8. The exquisite slave : the role of clothes in the making of the Victorian woman, Helene E.
Roberts
9. Dress reform as antifeminism : a response to Helene E. Roberts’s ‘The exquisite slave :
the role of clothes in the making of the Victorian woman», David Kunzle
10. Reply to David Kunzle’s «Dress reform as antifeminism : a response to Helene E.
Roberts’s ‘The exquisite slave’ (vol. 2, n° 3), Helene E. Roberts
11. Fashion - Jewellery, Marguerite de Ponty (Stéphane Mallarmé)
12. Fashion, Marguerite de Ponty (Stéphane Mallarmé)
13. Consuming Kashmir : shawls and empires, 1500-2000, Michelle Maskiell
14. The management of colour : the Kashmir shawl in a nineteenth-century debate, David
Brett
15. Sartorial ideologies : from homespun to ready-made, Michael Zakim
16. Cheap mass-produced men’s clothing in the nineteenth and early twentieth centuries,
Sarah Levitt
Part 3 : Nineteenth-century fashion as female culture
17. Invisible clothing, Philippe Perrot
18. Wool cloth and gender : the use of woollen cloth in women’s dress in Britain, 1865-85,
Lou Taylor
19. Materalizing mourning : hair, jewellery and the body, Marcia Pointon
20. Femininity and cosumption : the problem of the late nineteenth-century fashion journal,
Christopher Breward
21. ‘A dream of fair women’ : revival dress and the formation of late victorian images of
femininity, Margaret Maynard
22. Femme fatale : fashion and visual culture in fin-de-siècle Paris, Valerie Steele
23. Sex and the city : Metropolitan modernities in English history, Margot Finn
155
175
188
198
200
204
207
241
252
288
305
331
345
359
377
394
406
McNEIL Peter (ed.)
Fashion : critical and primary sources. Vol. 4, The twentieth
century to today.
Oxford ; New York : Berg, 2009, 1 vol. (XXXI-302 p.).
Bibliogr. p. [293]-302.
ISBN 978-1-84788-509-8
ISBN 978-1-84788-292-9 (éd. complète)
MOND 416-4
Résumé :
Fashion : critical and primary sources is a major multi-volume work of reference which brings together
seminal writings on fashion.
The geographical range of the essays crosses Europe, Asia and North America. The essays reveal the wide
set of methodological approaches which all bear on the study of fashion - sociology, art history and cultural
history, anthropology, social theory, dress and textile studies.
Ordered chronologically, the four volumes cover late medieval to Renaissance, the eighteenth century, le
ninetheenth century and the twentieth century to today. Each volume is separately introduced and the essays
structured into coherent sections on specific themes.
Fashion : critical and primary sources will prove a major scholarly resource for any researchers involved in
the study of fashion, dress and costume.
Peter McCeil is professor of design history at the University of Technology, Sydney, Australia, and professor
of fashion studies at Stockholm University. he is a co-editor with G. Riello of Shoes : A history from sandals
to sneakers.
Contents :
Preface
Editor’s introduction
ix
xv
Part 1 : Fashion’s structures
1. Dress as an expression of the pecuniary culture, Thorstein Veblen
2. The philosophy of fashion, Georg Simmel
3. The economic and social rôle of fashion, Pierre Clerget
4. The cerementing of the gentleman, Gerald Heard
5. The predominance of male homosociality, J.C. Flügel
6. Epilogue on trousers, Eric Gill
7. The functions of folk costume in Moravian Slovakia : introduction, Petr Bogatyrěv
8. An economic interpretation of women's fashions, Paul M. Gregory
3
14
38
48
52
55
60
62
Part 2 : Fashion and fantasy
9. Themes in cosmetics and grooming, Murray Wax
10. The economics of fashion demand, Dwight E. Robinson
11. From gemstones to jewellery, Roland Barthes
79
87
107
Part 3 : Fashion and identity
12. Fashion : from class differentiation to collective selection, Herbert Blumer
13. Why the Midi failed, Fred D. Reynolds and William R. Darden
14. The production of belief : contribution to an economy of symbolic goods, Pierre Bourdien
15. Fashion shapes : film, the fashion industry, and the image of women, Maureen Turim
16. Other people's clothes ? The international second-hand clothing trade and dress practices
in Zambia, Karen Tranberg Hansen
Part 4 : Fashion and aesthetics
17. To cut is to think, Germano Celant
18. Illuminations - Warhol in the 1950s, Richard Martin
19. The golden dustman : a critical evaluation of the work of Martin Margiela and a review
of Martin Margiela exhibition (9/4/1615), Caroline Evans
20. Art, fashion and music in the culture society, Angela McRobbie
21. Vionnet & classicism, Rebecca Arnold
22. Paul Poiret's minaret style : originality, reproduction, and art in fashion, Nancy J. Troy
23. Hollywood glamour and mass consumption in postwar Italy, Stephen Gundle
24. Magic fashion, Elizabeth Wilson
Appendix of sources
115
131
140
149
163
187
193
201
211
228
243
261
283
293
MIRZOEFF Nicholas (ed.)
The visual culture reader.
London ; New York : Routledge, 2002, 1 vol. (XIX-737 p.).
Notes bibliogr. Index.
ISBN 978-0-415-25222-5
MOND 417
Résumé :
In reponse to rapid changes in the emerging interdisciplinary field of visual culture, this thoroughly revised
and updated second edition of The visual culture reader brings together key writing as well as specially
commissioned articles covering a wealth of visual forms including photography, painting, sculpture, fashion,
advertising, television, cinema and digital culture.
The Reader features an introductory section tracing the development of visual culture studies in response to
globalization and digital culture, and articles grouped into thematic sections, each prefaced by an introduction
by the editor.
Thematic sections include :
- Introductions/Provocations/Conversations
- Plug-in theory
- Global/Digital
- Spectacle and display
- Visual colonialism/Visual transculture
- The gaze, the body and sexuality
Taken as a whole, these 60 essays provide a comprehensive response to the diversity of contemporary visual
culture and address the need of our postmodern culture to render experience in visual form.
Nicholas Mirzoeff is associate professor of art at Stony Brook University. He is the author of Bodyscape : art,
modernity and the ideal figure (1995), and An introduction to visual culture (1999)
Contents :
List of illustrations
Acknowledgements
Permissions
Introduction/Provocations/Conversations
1. The subject of visual culture, Nicholas Mirzoeff
2. Studying visual culture, Irit Rogoff
3. Narrativizing visual culture : towards a polycentric aesthetics, Ella Shohat and Robert
Stam
4. Kino-i, kino-world : notes on the cinematic mode of production, Jonathan L. Beller
5. Showing seeing : a critique of visual culture, W.J.T. Mitchell
6. Conversations in visual culture, Raiford Guins, Joanne Morra, Marquard Smith and
Omayra Cruz
Plug-in theory
Introduction to plug-in theory, Nicholas Mirzoeff
7. Optics, René Descartes
8. The fetishism of the commodity, Karl Marx
9. Double consciousness, W.E.B.Dubois
10. What is a picture ?, Jacques Lacan
11. The fact of blackness, Frantz Fanon
12. Woman in a mirror, Marshall McLuhan
13. Rhetoric of the image, Roland Barthes
14. Ideology and ideological state apparatuses, Louis Althusser
15. The society of the spectacle, Guy Debord
16. Simulacra and simulations, Jean Baudrillard
17. Prohibition, psychoanalysis and the heterosexual matrix, Judith Butler
18. Vurtual bodies and flickering signifiers, N. Katherine Hayles
Part one : Global/Digital
Introduction to part one, Nicholas Mirzoeff
(a) Imagining globalization
19. Here and now, Arjun Appadurai
20. Remaking passports : visual thought in the debate on multiculturalism, Néstor García
Canclini
21. Ethnicity and internationality : new british art and diaspora-based blackness, Kobena
Mercer
22. The multiple viewpoint : diaspora and visual culture, Nicholas Mirzoeff
23. Gender, race and nation in japanese contemporary art and criticism, Lisa Bloom
(b) The space of the digital
24. Of other spaces, Michel Foucault
25. Spectres of cyberspace, Geoffrey Batchen
26. Othering space, Wendy Hui Kyong Chun
xii
xv
xvi
3
24
37
60
86
102
111
116
122
124
126
129
132
135
139
142
145
147
152
161
173
180
190
204
213
229
237
243
27. 'Where do you want to go today ?' Cybernetic tourim, the internet, and transnationality,
Lisa Nakamura
28. Eden by wire : webcameras and the telepresent landscape, Thomas J. Campanella
29. Staellite and cyber visualities : analyzing 'digital earth', Lisa Parks
Part two : Spectacle and display
Introduction to part two, Nicholas Mirzoeff
(a) Spectacle, display, surveillance
30. Historical citizenship and the fremantle prison follies : Frederick Wiseman comes to
western Australia, Toby Miller
31. Visual stories, Ann Reynolds
32. The great un-american numbers game, Andrew Ross
33. The wall, the sreen and the image : the Vietnam veterans memorial, Marita Sturken
34. The prison house of culture : why african art ? Why the guggenheim ? Why now ?,
Michele Wallace
35. Videotech, John Fiske
(b) Cinema after film, television after the networks
36. The mobilized and virtual gaze in modernity : flâneur/flâneuse, Anne Friedberg
37. What is digital cinema ?, Lev Manovich
38. Film and the digital in visual studies : film studies in the era of convergence, Lisa
Cartwright
39. Kung fu cinema and frugality, May Joseph
40. The video public sphere, David Joselit
41. Reload : liveness, mobility and the web, Tara McPherson
Part three : Visual colonialism/visual transculture
Introduction to part three, Nicholas Mirzoeff
(a) Visual colonialism
42. Visual regimes of colonization : aboriginal seeing and european vision in Australia,
Terry Smith
43. Orientalism and the exhibitionary order, Timothy Mitchell
44. Soft-soaping empire : commodity racism and imperial advertising, Anne McClintock
45. From The colonial harem, Malek Alloula
46. Vodun art, social history and the slave trade, Suzanne Preston Blier
(b) Identity and transculture
47. 'His master's obi' : machine magic, colonial violence, and transculturation, Jill H. Casid
48. Passing for white, passing for black, Adrian Piper
49. The other history of intercultural performance, Coco Fusco
50. Photography and the substance of the image, Olu Oguibe
51. Engendering new worlds : allegories of rape and reconciliation, Oriana Baddeley
Part four : The gaze, the body and sexuality
Introduction to part four, Nicholas Mirzoeff
(a) The gaze and sexuality
52. Ideal masculinities : an anatomy of power, Anthea Callen
255
264
279
295
307
324
339
357
371
383
395
405
417
433
451
458
473
483
495
506
519
525
533
546
556
565
584
593
603
53. The forbidden gaze : women artists and the male nude in late nineteenth-century France,
Tamar Garb
54. Reduplicative desires, Carol Mavor
55. The third body : patterns in the construction of the subject in gay male narrative film,
Thomas Waugh
56. Looking good : the lesbian gaze and fashion imagery, Reina Lewis
57. The transgender gaze in Boys don't cry, Judith Halberstam
(b) Technobodies/Technofeminism
58. The persistence of vision, Donna Haraway
59. On the cutting edge : cosmetic surgery and the technological production of the gendered
body, Anne Balsamo
60. Dispersed subjects and the demise of the 'individual' : 1990s bodies in/as art, Amelia
Jones
617
Notes on contributors
Index
711
717
625
636
654
669
677
685
696
MIRZOEFF Nicholas
An introduction to visual culture.
London ; New York : Routledge, 2009, 1 vol. (XXII-321 p.).
Bibliogr. à la fin de chaque chapitre. Index.
ISBN 978-0-415-32759-6
MOND 426
Résumé :
An introduction to visual culture provides a wide-ranging introduction to the now established interdisciplinary
field of visual culture.
Mapping a global history and theory of visual culture, An introduction to visual culture asks how and why
visual media have become so central to everyday life.
Improved text design and colour images throughout make it an even more valuable teaching tool. Brand new
features in the second edition include key image studies from Holbein’s The Ambassadors, to Blade runner
and the Abu Ghraib atrocities ; an a key words section in each chapter, discussing vital critical terms and the
debates that surround them.
In this innovative, thoroughly revised and extended edition, Nicholas Mirzoeff explores :
• an extensive range of visual forms from painting, sculpture, and photography to television, cinema, and
the Internet ;
• the centrality of «race» and ethnicity, gender and sexuality, and the body in shaping visual culture ;
• the importance of images of natural disaster and conflict, such as Hurricane Katrina and the war in Iraq
Nicholas Mirzoeff is professor of media, culture and communication at New York university. He is author and
editor of many books including Watching Babylon (1995) and The visual culture reader (2002).
Contents :
List of illustrations
Preface
Illustration acknowledgments
vii
xiii
xvi
Introduction : Global visual cultures : paradox and comparison
Keyword : The division of the sensible
1
17
Chapter 1 : Sight becomes vision : from al-Haytham to perspective
Keyword : culture as transculture
21
41
Chapter 2 : "1492" : expulsions, expropriations, encounters
Breakout image : The Ambassadors : slavery and the gaze
45
63
Chapter 3 : Slavery, modernity and visual culture
Keyword : Visuality
68
89
Chapter 4 : Panoptic modernity
Keyword : modernity
Breakout image : Photography and death
94
113
119
Chapter 5 : Imperial transcultures : from Kongo to Congo
Keyword : Race
127
147
Chapter 6 : Sexuality disrupts : measuring the silences
Keyword : The fetish and the gaze
153
169
Chapter 7 : Inventing the west
Keyword : Empire and the State of emergency
176
192
Chapter 8 : Decolonizing visions
Keyword : Networks
197
218
Chapter 9 : Discrete states : digital worlds from the difference engine to Web 2.0
Breakout image : Blade runner
224
245
Chapter 10 : The death of the death of photography
Keyword : Spectacle and surveillance
250
264
Chapter 11 : Celebrity : from imperial monarchy to reality TV
Breakout image : the Abu Ghraib photographs
271
287
Chapter 12 : Watching war
292
Index
310
MITCHELL W.J.T.
Picture theory : essays on verbal and visual representation.
Chicago [Ill.] ; London : University of Chicago Press, 1994,
1 vol. (XV-445 p.). Notes bibliogr. Index.
ISBN 978-0-226-53232-5
MOND 420
Résumé :
What are images ? How do they differ from words ? What, precisely, W.J.T. Mitchell asks, are pictures (and
theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be
greater than ever before, and the «pictorial turn» supplants the «linguistic turn» in the study of culture ?
In this companion volume to Iconology, Mitchell explores the ways in which pictures function in theories
about culture, consciousness, and representation, and looks at theory itself as a form of picturing. Drawing on
contemporary and controversial films, such as Spike Lee’s Do the right thing and Oliver Stone’s JFK, as well
as media coverage of national news, Mitchell examines and illustrates the shaping force of visual images to
awaken or stifle public debate, collective emotion, and political violence.
This book by one of America’s leading theorists of visual representation offers a rich account of the interplay
between the visible and the readable across culture, from literature to visual art to the mass media.
W.J.T. Mitchell is the Gaylord Donnelley distinguished service professor in the Department of english language
and literature and the department of art at the University of Chicago and editor of the journal Critical inquiry.
Mitchell’s book Iconology is also available from the University of Chicago Press.
Contents :
List of illustrations
Acknowledgments
Introduction
xi
xiii
1
I. Picture theory
1. The pictorial turn
2. Metapictures
3. Beyond comparison : picture, text, and method
11
35
83
II. Textual pictures
4. Visible language : Blake's art of writing
5. Ekphrasis and the other
6. Narrative, memory, and slavery
111
151
183
III. Pictorial texts
7. Ut ictura theoria : abstract painting and language
8. Word, image, and object : wall labels for Robert Morris
9. The photographic essay : four case studies
213
241
281
IV. Pictures and power
10. Illusion : looking at animals lookind-g
11. Realism, irrealism, and ideology : after Nelson Coodman
329
345
V. Pictures and the public sphere
12. The violence of public art : Do the right thing
13. From CNN to JFK
371
397
Conclusion : some pictures of representation
Index
417
427
MITCHELL W.J.T.
What do pictures want ? : the lives and loves of images.
Chicago (Ill.) ; London : University of Chicago Press, 2005,
1 vol. (XXI-380 p.-16 p. de pl.). Notes bibliogr. Index.
ISBN 978-0-226-53248-6
MOND 419
Résumé :
Why do we respond so powerfully to the images and pictures we see in everyday life ? Why do we behave as
if pictures were alive, possessing the power to influence us, to persuade us, seduce us, or even lead us atray ?
According to W.J.T. Mitchell, we need to reckon with images not just as inert objects but as animated beings with
desires and drives of their own. What do pictures want ? highlights Mitchell’s profoundly influential thinking
on picture theory, ranging across the visual arts, literature, and mass media. Mitchell applies characteristically
brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments.
Opening new vistas in iconology and the emergent field of visual culture, he also considers the importance of
Dolly the sheep - who, as a clone, fulfills the ancient dream of creating a living image - and the destruction of
the World Trade Center on 9/11, which, among other things, signifies a new and virulent form of iconoclasm.
W.J.T. Mitchell is the Gaylord Donnelley Distinguished service professor in the Department of english language
and literature and in the Department of art history at the University of Chicago. He is the author or editor of
several books, including Picture theory, Iconology, and Landscape and power, all published by the University
of Chicago Press. He is also the editor of Critical inquiry.
Contents :
List of illustrations
Preface
Acknowledgments
ix
xiii
xix
Part one : Images
1. Vital signs, cloning terror
2. What do pictures want ?
3. Drawing desire
4. The surplus value of images
5
28
57
76
Part two : Objects
5. Founding objetcs
6. Offending images
7. Empire and objecthood
8. Romanticism and the life of things
9. Totemism, fetishim, idolatry
111
125
145
169
188
Part three : media
10. Addressing media
11. Abstraction and intimacy
12. What sculpture wants : placing Antony Gormley
13. The ends of american photography : Robert Frank as national medium
14. Living color : race, stereotype, and animation in Spike Lee's Bamboozled
15. The work of art in the age of biocybernetic reproduciton
16. Showing seeing : a critique of visual culture
201
222
245
272
294
309
336
Index
357
MORGAN David
The sacred gaze : religious visual culture in theory and
practice.
Berkeley [Calif.] ; Los Angeles [Calif.] ; London : University
of California Press, 2005, 1 vol. (XV-318 p.). Bibliogr. p. 305309. Index.
ISBN 978-0-520-24306-4
MOND 421
Résumé :
Amply illustrated with more than seventy images from diverse religious traditions, this masterful
interdisciplinary study provides a comprehensive and accessible resource for everyone interested in how
religious images and visual practice order space and time, communicate with the transcendent, and embody
forms of communion with the divine.
David Morgan is the Phyllis and Richard Duesenberg professor in christianity and the arts and professor
of humanities and art history at Christ College, Valparaiso University. He is the author of several
books, including Visual Piety (California, 1998) and Protestants and picture (1999), and coeditor with
Sally M. Promey of The visual culture of American religions (California, 2001).
Contents :
List of illustrations
Preface
Introduction
ix
xiii
1
Part one : Questions and definitions
1. Defining visual culture
2. Visual practice and the function of images
3. The covenant with images
25
48
75
Part two : Images between cultures
4. The violence of seeing : idolatry and iconoclasm
5. The circulation of images in mission history
115
147
Part three : The social life of pictures
6. Engendering vision : absent fathers and women with beards
7. National icons : bibles, flags, and Jesus in american civil religion
191
220
Conclusion
Notes
Select bibliography
Index
217
261
305
311
MOXEY Keith
The practice of theory : poststructuralism, cultural politics,
and art history.
Ithaca ; London : Cornell university press, 1994, 1 vol. (XV153 p.). Notes bibliogr. Index.
ISBN 978-0-8014-8153-6
MOND 434
Résumé :
Many art historians regard poststructuralist theory with suspicion ; some even see its focus on the political
dimension of language as hostile to an authentic study of the past. Keith Moxey bridges the gap between
historical and theoretical approaches with the provocative argument that we cannot have one without the
other. «If art history is to take part in the processes of cultural transformation that characterize our society», he
writes, «then its historical narratives must come to terms with the most powerful and influential theories that
currently determine the way in which we conceive of ourselves.
After exploring how the insights offered by deconstruction and semiotics change our understanding of
representation, ideology, and authorship, Moxey himself puts theory into practice. In a series of engaging
essays accompanied by twenty-eight illustrations, he first examines the impact of cultural values on Erwin
Panofsky’s writings. Talking a fresh look at work by artists from Albrecht Dürer and Erhard Schön to Barbara
Kruger and Julian Schnabel, he then examines the process by which the generic boundaries between «high»
and «low» art have helped to sustain class and gender differences. Making particular reference to the literature
on Martin Schongauer, Moxey also considers the value of art history when it is reduced to artist’s biography.
Moxey’s interpretation of the work of Hieronymus Bosch not only reassesses its intelligence and imagination,
but also brings to light its pragmatic conformity to elite definitions of artistic «genius». With his compelling
analysis of the politics of interpretation, Moxey draws attention to a vital aspect of the cultural importance of
history.
Keith Moxey is the author of books inluding Peasants, warriors and wives : popular imagery in the reformation.
He is professor of art history at Barnard College and Columbia University.
Contents :
List of illustrations
Introduction : History, theory, cultural politics
ix
1
Part one : cultural politics : theory
Introduction
Chapter one : Representation
Chapter two : Ideology
Chapter three : Authorship
23
29
41
51
Part two : cultural politics : practice
Chapter four : Panifsky's melancolia
Chapter five : The paradox of mimesis
Chapter six : Seeing through
Chapter seven : Making "genius"
65
79
99
111
Index
149
PAULICELLI Eugenia (ed.), CLARK Hazel (ed.)
The fabric of cultures : fashion, identity, and globalization.
London ; New York : Routledge, 2009, 1 vol. (XVI-219 p.).
ISBN 978-0-415-77543-4
MOND 427
Résumé :
Fashion is both public and private, material and symoblic, always caught within the lived experience and
provinding an incredible tool to study culture and history.
The fabric of cultures examines the impact of fashion as a manufecturing industry and as a culture industry
that shapes the identities of nations and cities in a cros-cultural perspective, within a global framework. The
collected essays investigate local and global economies, cultures and identities and the book offers, for the
first time, a wide spectrum of case studies which focus on a diversity of geographical spaces and places,
from global capitals of fashion such as New York, to countries less known or identifiable for fashion such as
contemporary Greece and Soviet Russia.
Contributors include : Valéria Brandini, Hazel Clark, Olga Gurova, Karen Tranberg Hansen, Ann Marie
Leshkowich, Christina H. Moon, Rachel Morris, Eugenia Paulicelli, Helena Cunha Ribeiro, Michiel Scheffer,
Jane Schneider and Michael Skafidas.
Highly illustrated and including essays from all over the world, The Fabric of cultures provides a comprehensive
survey of the latest interdisciplinary scholarship on fashion, identity and globalization.
Eugenia Paulicelli is professor of italian, comparative literature and women’s studies at Queens College
and the Graduate Center of the City university of New York. She is also co-director of the Graduate Center
Fashion Studies Concentration. Her recent publications include Fashion under fascism : beyond the black
shirt (2004), and her articles on fashion have appeared in the journals Fashion theory and Gender & history.
Hazel Clark is Chair of the Department of Art & Design Studies at Parsons (the New school of design), New
York. She is a design historian and theorist, with a specialist interest in fashion, design and cultural identity.
She is the author of The Cheongsam (2000) and co-editor, with A. Palmer, of Old clothes, new looks : second
hand fashion (2005).
Contents :
List of figures
Notes on contributors
Acknowledgements
ix
xi
xv
Introduction, Eugenia Paulicelli and Hazel Clark
1. From potlatch to wal-mart : courtly and capitalist hierarchies through dress, Jane Schneider
2. Dressing the nation : Indian cinema costume and the making of a national fashion, 19471957, Rachel Tu
3. Made in America : Paris, New York, and postwar fashion photography, Helena C. Ribeiro
4. Framing the self, staging identity : clothing and italian style in the films of Michelangelo
Antonioni (1950-1964), Eugenia Paulicelli
5. The art of dressing : body, gender, and discourse on fashion in Soviet Russia in the 1950s
and 1960s, Olga Gurova
6. Fashioning appropriate youth in 1990s Vietnam, Ann Marie Leshkowich
7. Youth, gender, and secondhand clothing in Lusaka, Zambia : local and global styles,
Karen Tranberg Hansen
8. Fashion design and technologies in a global context, Michiel Scheffer
9. Fabricating greekness : from fustanella to the glossy page, Michael Skafidas
10. Fashion Brazil : South American style, culture, and industry, Valéria Brandini
11. Fashioning "China style" in the twenty-first century, Hazel Clark
12. From factories to fashion : an intern's experience of New York as a global fashion capital,
Christina H. Moon
1
13
28
Index
41
53
73
92
112
128
145
164
177
194
211
SCHWARTZ Vanessa R. (ed.), PRZYBLYSKI Jeannene
M. (ed.)
The nineteenth-century visual culture reader.
New York ; London : Routledge, 2004, 1 vol. (XXIII405 p.). Collection In sight : visual culture. Notes bibliogr.
en fin de chapitre.
ISBN 978-0-415-30866-3
MOND 418
Résumé :
The nineteenth century is central to contemporary discussions of visual culture, as it saw the growth of new
visual technologies such as photography and cinema, and development of the modern city and consumer
societies. The editors of this Reader have brought together key writtings on this subject which focus on the
nineteenth century, suggesting that « modernity » rather than « Modernism » is a valuable way of conceiving
the changes particular to visual culture in this period. Taken together these articles advance not just knowledge
of the period but also the very consciousness of vision and visuality in this era.
The reader comprises the following sections, each with an introduction by the editors :
- Visual culture and disciplinary pratices
- Genealogies
- Technology and vision
- Practices of display and the circulation of images
- Cities and the built environment
- Visualizing the past
- Imagining differences
- Inside and out : seeing the personal and the political
Vanessa R. Schwartz is associate professor of history at the University of Southern California. She is the author
of Spectacular realities : early mass culture in fin-de-siècle Paris (1998) and co-editor, with Leo Charney, of
Cinema and the invention of modern life (1996).
Jeannene M. Przyblyski teaches in the graduate program at the San Francisco Art Institute and is executive
director of the San Francisco Bureau of Urban Secrets, an arts and urbanism think tank. She has published
widely on photography and cities.
Contents :
List of illustrations
Notes on contributors
Permissions
Preface by the editors
x
xiii
xvii
xxi
Part one : Visual culture and disciplinary practices
1. Visual culture's history : twenty-first century, interdisciplinary and its nineteenth-century
objects, Vanessa R. Schwartz and Jeannene M. Przyblyski
2. Complex culture, Margaret Cohen and Anne Higonnet
3. Visual culture : a useful category of historical analysis ?, Michael L. Wilson
15
26
Part two : Genealogies
Introduction to part two, Vanessa R. Schwartz and Jeannene M. Przyblyski
4. The painter of modern life (1863), Charles Baudelaire
5. Commodities and money (1867), Karl Marx
6. The dream-work (1900), Sigmund Freud
7. The metropolis and mental life (1903), Georg Simmel
8. The modern cult of monuments : its character and its origin (1928), Alois Riegl
9. Photography (1927), Siegfred Kracauer
10. The work of art in the age of mechanical reproduction (1936), Walter Benjamin
35
37
42
47
51
56
60
63
Part three : Technology and vision
Introduction to part three, Vanessa R. Schwartz and Jeannene M. Przyblyski
11. Panopticism, Michel Foucault
12. Precursors of the photographic portrait, Gisèle Freund
13. Techniques of the observer, Jonathan Crary
14. Panoramic travel, Wolfgang Schivelbusch
15. 'Animated pictures' : tales of the cinema's forgotten future, after 100 years of film, Tom
Gunning
Part four : Practices of display and the circulation of images
Introduction to part four, Vanessa R. Schwartz and Jeannene M. Przyblyski
16. The exhibitionary complex, Tony Bennett
17. The bourgeoisie, cultural appropriation, and the art museum in nineteenth-century France,
Daniel J. Sherman
18. On visual instruction, James R. Ryan
19. A new era of shopping, Erika Rappaport
Part five : Cities and the built environment
Introduction to part five, Vanessa R. Schwartz and Jeannene M. Przyblyski
20. The ringstrasse, its critics, and the birth of urban modernism, Carl E. Schorske
21. The view from Notre-Dame, T.J. Clark
22. Word on the streets : ephemeral signage in antebellum New York, David Henkin
23. Urban spectatorship, Judith Walkowitz
1
3
71
73
79
82
92
100
115
117
130
145
151
165
167
178
194
205
24. Electricity and signs, David Nye
25. Picture taking in paradise : Los Angeles and the creation of regional identity, 1880-1920,
Jennifer Watts
Part six : Visualizing the past
Introduction to part six, Vanessa R. Schwartz and Jeannene M. Przyblyski
26. Between memory and history : les lieux de mémoire, Pierre Nora
27. The illustrated history book : history between word and image, Maurice Samuels
28. Revolutionary sons, white fathers and creole difference : Guillaume Guillon-Lethière's
Oath of the ancestors (1822), Darcy Grimaldo Grigsby
29. Molding emancipation : John Quincy Adams ward's The freedman and the meaning of
the civil war, Kirk Savage
30. Staking a claim to history, Joy S. Kasson
Part seven : Imagining differences
Introduction to part seven, Vanessa R. Schwartz and Jeannene M. Przyblyski
31. The imaginary orient, Linda Nochlin
32. Painting the traffic in women, S. Hollis Clayson
33. From the exotic to the everyday : the ethnographic exhibition in Germany, Eric Ames
34. Bohemia in doubt, Marcus Verhagen
Part eight : Inside and out : seeing the personal and the political
Introduction to part eight, Vanessa R. Schwartz and Jeannene M. Przyblyski
35. Banners and banner-making, Lisa Tickner
36. The portière and the personification of urban observation, Sharon Marcus
37. "Baby's" picture is always treasured" : eugenics and the reproduction of whiteness in the
family photograph album
38. Psychologie nouvelle, Debora L. Silverman
Index
211
218
233
235
238
249
262
276
287
289
299
313
327
339
341
348
358
371
393
SMITH Marquard (ed.)
Visual culture studies.
Los Angeles ; London ; New Dehli [etc.] : SAGE, 2008,
1 vol. (XXII-239 p.). Bibliogr. en fin de chapitres. Index.
ISBN 978-1-4129-2369-9
MOND 433
Résumé :
Visual culture studies presents 13 engaging and detailed interviews with some of the most influential intellectuals
working today on the objects, subjects, media and environments of visual culture. Exploring historical and
theoretical questions of vision, the visual and visuality, this collection reveals the provocative insights of these
thinkers, as they have contributed in exhilarating ways to disturbing the parameters of more traditional areas
of study across the arts, humanities, and social sciences. In so doing they have key roles in establishing visual
culture studies as a significant field of inquiry.
Each interview draws out the interests and commitments of the interviewee to critically interrogate the past,
present and future possibilities of visual culture studies and visual culture itself. The discussions concentrate
on three broad areas od deliberation :
- the intellectual and institutional status of visual culture studies
- the histories, genealogies and archaeologies of visual culture and its study
- the diverse ways in which the experiences of vision, and the visual, can be articulated and mobilized to
political, aesthetic and ethical ends.
This book demonstrates the intellectual significance of visual culture studies and the ongoing importance of
the study of the visual.
Contributors include Mieke Bal, Giuliana Bruno, Susan Buck-Morss, Lisa Cartwright, Mark A. Cheetham,
Lennard J. Davis, Hal Foster, Paul Gilroy, Michael Ann Holly, Martin Jay, Nicholas Mirzoeff, W.J.T. Mitchell,
Keith Moxey, Laura Mulvey, Peggy Phelan, and Vivian Sobchack.
Marquard Smith is reader in visual and material culture at Kingston University, London, and editor-in-chief
of the Journal of visual culture.
Contents :
Preface and acknowledgements
The editor
Notes on contributors
Introduction : Visual culture studies : history, theory, practice
1. Visual culture, everyday life, difference, and visual literary, interview with Nicholas Mirzoeff
2. Mixing it up : the media, the senses, and global politics, interview with W.J.T. Mitchell
3. Globalization, cosmopolitanism, politics, and the citizen, Susan Buck-Morss in conversation
with Laura Mulvey and Marquard Smith
4. On the state of cultural studies, interview with Paul Gilroy
5. Disability studies, the humanities, and the limits of the visible, interview with Lennard J.
Davis
6. Naming, networks, and scientific regimes of vision, interview with Lisa Cartwright
7. Phenomenology, mass media, and being-in-the-world, interview with Vivian Sobchack
8. Performance, live culture and things of the heart, interview with Peggy Phelan
9. Cultural cartography, materiality and the fashioning of emotion, interview with Giuliana
Bruno
10. Visual studies, historiography and aesthetics, Mark A. Cheetham, Michael Ann Holly, and
Keith Moxey in conversation
11. That visual turn : the advent of visual culture, interview with Martin Jay
12. Polemics, postmodernism, immersion, militarized space, interview with Hal Foster
13. The object of visual culture studies, and preposterous history, interview with Mieke Bal
Index
vii
xviii
xix
1
17
33
49
67
86
103
115
131
144
166
182
189
206
229
STOICHITA Victor I.
L’effet pygmalion : pour une athropologie historique des
simulacres.
Genève : Droz, 2008, 1 vol. (320 p.). Collection Titre
courant ; 37. Notes bibliogr. Index.
ISBN 978-2-600-00537-1
EUR 731
Résumé :
L’Effet Pygmalion procède d’une incursion dans l’immense fortune littéraire, visuelle, audiovisuelle enfin,
du mythe fondateur de la première histoire de simulacres consignée par la culture occidentale. La légende
raconte qu’un sculpteur chypriote tombe amoureux de l’oeuvre qu’il façonne ; dans un élan de magnanimité,
les dieux décident de l’animer. Devenue, par la volonté divine, femme et épouse de son créateur, cette dernière
reste néanmoins un artefact qui, s’il est doué d’âme et de corps, n’en demeure pas moins un fantasme. Un
simulacre, précisément. Artifice privé de modèle, le simulacre ne copie pas un objet réel, il s’y projette plutôt
et l’escamote, il existe en soi. Ne procédant pas de la copie d’un modèle, n’étant nullement fondé sur la
ressemblance, le simulacre transgresse la mimésis qui domine la pensée artistique.
Ambitieux, l’ouvrage ne se satisfait pas d’une approche interdisciplinaire. Ainsi définit-il son objet critique non
par une succession de témoignages artistiques ou littéraires, mais par la conception même de la représentation,
le statut du modèle et de la copie. En ce sens, si un texte d’Ovide ou de Vasari, une miniature médiévale, une
statue vivante de la Renaissance, une peinture romantique, une photographie, un film et jusqu’à une poupée
Barbie sont convoqués par Victor Stoichita, c’est pour être examinés avec les mêmes principes critiques et
contribuer à un discours herméneutique sur la conception occidentale de l’image.
Le mythe de Pygmalion, parabole de l’infraction même de la représentaiton, de l’éviction de la mimésis et de
la déviation du désir, fonde une anthropologie de l’objet esthétique et donne à voir la feinte originelle dans
toute société captivée par les simulacres et ses leurres, telle que la nôtre.
Sommaires :
Remerciements
Introduction
7
9
Chapitre I. Modifications
1. L'os et la chair
2. Caresses
3. Rougeur
19
19
31
33
Chapitre II. Amplifications
1. La flèche
2. Pierres vivantes
3. Chants, trombes et cymbales
41
41
52
76
Chapitre III. Variations
1. Bonheurs et malheurs d'un modèle
2. Vive figure
89
92
108
Chapitre IV. Doubles
1. Hélène et l'eidôlon
2. Hélène et la statue
3. La statue parlante dans la "galerie" du Chevalier Marino
4. "Comme dans un vieux conte"
127
127
137
151
157
Chapitre V. La statue nerveuse
1. Le pas
2. La sculpture dans la peinture/la sculpture dans la sculpture
3. Noeuds
4. "... un fluide éthéré dans la pierre amollie a déjà pénétré"
173
173
190
209
221
Chapitre VI. Photo/Sculpture
1. "Fin de séance" (photographie et sculpture)
2. Montée du "très véritable fantôme" (photosculpture)
237
237
259
Chapitre VII. La copie originale
1. La relation pygmalionienne
2. Le chignon de Madeleine
3. Le visage de Judy
4. La transformation
267
267
272
275
282
En guise de conclusion : vingt thèses sur le simulacre
Annexe : Ovide, Les Métamorphoses, X, 243-297
Index
Table des illustrations
297
299
303
307
STREET Sarah
Costume and cinema : dress codes in popular film.
London ; New York (N.Y.) : Wallflower, 2001, 1 vol.
(112 p.). Collection Short cuts ; 9. Bibliogr. p. 109-112.
IBN 978-1-903364-18-3
MOND 448
Résumé :
Dress codes in popular film presents an overview of the literature on film costume, together with a series of
detailed case studies which highlight how costume is a key signifier in film texts. Sarah Street demonstrates
how costume relates in fundamental ways to the study of film narrative and mise-en-scène, in some cases
constituting a language of its own. In particular the book foregrounds the related issues of adaptation and
embodiment in a variety of different genres and films including The talented Mr Ripley, Desperately seeking
Susan and The Matrix.
Contents :
List of illustrations
Acknowledgements
Introduction : Changing texts
1
1. Titanic : dressing for disaster
2. The talented Mr Ripley : costuming identity
3. Desperately seeking Susan : textures of transformation
4. Wonderland : the embodiment of 'the real'
5. The Matrix : fashioning the future
13
35
55
73
85
Conclusion
101
Glossary
Bibliography
TILLEY Christopher (ed.), KEANE Webb (ed.),
KÜCHER Susanne (ed.) et al.
Handbook of material culture.
London ; Thousand oaks ; New Dehli [etc.] : SAGE
Publications, 2006, 1 vol. (XVII-556 p.). Bibliogr. en fin
de chapitres. Index.
ISBN 978-1-4129-0039-3
MOND 432
Résumé :
Material culture studies the relationship between persons and things in the past and in the present, in urban and
industrialized and small-scale societies across the globe.
The handbook of material culture provides a single comprehensive review of the field as it is today. These
chapters also look to the future and provide a guide to the possibilities for empirical research.
The handbook of material culture is divided into five parts :
- Part 1 maps material culture studies as a theoritical and conceptual field.
- Part 2 examines the relationship between material forms, the human body and the senses.
- Part 3 focuses on subject-object relations.
- Part 4 considers processes and transformations : things made, things exchanged, things consumed.
- Part 5 concerns the contemporary politics and poetics of displaying, representing and conserving material
and the manner in which this impacts on notions of heritage, tradition and identity.
The handbook charts an interdisciplinary field of studies that makes a unique and fundamental contribution to
an understanding of what it means to be human. It will be of interest to all who work in the social and historical
sciences, from anthropologists and archaeologists to human geographers and scholars working in heritage,
design and cultural studies.
Christopher Tilley is professor of material culture in the Department of Anthropology and Institute of
Archaeology, University College London.
Webb Keane is an associate professor in the Department of Anthropology at the University of Michigan,
Ann Arbord.
Susanne Küchler is reader in material culture studies in the Department of Anthropology at University College
London.
Mike Rowlands is professor of Anthropology and material culture at University College London.
Patricia Spyer is professor of anthropology at Leiden University.
Contents :
List of illustrations and tables
Notes on contributors
Introduction
viii
xi
1
Part I : Theoretical perspectives
Introduction, Christopher Tilley
1. In the matter of marxism, Bill Maurer
2. Structuralism and semiotics, Robert Layton
3. Phenomenology and material culture, Julian Thomas
4. Objectification, Christopher Tilley
5. Agency, biography and objects, Janet Hoskins
6. Scenes from a troubled engagement : post-structuralism and material culture studies,
Bjørnar Olsen
7. Colonial matters : material culture and postcolonial theory in colonial situations, Peter
van Dommelen
7
7
13
29
43
60
74
85
104
Part II : The body, materiality and the senses
Introduction, Patricia Spyer
8. Four types of visual culture, Christopher Pinney
9. Food, eating, and the good life, Judith Farquhar
10. Scent, sound and synaesthesia : intersensoriality and material culture theory, David
Howes
11. The colours of things, Diana Young
12. Inside and outside : surfaces and containers, Jean-Pierre Warnier
125
125
131
145
161
Part III : Subjetcs and objects
Introduction, Webb Keane
13. Cloth and clothing, Jane Schneider
14. Home furnishing and domestic interiors, Robert St. George
15. Vernacular architecture, Suzanne Preston Blier
16. Architecture and modernism, Victor Buchli
17. 'Primitivism', anthropology, and the category of 'primitive art', Fred Myers
18. Tracking globalization : commodities and value in motion, Robert J. Foster
19. Place and landscape, Barbara Bender
20. Cultural memory, Paul Connerton
197
197
203
221
230
254
267
285
303
315
Part IV : Process and transformation
Introduction, Susanne Küchler
21. Technology as material culture, Ron Eglash
22. Consumption, Daniel Miller
23. Style, design, and function, Margaret W. Conkey
24. Exchange, James G. Carrier
25. Performance, Jon P. Mitchell
26. Present to past : ethnoarchaeology, Paul Lane
325
325
329
341
355
373
384
402
173
186
27. Material culture and long-term change, Chris Gosden
Part V : Presentation and politics
Introduction, Mike Rowlands
28. Intellectual property and rights : an anthropological perspective, Marilyn Strathern
29. Heritage and the present past, Beverley Butler
30. Museums and museum displays, Anthony Alan Shelton
31. Monuments and memorials, Mike Rowlands and Christopher Tilley
32. Conservation as material culture, Diana Eastop
33. Collectors and collecting, Russel Belk
Index
425
443
443
447
463
480
500
516
534
WALKER John A., CHAPLIN Sarah
Visual culture : an introduction.
Manchester ; New York : Manchester university press ; New
York : Distributed exclusively in the USA by St. Martin’s
Press, 1997, 1 vol. (VIII-231 p.). Notes bibliogr. en fin de
chapitres. Index.
ISBN 978-0-7190-5020-6
MOND 431
Résumé :
This book is about the expanding realm of visual culture, which includes, amongst other things, the fields
of architecture, art, design, advertising, photography, film, television, video, theatre performance, computer
imagery and virtual reality. It is also about visual culture studies, a relatively new academic discipline, or
rather range of disciplines, that scholars employ to analyse visual artefacts.
Unlike many other texts on the same subject, Visual culture : an introduction foreground the «visual» and is
systematic and accessible. This book provides an overview of the subject that pays heed to the achievements
of both traditional and new theory and, via references, the reader is directed towards a large body of literature.
Walker and Chaplin discuss the concepts of «the visual» and of «culture», as well as : the field and origins of
visual culture studies ; coping with theory ; models of production and consumption ; institutions ; pleasure ;
the canon and concepts of value ; visual literacy and poetics ; modes of analysis ; culture and commerce, and
new technologies.
Intented as an introductory guide, this book is designed for undergraduates studying the history and theory of
fine arts, design and the mass media.
John A. Walker is reader in art and design history and Sarah Chaplin is a lecturer in architectural and design
theory at Middlesex University.
Contents :
Preface
Acknowledgements
Introduction
vi
viii
1
1. Concepts of 'culture'
2. The concept of 'the visual'
3. Visual culture as a field of study, and the origins of visual culture studies
4. Coping with theory
5. Production, distribution and consumption model
6. Institutions
7. Looks, the gaze and surveillance
8. Visual literacy and visual poetics
9. Modes of analysis
10. The pleasures of visual culture
11. The canon and concepts of value
12. Visual culture and commerce
13. New technologies
7
18
31
51
65
81
97
111
128
147
165
180
196
Appendix : Modular schemes
Index
217
219
WORKMAN Jane E., FREEDBURG Beth W.
Dress and society.
New York : Fairchild books ; Oxford, 2009, 1 vol.
(XVIII-380p.). Bibliogr. p. 319-344. Index.
ISBN 978-1-56367-626-0
MOND 413
Résumé :
Today’s diverse population demands an increasing quantity and variety of clothing appropriate for different
social situations. Understanding the societal expectations associated with dress is critical to a successful career
in fashion. Also critical to a successful career in fashion are research techniques to capture the history of
current and future trends in fashion. Dress and society fulfills these requirements for students pursuing careers
in the fashion industry. Jane Workman and Beth Freeburg present a sociological perspective on the way people
dress and a research perspective to help students develop an appreciation of the value of research skills in their
academic and professional careers. Analyzing dress as an individual social behavior enables students to draw
connections between their own livres and different styles of dress. Concepts such as gender, religion, race,
education, cultural norms, and violations of cultural norms are thoroughly discussed. Each chapter opens with
a headline from mass media and his followed by discussion questions for students to consider as they learn
about these topics. Chapters conclude with a summary, key terms, suggested readings, and research activities.
With these concepts and engaging pedagogical features, the research demonstrates practical application and
makes the content enjoyable and memorable for the students.
Contents :
Preface
xv
Chapter one : dress, society, and social control
From the headlines
Question to answer as you read
Sociological theories and concepts
Aspects of culture
Cultural categories
Cultural principles
The process of social control
Dress norms and the process of social control
Summary
Key terms and concepts
Suggested readings
Research activity 1.1 Native american material culture
Research activity 1.2 Dress and the first amendment
Research activity 1.3 Luddies
3
3
4
4
9
13
14
17
19
20
21
21
22
22
23
Chapter two : Dress, society, and the novice researcher
From the headlines
Questions to answer as you read
Useful research skills
Types of research
The research process
Quantitative research
Qualitative research
Mixed methods research
Summary
Key terms and concepts
Suggested readings
Research activity 2.1 Literature analysis
Research activity 2.2 Fashion count
25
25
26
26
28
30
32
40
43
45
45
46
46
47
Chapter three : The rules we live by : norms
From the headlines
Questions to answer as you read
Identifying norms
Aspects and variations of norms
Salience
Content
Authority
Origination
Realism
51
51
52
52
52
53
57
62
64
65
Acceptance
Properties
Application
Transmission
Sanctions
Interrelationship of norm aspects
Summary
Key terms and concepts
Suggested readings
Research activity 3.1 Fashion fads/trends/forecasting
Research activity 3.2 Dress norms
66
67
69
71
72
73
73
74
74
75
76
Chapter four : Research : dress codes, gender norms, group norms, and more
From the headlines
Questions to answer as you read
Dress codes
Gender norms
Body modification norms
Group norms
Body norms and the "size" body
Summary
Key terms and concepts
Suggested readings
Research activity 4.1 Literature analysis
Research activity 4.2 Occupational search on the O*Net
77
77
79
79
90
92
94
96
100
100
101
101
101
Chapter five : Violation of norms
From the headlines
Questions to answer as you read
Deviance and social control
Culture change
Location
Transmission of norms
Values and motives
Physical conditions
Environmental conditions
Demands on resources
Temporal incompatibilities between statuses
The normative system itself
Internalization
Summary
Key terms and concepts
Suggested readings
Research activity 5.1 Dress norms and New York
Research activity 5.2 Violations of dress norms
103
103
104
104
105
106
108
112
115
118
120
121
123
124
125
125
125
126
126
Chapter six : Tattooers, body piercers, cross-dressers, punks, goths, and more
From the headlines
Questions to answer as you read
Social class and violation of norms
Body modification norm violation
Gender norm violations
Subcultural styles as norm violations
Goth style
Summary
Key terms and concepts
Suggested readings
Research activity 6.1 Literature analysis
Research activity 6.2 Culture and dress norm violations
129
129
130
131
135
139
145
149
152
152
153
153
153
Chapter seven : recognition of norm violation : the fashion police
From the headlines
Questions to answer as you read
The fashion police
Who recognizes norm violations ?
What norm violations are recognized ?
When are norm violations recognized ?
Where are norm violations recognized ?
Why are norm violations recognized ?
Summary
Key terms and concepts
Suggested readings
Research activity 7.1 Egregious and Avant-Garde fashion
Research activity 7.2 Materialism
155
155
156
156
157
169
170
171
172
174
175
175
175
176
Chapter eight : Research about recognition of norm violations
From the headlines
Questions to answer as you read
Research about who is likely to recognize norm violations
Research about what norm violations are likely to be recognized
Research about when norm violations are likely to be recognized
Research about where norm violations are likely to be recognized
Research about why norm violations are likely to be recognized
Summary
Key terms and concepts
Suggested readings
Research activity 8.1 Literature analysis
Research activity 8.2 Bellwether clothing stores
177
177
178
178
187
189
191
193
194
195
195
195
196
Chapter nine : Reports of norm violations : spreading the word
From the headlines
Questions to answer as you read
Print sources of norm violation reports
Oral sources of norm violation reports
Summary
Key terms and concepts
Suggested readings
Research activity 9.1 Gossip and dress
Research activity 9.2 Comics strips, cartoons, and dress norm violations
197
197
198
198
207
211
211
212
212
213
Chapter ten : Reading and talking about norm violations
From the headlines
Questions to answer as you read
Analyzing print reports of norm violations
Analysing oral reports of norm violations
Summary
Key terms and concepts
Suggested readings
Research activity 10.1 Literature analysis
Research activity 10.2 Making and unmaking body problems
215
215
216
217
228
233
234
234
235
235
Chapter eleven : Response to norm violation : sanctions
From the headlines
Question to answer as you read
Aspects and variations of sanctions
Retribution
Source
Formality
Obtrusiveness
Magnitude
Severity
Pervasiveness : Quantity, duration, number of sanctioners
Interrelatedness of aspects
Summary
Key terms and concepts
Suggested readings
Research activity 11.1 Fat sanctions
Research activity 11.2 Childhood teasing
237
237
238
238
239
243
245
247
248
249
249
250
253
253
253
254
254
Chapter twelve : Sanctions in various settings
From the headlines
Question to answer as you read
Sanctions within the family
Sanctions within the school
255
255
257
257
260
Sanctions within the workplace
Summary
Key terms and concepts
Suggested readings
Research activity 12.1 Literature analysis
Research activity 12.2 Memories of teasing
269
272
272
273
273
273
Chapter thirteen : Enforcement of sanctions
From the headlines
Questions to answer as you read
Enforcement of sanctions and the process of social control
Context of a social interaction
Enforcement within the family context
Enforcement within the school context
Enforcement within the workplace context
Enforcement within the religious context
Enforcement within the government context
Enforcement within the community context
Effectiveness of sanctions
Enforcement of sanctions and contradictory support
Summary
Key terms and concepts
Suggested readings
Research activity 13.1 Enforcing court attire rules
Research activity 13.2 Enforcing workplace dress codes
275
275
276
276
278
279
281
282
284
286
287
290
292
293
293
293
294
294
Chapter fourteen : Research about enforcement of sanctions
From the headlines
Questions to answer as you read
Body modifications
Temporary modifications
Semipermanent and permanent modifications
Body supplements
Enforcement of dress norms by school officials
Enforcement of dress norms among refugee women
Summary
Key terms and concepts
Suggested readings
Research activity 14.1 Literature analysis
Research activity 14.2 Contexts of dress code enforcement
Research activity 14.3 High school student dress codes
295
295
297
298
298
302
306
311
313
316
316
316
317
317
318
References
Glossary
Index
Photo credits
319
345
361
377