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Confronting Images: Questioning the Ends of a Certain History of
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Numero oggetto eBay:336090804059
Specifiche dell'oggetto
- Condizione
- Title
- Confronting Images: Questioning the Ends of a Certain History of
- ISBN
- 9780271024721
Informazioni su questo prodotto
Product Identifiers
Publisher
Pennsylvania STATE University Press
ISBN-10
0271024720
ISBN-13
9780271024721
eBay Product ID (ePID)
78475925
Product Key Features
Number of Pages
336 Pages
Language
English
Publication Name
Confronting Images : Questioning the Ends of a Certain History of Art
Publication Year
2009
Subject
Aesthetics, History / Renaissance, History / General
Type
Textbook
Subject Area
Art, Philosophy
Format
Trade Paperback
Dimensions
Item Height
0.9 in
Item Weight
15.9 Oz
Item Length
8.5 in
Item Width
5.5 in
Additional Product Features
Intended Audience
Scholarly & Professional
Dewey Edition
22
Reviews
"Art history, Didi-Huberman argues, has had to 'kill' the symptomatic image, deny its violence and its 'dissembling,' in order to preserve its true object, art. Confronting Images is arguably the most important book-length analysis of the conceptual foundations of the discipline, and critique of the discipline, in any language." --Christopher Wood,Yale University, &"Art history, Didi-Huberman argues, has had to 'kill&' the symptomatic image, deny its violence and its 'dissembling,&' in order to preserve its true object, art. Confronting Images is arguably the most important book-length analysis of the conceptual foundations of the discipline, and critique of the discipline, in any language.&" &-Christopher Wood, Yale University, "I cannot think of any more important book in the recent history of art. Confronting Images is just what the English-speaking art-historical community needs to help it out of the impasse of debates around 'cultural studies' and 'visual literacy.'" --James Elkins, School of the Art Institute of Chicago, "Though Devant l'image resembles The Pleasure of the Text in its central dialectic, it actually does what Barthes never did: it makes the essential move toward historicizing the text (or image) that builds representational failure into itself, looking for historical reasons both for a particular image's failure to represent, and for art history's own insensitivity or blindness to this aspect of depiction." --Norman Bryson Art Bulletin, "I cannot think of any more important book in the recent history of art. Confronting Images is just what the English-speaking art-historical community needs to help it out of the impasse of debates around 'cultural studies' and 'visual literacy.'" -James Elkins, School of the Art Institute of Chicago, &"I cannot think of any more important book in the recent history of art. Confronting Images is just what the English-speaking art-historical community needs to help it out of the impasse of debates around 'cultural studies&' and 'visual literacy.&'&" &-James Elkins, School of the Art Institute of Chicago, "I cannot think of any more important book in the recent history of art. Confronting Images is just what the English-speaking art-historical community needs to help it out of the impasse of debates around 'cultural studies' and 'visual literacy.'" --James Elkins,School of the Art Institute of Chicago, "Though Devant l'image resembles The Pleasure of the Text in its central dialectic, it actually does what Barthes never did: it makes the essential move toward historicizing the text (or image) that builds representational failure into itself, looking for historical reasons both for a particular image's failure to represent, and for art history's own insensitivity or blindness to this aspect of depiction." -Norman Bryson, Art Bulletin, "Though Devant l'image resembles The Pleasure of the Text in its central dialectic, it actually does what Barthes never did: it makes the essential move toward historicizing the text (or image) that builds representational failure into itself, looking for historical reasons both for a particular image's failure to represent, and for art history's own insensitivity or blindness to this aspect of depiction." --Norman Bryson, Art Bulletin, "Art history, Didi-Huberman argues, has had to 'kill' the symptomatic image, deny its violence and its 'dissembling,' in order to preserve its true object, art. Confronting Images is arguably the most important book-length analysis of the conceptual foundations of the discipline, and critique of the discipline, in any language." -Christopher Wood, Yale University, "Art history, Didi-Huberman argues, has had to 'kill' the symptomatic image, deny its violence and its 'dissembling,' in order to preserve its true object, art. Confronting Images is arguably the most important book-length analysis of the conceptual foundations of the discipline, and critique of the discipline, in any language." --Christopher Wood, Yale University, &"Though Devant l&'image resembles The Pleasure of the Text in its central dialectic, it actually does what Barthes never did: it makes the essential move toward historicizing the text (or image) that builds representational failure into itself, looking for historical reasons both for a particular image&'s failure to represent, and for art history&'s own insensitivity or blindness to this aspect of depiction.&" &-Norman Bryson, Art Bulletin
Illustrated
Yes
Dewey Decimal
701/.15
Synopsis
When the French edition of Confronting Images appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an "underside" in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the "science of iconology." To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud's concept of the "dreamwork," not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. Confronting Images also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer's Lacemaker., When the French edition of Confronting Images appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an "underside" in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the "science of iconology." To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud's concept of the "dreamwork," not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. Confronting Images also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer's Lacemaker ., When the French edition of Confronting Images appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an ......
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- c***c (226)- Feedback lasciato dall'acquirente.Ultimi 6 mesiAcquisto verificatoMy book arrived in good condition. Packaging was a rigid cardboard mailer, and it protected my book well. It was shipped in a reasonable amount of time, but I was still prompted to reach out to inquire further about it. Seller communication was very good, answering me within 24-hours. I was told shipping can take 9-15 days to happen... it arrived within 10 days after purchase. I would purchase from this seller again. Two thumbs up!
- a***h (68)- Feedback lasciato dall'acquirente.Mese scorsoAcquisto verificatoBook arrived as described, packed inside a cardboard envelope which I like because it protects the corners from damage in transit. Great price and arrived ahead of the estimated delivery date. I value book sellers who package this way to ensure the books arrive safely, will bookmark you guys for future book purchases.