9780271024721 - confronting images: questioning the ends of a certain history of art par didi-huberman, georges (26 résultats)
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Paperback. Etat : New. 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 represe…ntation 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.
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Etat : New. Presents arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. Num Pages: 336 pages, 18 illustrations. BIC Classification: ABA; ACB. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Unde…rgraduate. Dimension: 215 x 138 x 24. Weight in Grams: 448. . 2009. 1st Edition. Paperback. . . . .
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Edité par Pennsylvania State University Press, Pennsylvania, 2009
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Paperback. Etat : new. Paperback. 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, v…isual 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. Presents arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
Langue : anglais
Edité par Pennsylvania State University Press 2009-10-15, 2009
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Etat : New. Presents arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. Num Pages: 336 pages, 18 illustrations. BIC Classification: ABA; ACB. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Unde…rgraduate. Dimension: 215 x 138 x 24. Weight in Grams: 448. . 2009. 1st Edition. Paperback. . . . . Books ship from the US and Ireland.
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Paperback. Etat : New. 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 represe…ntation 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.
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Paperback. Etat : New. 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 represe…ntation 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.
Langue : anglais
Edité par Pennsylvania State University Press, Pennsylvania, 2009
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Paperback. Etat : new. Paperback. 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, v…isual 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. Presents arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
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Paperback. Etat : New. 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 represe…ntation 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.
Edité par Pennsylvania State University Press, 2009
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Etat : New. Presents arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky.Über den AutorGeorges Didi-Huberman is on the faculty of the Ecole des H.
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Taschenbuch. Etat : Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - 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.
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Taschenbuch. Etat : Neu. Confronting Images | Questioning the Ends of a Certain History of Art | Georges Didi-Huberman | Taschenbuch | Einband - flex.(Paperback) | Englisch | 2009 | Pennsylvania State University Press | EAN 9780271024721 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]…libri[dot]de | Anbieter: preigu Print on Demand.
