Axe transversal

IRHiS
Cultures visuelles - Visual Studies
Acquisitions Bibliothque Georges Lefebvre

IRHiS- Institut de recherches historiques du Septentrion UMR 8529 universit de Lille 3- CNRS Btiment A Niveau Garage souterrain

ALLOA Emmanuel (d.) Penser l'image [Dijon] : les Presses du rel, 2010, 303 p. (Perceptions) ISBN 978-2-84066-343-0 C 1108

Rsum : Qu'est-ce qu'une image ? La multiplication prolifrante des images semble bien et c'est l son paradoxe inversement proportionnelle notre facult de dire ce qu'est rellement une image. Si notre interaction quotidienne avec les crans a fait disparatre certaines peurs archaques quant au pouvoir perturbateur des images, cette normalisation des rapports fait elle-mme cran une confrontation relle avec l'efficace des images. Prenant acte du fait que l'image n'est pas structure comme un langage, cet ouvrage se fait le tmoin des dbats actuels autour des logiques imaginales, notamment les Bildwissenschaften allemandes ainsi que les visual studies aux Etats-Unis. Que ce soit partir d'une perspective contemporaine ou encore depuis une position dlibrment anachronique, les diffrents essais forment ensemble un arsenal conceptuel permettant d'affronter de faon nouvelle la question de l'image et de son efficace. Une anthologie de textes de philosophes, de thoriciens et d'historiens de l'art (Boehm, Mondzain, Nancy, Coccia, Alloa, Belting, Bredekamp, Mitchell, Rancire, Didi-Huberman) qui tmoignent la fois de l'incidence de la question de l'image, de sa logique spcifique et de la transformation du champ visuel dans les savoirs contemporains, et de la varit de ses approches conceptuelles, de la prhistoire nos jours et dans diffrentes traditions de pense. Chercheur l'Universit de Ble au sein du Ple National de recherche eikones, Emmanuel Alloa enseigne la philosophie Ble ainsi que l'esthtique au Dpartement d'arts plastiques de Paris VIII.

Contents : Introduction Emmanuel Alloa : Introduction. Entre transparence et opacit ce que l'image donne penser I. LE LIEU DES IMAGES Gottfried Boehm : Ce qui se montre. De la diffrence iconique Marie-Jos Mondzain : L'image entre provenance et destination Jean-Luc Nancy : L'image : mimesis & methexis II. PERSPECTIVES HISTORIQUES Emanuele Coccia : Physique du sensible. Penser l'image au Moyen Age Emmanuel Alloa : De l'idolologie. Heidegger et l'archologie d'une science oublie Hans Belting : La fentre et le moucharabieh: une histoire de regards entre Orient et Occident III. LA VIE DES IMAGES Horst Bredekamp : La main pensante . L'image dans les sciences W.J.T. Mitchell : Que veulent rellement les images ? Jacques Rancire : Les images veulent-elles vraiment vivre ? IV. RESTITUTIONS Georges Didi-Huberman : Rendre une image Auteurs Illustrations 7

27 49 69

95 117 145

177 211 249

267 293 299

AUG Marc, DIDI-HUBERMAN Georges, ECO Umberto L'exprience des images Paris : INA Editions, 2011, 109-[3] p. (Les Entretiens de MdiaMorphoses) ISBN 978-2-86938-193-3 U 4 303

Rsum : Umberto Eco avec bonheur et humour, Marc Aug avec sa gnrosit et son sens de l'observation, Georges Didi-Huberman avec sa crativit et sa libert, nous offrent ici leurs expriences des images. C'est bien une pense sur les images en socit qu'ils nous racontent, chacun selon son parcours, chacun selon ses sciences humaines et sociales. La smiologie et la langue imparfaire des images pour Umberto Eco. L'anthropologie et ses multiples rivages pour Marc Aug. L'histoire et la philosophie pour dire la condition humaine qui se dessine sous les usages que nous faisons des images pour Georges Didi-Huberman. Les entretiens de MdiaMorphoses accueillent la parole et l'exprience d'auteurs singuliers. Pour penser les mdias et les problmatiques inhrentes leurs circulations dans les champs pluriels de nos cultures : leurs formations, leurs dformations, leurs traductions. Pour entendre des auteurs dans les registres cratifs de leurs recherches et ne jamais perdre de vue les horizons du politique. Pour confronter les mthodes et les terrains des sciences humaines et sociales aux fabriques du contemporain : ses pages, ses langages, ses images. Pour soustraire les crans de l'information et de la communication leurs tourdissantes simultanits.

Table des matires : Introduction L'exprience des images, Frdric Lambert La langue imparfaire des images par Umberto Eco, entretien avec Adeline Wrona et Frdric Lambert Le nom de ECO Les limites de l'entretien La langue parfaite des images L'image et ses textes, une question illustre par les frasques de Berlusconi Ecriture plurielle... ... critures de soi Smiologie, trivialit et quelques garements sur l'hymen Nous aimons Roland Barthes La question de l'interprtation Le faux No et palo La liste : un etctra viusel Le rivage des images par Marc Aug, entretien avec Frdric Lambert et Jocelyne Arquembourg La place de l'observateur Quand l'anthropologue devient son propre indigne ! L'auteur du texte et l'criture anonyme Le religieux et la croyance dans la socit du spectacle vnement et temps des socits Le particulier et l'universel La question des rcits L'ducation aux mdias La condition des images par Georges Didi-Huberman, entretien avec Frdric Lambert et Franois Niney tre devant Surgissement Regarder avec des mots Histoire de l'art, l'histoire comme art Image-symptme Montage Anachronisme Gnalogie Survivance L'actualit et l'intempestif Citation, contexte Images interdites, images malgr tout Dplier 5 9 11 13 15 18 22 24 25 28 31 35 39 42 49 53 55 58 66 67 71 74 76 81 83 84 85 87 90 92 94 96 98 100 102 104 106

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

Rsum : 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 critics 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 Barnes Nightwood, from the history of cinema to popular culture in Zaire. The essays in Part I, Dont 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 navet 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 Introduction, Mieke Bal Prelude : Dia-logic - A dialogue in images between Edwin Janssen and Janneke Lam, Janneke Lam Part I. Dont look now : visual memory in the present The finishing touch, Evelyn Fox Keller Vermeers women : shifting paradigms in midcareer, Nanette Salomon Le cinma daprs Lumire : 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 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 Barness 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 Part III. Method matters : reflections on the identity of cultural analysis Culture and critique, Johannes Fabian Cultural variety and metaphysical unity, Louis Dupr 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 Double afterwords Why interdisciplinary isnt enough, William P. Germano What is cultural studies ?, Jonathan Culler Notes Bibliography Index xi xv 1 15 23 29 44 60 75 102 122 137 143 151 189 203 219 229 235 255 268 287 303 325 327 335 351 367 385

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

Rsum : Mieke Bal is one of Europes 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 Bals 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 Bals 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 Bals 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

BANDRS OTO Maribel La moda en la pintura : Velzquez : 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

Rsum : Adems de ser un magnfico pintor, la importancia de Diego de Velzquez trasciende el mbito de la pintura para alzarse como cronista de su tiempo. A travs de su obra nos ha legado una valiosa y rica informacin sobre las costumbres, la moda o la alimentacin de la Espaa del siglo XVII. Su iconografia abarca todos los mbitos : ternas religiosos, escenas de la calle, personajes de la corte..., incluso el papado. La investigacin histrica multidisciplinar desarrollada por la autora se ha servido de la obra de Velzquez, pero tambin de la de los autores clsicos del siglo XVII (Baltasar Gracin, Tirso de Molina, Francisco de Quevedo...) para retratar ese intenso momento de la historia de Espaa, basndose en la idea de que Velzquez pintaba lo que vea, que era lo mismo que estos autores plasmaban en sus novelas. Acompaada de numerosas ilustraciones de la propia autora, esta obra nos introduce en los usos y costumbres de la poca. Maribel Bandrs Oto, investigadora histrica, 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 antropologa de la Universidad de Quito (Ecuador). Ligada al mundo de la moda como creadora, empresiaria y diseadora textil, es autora del Diccionario Larousse del vestido y la moda, publicado en 1998, que recibi un reconocimiento de la Real Academia Espaola a travs de Fernando Lazaro Carreter, y de La imagen del hombre profesional. Vestido, etiqueta y protocolo, publicado en 2002.

ndice : Introduccin I. Velzquez, cronista de su poca II. La moda y los usos en el siglo XVII segn los escritores de la poca Villanos y cortesanos El ideal de mujer Las mantillas y las tapadas El estrado Cmo vestan las mujeres ? Ropas de diario Ropas de vestir El verdugado El guardainfante El traje de corte El lujo y las pragmticas reales Cmo vestan los hombres ? La famosa golilla Las prendas atacadas Ropas orientales Los peinados El peinado de guardainfante El peinado fontanges Las pelucas Los peluqueros Los cosmticos 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 III. Cuadros costumbristas y religiosos. Etapa sevillana (1623-1629) Inmaculada concepcin, 1617 El vestido Fervor mariano de Felipe IV Los msicos, 1617 La vihuela El bodegn Los vestidos 13 15 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

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 alimentacin en la literatura de la poca La comida en la poca de Velzquez Las bebidas El tabaco IV La llegada a la corte. Los primeros retratos El retrato oficial El retrato real como signo de representacin Don Diego del Corral y Arellano, 1624 El vestido La beca La toga judicial Conde duque de Olivares, 1624 El vestido La capa Las rdenes militares Felipe IV, Hacia 1628 El vestido El guadamec Felipe IV Felipe IV y el teatro V. El primer viaje a Italia (1629-1630) El concepto de coleccionismo La reina Isabel de Borbn, 1630 El vestido El peinado Las joyas El abanico en Espaa Isabel de Borbn, una buena reina La reina Isabel de Borbn a Caballo, 1634-1635 El vestido Las joyas El peinado Cmo era la moda femenina en la corte de Francia ? Isabel de Borbn y los caballos El prncipe Baltasar Carlos con un enano, 1631

111 113 114 119 122 125 126 129 133 133 138 141

147 151 153 155 156 157 159 163 165 165 169 171 174 175 180

184 187 189 192 192 192 193 197 199 202 202 203 204 205

Los vestidos El traje infantil Los retratos con enanos VI. Los cuadros de caza para la torre de la parada El cardenal infante, 1632-1633 El vestido El arcabuz La devocin, 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 prncipe Baltasar Carlos, Cazador, 1635-1636 El vestido Cacera de jabales en el hoyo, 1635-1636 Los vestidos La rendicin de Breda, 1634-1635 El Palacio del Buen Retiro Historia de la rendicin Los trminos de la rendicin Las tropas mercenarias Los personajes Los vestidos El uniforme El encaje El sitio de Breda como obra de teatro El ejrcito y las levas de soldados, los tercios Las casa a la malicia Las armaduras, la fabricacin 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 Toisn de Oro VII. Segundo viaje a Italia (1649-1651) Inocencio X, 1650 El vestido

208 210 212

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

303 305

VIII. Los cuadros de la ltima etapa de su vida (1651-1660) La reina Mariana de Austria, 1652-1653 El vestido El peinado Las joyas La infanta Mara 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 nio Las hilanderas o la fbula 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 concesin del hbito de Santiago Los enanos Los enanos y los escritores de la poca El prncipe Felipe prspero, 1659 El vestido Las joyas La infanta Margarita de Austria, 1660 El vestido El peinado Las joyas Glosario Bibliografa

311 316 320 321 323 325 327 330 331 332 333 335 337 340 342 342 343 345 348 349 351 353 356 358 362 363 363 363 365 367 369 371 373 375 377 379 379 381 397

BARIDON Laurent Un atlas imaginaire : cartes allgoriques et satiriques Paris : Citadelles & Mazenod, 2011, 199 p. ISBN 978-2-85088-515-0 U 1 58

Rsum : Quiconque a rv en observant les nuages dans le ciel ou le contour des terres sur une mappemonde sait que l'imagination conduit parfois y percevoir des animaux, des personnages ou des visages. Reconnatre des images familires dans des formes inconnues est un phnomne courant. Il permet de relativiser l'tranget d'un objet et de lever une partie de l'incomprhensible qu'il suscite. Ds le XIVe sicle, aprs avoir tudi les portulants des gographes de son temps Opisinus de Canistris a dessin des cartes de la Mditerrane. Cdant son imagination drgle, il y faisait apparatre des personnages allgoriques et conjecturait la prsence de dmons dans le contour des littoraux. Plus tard, la Renaissance, la dcouverte de nouveaux mondes a rvl des territoires inconnus. Ces formes tranges et longtemps imprcises ont t le support d'une imagination cartographique que l'imprimerie a contribu diffuser par des cosmographies et des atlas. A partir de cette poque, la gographie de l'Europe devient l'enjeu d'une symbolique visuelle. Certaines cartes clbrent son unit et la reprsentent sous la forme d'une reine colossale. D'autres au contraire soulignent les dissensions et les conflits qui la divisent. Ces allgories politiques retrouvent parfois la faune et la flore symboliques de l'hraldique. La courbe de la cte des Pays-Bas est ainsi assimile l'chine d'un lion rugissant, symbole de la rsistance et de l'indpendance d'un territoire. Avec le dclin des monarchies et l'essor des nationalismes, les cartes deviennent plus souvent satiriques. On se moque volontiers des pays voisins et rivaux en caricaturant les contours sous les traits de personnages emblmatiques aux attitudes agressives. Ces images rencontrent un grand succs populaire durant les conflits qui dchirent l'Europe et le monde jusqu'au milieu du XXe sicle. Elles diffusent sous forme de jeux et de puzzles qui intressent aussi un public jeune. Le phnomne n'a pas disparu aujourd'hui car il est toujours li la propagande visuelle qui est l'oeuvre dans les conflits territoriaux et les luttes politiques. Les caricaturistes, les illustrateurs, mais aussi certains artistes contemporains dessinent encore ce type de cartographie. Cependant, leurs images inversent parfois le point de vue qui avait t adopt jusqu'alors. Dans les anciennes cartes, les formes gographiques taient composes de personnages ou de visages. Les nouvelles montrent plus frquemment un corps sur lequel s'inscrit une gographie relle ou fantaisiste. L'homme de la globalisation rgne sur un monde son chelle, unifi par des communications toujours plus rapides. Mais, grce ces cartes corporelles et mentales, c'est en lui-mme qu'il poursuit l'exploration des territoires inconnus de son imaginaire. Laurent Baridon est professeur d'histoire de l'art l'universit Lumire Lyon 2 et chercheur au sein de l'quipe "Art, imaginaire, socit" du Laboratoire CNRS LARHRA. Il a publi, en collaboration avec Martial Gudron, L'art et l'histoire de la caricature, en 2009 aux ditions Citadelles & Mazenod.

Contents : Introduction : Figures de la carte 1. L'imaginaire des cartes 2. Allgories de l'Europe 3. Emblmes et bestiaires 4. Dclin de l'hraldique, essor de la satire 5. Nouveaux emblmes, nouveaux publics 6. Physionomie des nationas, expressin des conflits 7. La Grande Guerre des cartes 8. La tradition des cartes politiques et satiriques 9. Anatomie des territoires 10. Frontires du soi Conclusion : La terre humaine Annexes Orientation bibliographique Index des noms 7 19 25 39 57 77 107 135 151 165 177 189 196 196 198

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

Rsum : 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 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 2. Explanation and understanding : visual culture and social science Introduction Explanation and understanding : science and social science Hermeneutic traditions Structural traditions Conclusion Further reading 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 4. Expression and communication Introduction Expression Auteur theory Psychoanalysis : unconscious expression Strenghts and weaknesses Conclusion Further reading x xi 1 1 3 4 6 11 12 12 12 15 16 16 17 18 19 19 21 29 33 38 39 41 41 42 48 54 61 63 64 64 66 74 77 83 87 87

5. Feminism : personal and political Introduction Feminism and understanding Feminism : personnel, objects, institutions and practices Strenghts and weaknesses Conclusion Further reading 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 7. Semiology, iconology and iconography Introduction The sign

89 89 91 94 108 112 113 115 115 118 120 122 124 129 132 134 139 140 143 143 146 149 152 159 164 166 168 168 171 180 184 192 193 194 194 201 207

Denotation and connotation Structure : narrative, syntagm and paradigm Strenghts and weaknesses Conclusion Further reading 8. Form and style Introduction Form and style : Clive Bell, Heinrich Wlfflin and Clement Greenberg Strenghts and weaknesses Dick Hebdige and Ted Polhemus Conclusion Further reading 9. Conclusion Hermeneutics and structure Bibliography Index

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

Rsum : 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 Ren Magritte. Focusing on douard Manets A bar at the Folies-Bergre, 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 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 Chapter 1. About interpretation : Ren Magritte Ren Magritte, The postcard Interpreting out Loud How does The postcard fit with other works by Magritte ? Suzi Gabliks Magritte Other scholarly interpretations of Magrittes work Magritte and everyday interpreters Summary and conclusions Chapter 2. Multiple interpretations of one work of art : douard Manets A bar at the Folies-Bergre douard Manet Manets Luncheon on the grass Manets Olympia Manets A bar at the Folies-Bergre Paris in the second half of the nineteenth century The Folies-Bergre, 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 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 xii xiv xv xiv xvii xvii xviii xviii xvix xvix xvix xxiii 1 2 3 6 13 19 30 35 38 39 40 41 43 43 44 45 46 47 48 48 49 52 56 57 64 68

Racially controversial art : Kara Walker and Michael Ray Charles Kara Walker Michael Ray Charles The controversy Conclusion 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 Scullys paintings An intentionally restricted vocabulary Conjunctions of opposites Scullys biography : natural and aesthetic Appreciating Scullys White robe Out loud Interpretations by teenagers Conclusion 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 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 Chapter 7. A sampler of interpretations Interpretations of Edward Hoppers paintings Who, what, when, where, why ?

75 77 78 82 84 87 87 88 88 90 93 96 99 100 101 103 105 107 108 111 113 119 122 124 129 129 137 139 140 148 151 153 154 155 155 159 160 162 163 163

Mark Strand on the paintings of Edward Hopper Cape cod evening, a short story by Ann Beattie A poem about Hoppers 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 McDonalds 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 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 Notes Bibliography Credits Index

164 166 172 173 179 179 180 181 184 188 189 192 195 197 198 199 200 204 205 206 208 209 215 215 216 217 217 218 219 220 225 226 227 229 241 249 251

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

Rsum : 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 4. Videos 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 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 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 : womens 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 knowltons PR war effort - Political advertising and public image - Images of Hitler - Image and group psychology - Conclusion ix xi 1

15

69

107

157

191

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 Conclusion Notes Bibliography Index

301

333 339 389 417

BARTHOLEYNS Gil, DITTMAR Pierre-Olivier, JOLIVET Vincent Image et transgression au Moyen ge 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

Rsum : Pourquoi une image choque-t-elle ? Une rponse s'labore au fil des pages autour du concept de montage : agencement des regards et des lieux, des figures et des temps. La mfiance croissante face aux images du mal, la naissance de l'motion pornographique, l'mergence du graffiti contestataire, la destruction d'images par l'autorit qui les a commandes, l'laboration savante de l'inimaginable : autant de phnomnes qui clairent la transformation du rapport aux images en Occident. Transgression et image forment ici un couple dont l'histoire est mise en perspective avec le prsent. Ce faisant, c'est la croissance en un pouvoir des images qui est dcrypte. Gil Bartholeyns, historien anthropologue, est chercheur l'Universit libre de Bruxelles Pierre-Olivier Dittmar, historien anthropologue, est chercheur l'EHESS Vincent Jolivet est diteur l'cole nationale des Chartes

Table des matires : Avant-propos. l'arrire de nos images Une manire de voir la transgression. Arguments I. Le drame des catgories Frontires de l'humanit. Portrait de l'homme en hybride. La socit contre elle-mme. Logique de la dfiguration. D'Adam la grenouille II. Modles, contre-modles Les limites de la dcence. Distinguer, disqualifier. Le mal exemplaire. La transgression positive. Le paradoxe chrtien de la transgression III. Montages normatifs Un espace subversif ? Images taboues. Les marges avec le centre. Nouveau territoire du sacr IV. L'preuve du temps Les images sauvages. Une culture du graffiti. Du sexe au sexuel. Le destin des images protectrices V. Montages transgressifs Des raisons de dtruire. Diables et pudibonds. Des montages transgressifs. Synthse VI. La transgression dpasse L'image verbale : prolifration descriptive et termes gnriques. Le visuel : surface et ornement. Transgression positive et thologie ngative pilogue. Une thique de l'image ? Le statut du mal. L'art de la transgression 9

21

47

75

99

127

151

169

BARTHOLEYNS Gil (dir.), DITTMAR Pierre-Olivier (dir.), GOLSENNE Thomas (dir.) et al. Adam et lAstragale : essais danthropologie et dhistoire sur les limites de lhumain Paris : ditions de la Maison des sciences de lhomme, 2009, 1 vol. (IX-390 p.). Notes bibliogr. Index. ISBN 978-2-7351-1218-0 C 1010

Rsum : Adam et lastragale, deux faces dune mme question : celle de lhomme et de son humanit. Un homme, dans la tradition occidentale, cest lvidence un fils dAdam, qui fut cr de toutes pices et dun coup par Dieu son image. Lhomme y est anim de raison, pour se distinguer de lanimal, mortel pour se distinguer des anges. Autant de dfinitions crationnistes de lorigine de lhomme : celui-ci existe demble et sa nature le spare radicalement de son environnement. Lastragale, cest ce petit os du pied prsent chez tous les primates et chez lhomme. Cest parce que lastragale humain forme un angle droit que lhomme peut se dplacer debout longtemps, librer ses mains, dvelopper son cerveau. Cet os minuscule, comme tant dautres critres, incarne une vision plus continuiste de lorigine de lhomme : lhomme est ici un animal parmi dautres. Ce nest que par lapprentissage dune culture spcifique, par lacquisition de certains comportement et valeurs, quil devient un humain. Face une vision simpliste de lhistoire de lide dhumanit, qui expliquerait en termes de progrs unilatral le passage dAdam lastragale, dune vision religieuse une vision matrialiste, ce livre rvle limbrication voire les tensions des deux modles travers les poques. Au lieu de dfinir ltre de lhumain en sappuyant sur les seules rfrences philosophiques ou drogmatiques, il interroge les discours et les pratiques qui ont dtermin et dterminent les limites de lhumain. Un tel questionnement demande une approche transversale, multidisciplinaire. Lhumanit mise lpreuve, en tant que valeur communautaire, principe dexclusion, modle normatif de comportement, tel est le fil conducteur de ces essais dhistoire, de philosophie, danthropologie et dthologie. LOccident mdival est ici leur centre de gravit. Car cest l quAdam, le chrtien, limage de Dieu, qui nous semble si tranger, videmment triomphe. Mais cest aussi cette poque que sont clairement poss un certain nombre de problmes qui rendront possible la pense de lastragale. Avec des essais de Francis Affergan, Agns Bellanger, Gil Bartholeyns, Claude Calame, Pierre-Olivier Dittmar, Thomas Golsenne, Misgav Har-Peled, Vincent Jolivet, Frdric Joulian, Maud Prez-Simon, Bertrand Prvost, Annamaria Rivera, jean-Jacques Vincensini.

Table des matires : Prface, par Jean-Claude Schmitt Introduction. Lhumain par ses limites, Gil Bartholeyns, Pierre-Olivier Dittmar, Thomas Golsenne, Vincent Jolivet, Misgav Har-Peled Prambule. Fabrications grecques de lhumain. Identits de lhomme civilis et culture des autres, Claude Calame Genre humain et civilisation des hommes dans la posie homrique Constitution du genre humain : une anthropopoisis potique Civilisation technique et civique in fieri Traits distinctifs de lhumain : qualits intellectuelles Pour conclure : distinctions internes au genre humain Adam Folie et renoncement soi. Lapparition du saint homme dans lOrient chrtien, Agns Bellanger Les aveux de la chair et le roncement soi Dfaire et dnoncer les oeuvres de la chair Retrouver la puret adamique des anges La rsistance de saint homme la normalisation humaine Lpilogue augustinien : la divergence entre lOrient et lOccident Entre le boeuf et lne. Rflexion sur la machine dialogique, Misgav Har-Peled Le boeuf et lne Le modle dialogique Jacob et sa La lecture chrtienne de Jacob et sa Retour lne et au boeuf Le nouvel Adam Lhomme au risque du vtement. Un indice dhumanit dans la culture occidentale, Gil Bartholeyns Nature et condition humaines La figure cumule : de la dmesure au dnuement Un tre social et double La plasticit (culturelle) de lhomme Lhomme ou lanimal vtu De lessence lhistoire Nature adamique et nature dchue. Une culture qui ne dit pas son nom, Vincent Jolivet Libido et sexe contre nature Lanimal, modle du comportement naturel Naturaliser la culture Animaliser la dviance v 1 19 20 25 30 34 37

45 47 54 61 71 81 87 88 91 92 94 95 96 99 102 105 113 117 123 129 137 139 143 146 149

Le propre de la bte et le sale de lhomme, Pierre-Olivier Dittmar Naissance de la bestialit Bestialit, historicit De la merveille la connaissance. Vocation anthropologique de la narration mdivale, Jean-Jacques Vincensini Est-il lgitime de porter sur la fiction mdivale, tout particulirement, un regard anthropologique ? Histoire littraire et culture mdivale Positivisme et potiques Lexplication anthropologique dans ses oeuvres Fonction symbolique, pense mythique et ralit de la connaissance Conqute du monde, enqute sur lautre et qute de soi. Alexandre le Grand au Moyen ge, Maud Prez-Simon Hommes sauvages et merveilles de lOrient dans les textes consacrs Alexandre Les historiens et romanciers de lAntiquit et de lAntiquit tardive Les romans dAlexandre au Moyen ge : entre rcriture et invention Explorer les marges de lhumain Le traumatisme originel dAlexandre : point de dpart de la qute La dmarche investigatrice dAlexandre Un hros mis en question Enquter sur lautre : des mthodes radicales En qute de soi : lhybridit fondamentale dAlexandre Conclusion Lastragale Lhomme est la mesure de toutes choses (ou comment lhumanisme de la Renaissance est fond sur deux malentendus), Thomas Golsenne Lhumanisme aujourdhui : lidologie du monde occidental Lhumanisme la Renaissance existe-t-il Une formule problmatique : lhomme est la mesure de toutes choses Protagoras et les sophistes Le mythe de la Renaissance et sa fonction pdagogique Alberti : thique et esthtique Nicolas de Cues et la thologie de lincommensurable Lhumanisme noplatonicien La parade amoureuse. Rituel rotique et vnement esthtique dans lItalie de la Renaissance, Bertrand Prvost Lhumain est-il encore un objet anthropologique ?, Francis Affergan Les obstacles, des concepts flous La culture Lidentit

153 155 164 173 175 180 182 185 191 195 196 196 199 203 204 205 211 211 215 217

223 223 226 227 229 236 237 250 255 263 279 282 282 284

La cause, la rgle et la raison Des infrences douteuses Des mthodes approximatives Les programmes de recherches Lanthropologie comme thorie de la description Lanthropologie entre un relativisme bien tempr et un universalisme interrogatif Des modles pour une troisime voie ? Humains et animaux : la construction de la nature et de la culture, de lidentit et de laltrit, Annamaria Rivera Le paradigme naturaliste et son dualisme constitutif Le cercle vicieux de lhumanisme occidental La bestialit des autres et la bestialit qui est en nous Dshumanisation et bestialisation : le racisme Non-humain primates, Frdric Joulian De la difficult de nommer Esscience Au commencement tait... Rsums Les auteurs Index des notions Index des noms Liste des illustrations

289 294 297 298 299 302 305 311 311 313 315 320 325 327 330 332 337 345 351 367 385

BARTHOLEYNS Alain (ed.), GOLSENNE Thomas (ed.), DIERKENS Alain (ed.) La performance des images. Bruxelles : Ed. de l'Universit de Bruxelles, 2010, 1 vol. (260 p.). Coll. Problmes d'histoire des religions ; 19. Notes bibliogr. ISBN 978-2-8004-1474-4 C 991

Rsum : L'image, avant de reprsenter, de signifier, agit et fait agir. La performance des images, dont ce livre entreprend l'exploration, est comprendre d'abord comme l'valuation de leur efficacit : quels sont les effets des images ? C'est ensuite leur agentivit : en quelle manire les images sont-elles des tres vivants ? C'est aussi leur performativit : comme il y a des actes de parole, il y a des actes d'image dont les modalits peuvent tre dtailles. Enfin, c'est leur puissance : que peut une image, dont un texte, par exemple, serait incapable ? L'image chrtienne tient ici une place part car, loin d'tre une simple "Bible des illettrs" soumise au rgne du texte, elle imprgne tous les aspects de la vie et de la pense des socits chrtiennes, depuis leurs fondements thologiques et anthropologiques - Dieu cra l'homme son image ; le Fils est l'image du Pre - jusqu'aux utilisations les plus diverses des objets visuels. Mais en Occident ce n'est pas seulement au Moyen ge que les images sont actives : ce livre est aussi consacr aux nouvelles formes de performances visuelles qui sont apparues avec la Renaissance ou la socit mass-mdiatique.

Sommaire : Note de l'diteur de la collection, Alain Dierkens Prologue. Images en acte et agir social, Jrme Baschet Une thorie des actes d'image, Gil Bartholeyns et Thomas Golsenne Agentivit Les images et le sacr, Jean-Claude Schmitt Miracles et images. Les relations entre l'image et le prototype cleste d'aprs quelques rcits des Xe-XIIIe sicles, Jean-Marie Sansterre Performances symboliques et non symboliques des images animales, Pierre-Olivier Dittmar Parure et culte, Thomas Golsenne Efficacit Des comptences changeantes. Petit essai sur l'volution des rles assigns aux images dans les retables romans, gothiques et renaissants, Brigitte d'Hainaut-Zveny Aura et standardisation des images flamandes de dvotion au tournant du XVe sicle, Valentine Henderiks Image et autorit au Bas Moyen ge : l'Allegoria della Commedia par Domenico di Michelino (1465), Elisa Brilli Performativit Performativit de l'image ?, Jean Wirth Les objets contre les symboles. Une sociologie chrtienne et mdivale du signe, Gil Bartholeyns Le tableau efficace. Rflexions sur la performativit de la peinture (religieuse), Bertrand Roug La lune est pour demain. La promesse des images, Andr Gunthert La construction des phnomnes ovnis par l'image : parasciences ou vulgarisation scientifique ?, Pierre Lagrange Puissance Des deux morts et trois naissances. Images de thtre et images pour le thtre la fin du Moyen ge, Corneliu Dragomirescu Image-action. La performance avec et entre les images : quelques exemples la fin du Moyen ge et aujourdh'ui, Chlo Maillet Quand voir fait chanter. Images et neumes dans le tonaire du ms. BNF latin 1118 : entre performance et performativit, Jean-Claude Bonne et Eduardo H. Aubert pilogue Les mots et les images, Irne 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

BARTHOLEYNS Gil, GOVOROFF Nicolas, JOULIAN Frdric (dir.) Cultures matrielles : anthologie raisonne 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

Rsum : Partant du constat qu'il n'existe ce jour aucun manuel en franais d'tude de la culture matrielle et des techniques prises sous l'angle de leurs dimensions sociales, ce livre propose de rpondre ce manque en rditant et commentant les articles les plus reprsentatifs de la revue Techniques & culture. Parmi plus de 500 parus depuis 1976, une trentaine d'articles ont t retenus pour composer une anthologie mthodique et illustre. Cet ouvrage prsent sous la forme de deux tomes indissociables est destin aux tudiants et aux chercheurs en anthropologie, sociologie, histoire, histoire de l'art, archologie, mais aussi tous ceux qui oeuvrent dans les domaines des techniques, du travail, de la communication ou de la psychologie. Ce spectre trs large reflte l'histoire de la revue, creuset d'ides et de mthodes testes au fil des ans sur des terrains ethnographiques et historiques les plus divers. Par sa forme, ce livre se dmarque des manuels universitaires qui prsentent des synthses sur une mthode ou une question particulire, ou encore des anthologies exhaustives consacres un sujet particulier. Ce choix a t guid par le double souci de donner lire des textes emblmatiques du domaine de l'anthropologie des techniques, dont certains parmi les plus fondamentaux, sont ce jour quasiment introuvables ; et de fournir un corpus lmentaire des fins pdagogiques.

Table des matires : Cultures matrielles 1 - Numro 54/55 - Anne 2010 Introduction Une anthologie en forme de manuel, Gil Bartholeyns, Nicolas Govoroff & Frdric Joulian (2010) I. Technologie culturelle Techniques et culture : les bases d'un programme de travail, Robert Cresswell (1976) L'tude des systmes techniques, une urgence en technologie culturelle, Pierre Lemonnier (1983) Hommage Andr Leroi-Gourhan, Jean-Franois Quilici-Pacaud (prsent par Pierre Lemonnier) (1987) Des ides pour observer, Franois Sigaut (1987) Tendance et analyse des documents matriels, Hlne Balfet (prsent par Olivier Gosselain) (1993) II. Du geste et de la parole Linguistique et technologie culturelle : l'exemple du mtier tisser vertical berbre, Claude Lefbure (1978) La transmission des savoir-faire : un objet pour l'ethnologie des techniques ?, Marie-Nolle Chamoux (1978) Les mots et les actes, Marie-Claude Mahias (1989) Qu'est-ce qu'un texte technique ?, Francesca Bray (1997) III. Dcrire l'objet et l'action Comment dcrire les objets techniques ?, Madeleine Akrich (1987) L'analyse praxologique. Composition, ordre et articulation d'un procs, Claudine de France (1983) Description du geste technique : quelles mthodes ?, 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 (prsent par Gil Bartholeyns) (1992) La formule de Mauss, Franois Sigaut (2002) Index

20 46 68 84 98

112 136 162 182

200 220 242 260

288 313 332 354 368

Table des matires : Cultures matrielles 2 - Numro 54/55 - Anne 2010 V. volution, exprimentation Comparaison d'une activit technique chez les hommes et chez les chimpanzs, Frdric Joulian & Paulette Roulon-Doko (1994) Systmes techniques de production lithique, Jean-Michel Geneste (1991) Construction et destruction des monuments mgalithiques, Claude Masset (1991) La roue pleine et ses drivs, Jean Spruytte (prsent par Franois Sigaut) (1985) VI. conomies matrielles et symboliques Retour aux modes de production, sans contrle philosophique, Geroges Guille-Escuret (2002) Le chasseur et son fusil en haute-Provence, Nicolas Govoroff (prsent par Frdric Joulian) (1993) De la collecte en milieu urbain chez les Mataco (Chaco argentin), Franois-Ren Picon (1998) Quand le rite devient technique. Sacrifice et abattage rituel dans le monde musulman, Pierre Bonte (1993) VII. Techniques du corps et esthtique Les premiers traits de danse au XVe sicle en Italie, Sylvie Garnero (1993) La mise au propre en architecture, Monique Eleb (1989) Du beau l'identit. Reprsentations touargues de l'expression esthtique, Catherine Hincker (2003) Les costumes du sud de la Laponie : organisation et dsorganisation d'un systme symbolique, Yves Delaporte (1988) VIII. Artefacts modernes, et aprs ? Film ou vido, rflexions sur la prennit d'une controverse technique, Jrme Bourdon (1990) La queue qui remue le chien, Paul Jorion (1994) Le savoir-prendre, Christian Bessy & Francis Chateauraynaud (1992) Faut-il tre rsolument amoderne ?, Jean-Luc Jamard (1992) Index

384 414 448 468

484 504 524 542

562 584 608 626

646 668 686 712 738

BELFANTI Carlo Marco, GIUSBERTI Fabio La moda Torino : G. Einaudi, 2003, XXXVI-897 p. Collection Storio d'Italia, Annali ; 19 ISBN 978-88-06-15628-2 ITA 156

Rsum : Nel corso degli ultimi cinquant'anni la moda divenuta un fenomeno sociale di portata vastissima, in grado di condizionare gusti, scelte e comportamenti dei consumatori di mezzo mondo - e, in effetti, nel gran parlare che si fa della globalizzazione dell'economia, si pu senz'altro affermare che la moda stata ed un potente veicolo di integrazione dei consumi. La presenza pervasiva della moda nella societ efficacemente testimoniata dall' attenzione che le dedicano i media, i quali non perdono occasione per documentare sfilate, novit stagionali, stranezze, particolarit uscite dalla virtuosa matita dei creatori. Ma spazio altrettanto significativo quello conquistato dalla moda nelle pagine economiche di quotidiani e settimanali, nonch nei periodici speciallizati nell'analisi economica. E se c' un paese che ha fatto della moda uno dei settori pi vitali dell'economia quello proprio l'Italia, che si imposta come la patria del buon gusto e della creativit, raggiungendo e superando un competitore temibile quale la Francia. Abbagliati da tale e tanta visibilit conferita dagli innumerevoli riflettori mediatici costantemente puntati sul mondo della moda si fatica a immaginare che non si tratta d'un fenomeno nuovo, tipico della nostra epoca - sebbene inusitate ne siano dimensioni e portata. I saggi raccolti in questo Annale si propongono proprio di illustrare come, da almeno cinquecento anni, la modia sia una componente significative del vivere sociale e come il ruolo e la funzione che essa ricopre nella societ attuale siano il frutto di un plurisecolare e cumulativo percorso di interazioni tra evoluzione del gusto, trasformazioni sociali, cambiamento economico e innovazioni tecnologiche.

Indice : Introduzione, di Carlo Marco Belfanti e Fabio Giusberti La moda Parte prima. Apparenza e rappresentazione Soffrire per ben comparire, di Claudia Pancino Oltre la pelle, di Michelle A. Laughran I gioielli e l'abito tra Medioevo e Liberty, di Paola Venturelli Il linguaggio del corpo, di Renata Ago Strategie dell'apparire, di Angela Ghirardi Le leggi suntuarie, di Maria Giuseppina Muzzarelli Vestire la vita, vestire la morte: abiti per matrimoni e funerali, XIV-XVII secolo, di Valeria Pinchera Estire la vita, vestire la morte: abiti per matrimoni e funerali, XVII-XX secolo, di Maria Canella Vestire in collegio, di Sergio Onger Parte seconda : Materali e confezione La lana, di Giovanni Luigi Fontana Il cotone, di Gianpiero Fumi Cuoio e pellicce, di Piero ventura Fibre chimiche, di Andrea Colli Il sarto, di Doretta Davanzo Poli L'abito usato, di Patricia Allerston Maglie e calze, di Carlo Marco Belfanti Storia sociale della calzatura, di Andrea Vianello Le origini del sistema moda, di Elisabetta Merlo La specificit della filiera italiana della moda, di Salvo Testa Parte terza. Diffusione della moda Le corti e i modi del vestire, di Marcello Fantoni La stampa di moda dal Settecento all'Unit, di Erica Morato La stampa di moda dall'Unit a oggi, di Rita Carrarini Le vetrine della moda, di Jonathan Morris Indice dei nomi XVII

5 43 83 117 149 185 221 261 285

319 397 441 483 523 561 583 627 667 699

737 767 797 835 869

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

Rsum : John Bergers 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 modles de lvolution et tradition de lhistoire naturelle. [Dijon] : les Presses du rel, 2008, 1 vol. (155 p.). Collection Oeuvres en socits. Srie Albums. Bibliogr. p. 137-152. Index. ISBN 978-2-84066-266-2 MOND 408

Rsum : Le darwinisme a consacr limage de larbre pour reprsenter lvolution des espces. Or, cette image impose une vision hirarchique et tlologique absente du raisonnement initial de Darwin. Dans une tude scrupuleuse des esquisses du pre de lvolutionnisme, lhistorien dart Horst Bredekamp montre que Darwin a prfr la mtaphore de larbre, limage du corail, de ses branches fragiles et de son dvelopement anarchique. Avec les coraux, Darwin a introduit dans sa thorie de lvolution naturelle une pice matresse issue de la tradition des cabinets de curiosits. Il a ainsi renou avec une vision ancienne de lquilibre naturel et lui a ajout la signification politique associ au XIXe sicle ces tres sous-marins : le pouvoir du nombre. La mtamorphose, au-del de ses enjeux esthtiques et politiques nest pas sans intrt pour les discussions dont larbre de la vie fait lobjet dans la biologie volutionniste. Historien dart et philosophe, Horst Bredekamp est professeur lUniversit Humboldt de Berlin et permanent fellow du Wissenschaftskolleg de la mme ville. Il a t successivement visiting member lInstitute for advanced studies de Princeton, Research scholar au Getty research Institute et visiting scholar au Collegium de Budapest. Plusieurs de ses oeuvres ont t traduites en franais, notamment : Le football florentin. Les jeux et le pouvoir la Renaissance, Paris, 1995 ; La nostalgie de lantique. Statues, machines et cabinets de curiosits, Paris, New York et Amsterdam, 1996 ; Les stratgies visuelles de Thomas Hobbes ; Le Lviathan, archtype de lEtat moderne : illustrations des oeuvres et portraits, Paris, 2001.

Sommaire : Prologue La trouvaille (1834) De larbre au corail (1837) Le modle de larbre Les premires esquisses Le modle cartographique Les alternatives de Strickland (1840) Critique des mtaphores De larbre la carte Le modle cartographique Des esquisses de cercles au diagramme (1851-1858) Les arcs de cercle La rponse Wallace La prcision du premier modle Le tableau de lorigine des espces La forme La lacune smantique Lvolution comme corail Lhistoire naturelle du corail Lart de la mtamorphose Le culte du corail et les aquariums Limage darwinienne du corail comme artiste Lvolution et le problme de la beaut Le chne de Haeckel Les limites des arbres Loeil de labondance Conclusion Bibliographie Rfrences des illustrations Index 5 9

15 26 31

49 53 55

59 66 75

87 91 95

103 109 113

121 125 129 133 137 153 154

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

Rsum : 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, Rene 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-sicle socialism and Downcast eyes : the denegration of vision in twentieth century french thought.

Contents : Acknowledgments Introduction 1. Vision in context : reflections and refractions, Martin Jay 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 : Holbeins 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 Part two : Contemporary perspectives 7. Division of the gaze, or, remarks on the color and tenor of contemporary theory, Stephen Melville Feminism, nationspace 8. Imaginary identity : space, gender, nation, Helga Geyer-Ryan 9. Illuminating passion : irigarays 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, Rene C. Hoogland 12. The homosocial gaze according to Ian McEwans The comfort of strangers, Ernst van Alphen Film/art : redefinitions 13. Others others : spectatorship and difference, Irit Rogoff 14. Father, cant you see im filming ?, Parveen Adams Conclusion 15. The contexts of vision from a specific standpoint, Teresa Brennan Contributors Index v

15 29 45 63 83

101

117 127

139 155 169

187 203

217 231 233

BRUZZI Stella Undressing cinema : clothing and identity in the movies London : Routledge, 1997, XXI-226 p. Filmogr. p. 204-207. Bibliogr. p. 208-216. Index. ISBN 0-415-13957-0 MOND 506

Rsum : From Audrey Hepburn in Givenchy to sharp-suited gangster in Tarantino movies, clothing is central to cinema. In Undressing cinema, Stella Bruzzi explores how, far from being mere accessories, clothes are key elements in the construction of cinematic identities, and she proposes new and dynamic links between the cinema, fashion and costume history, gender, queer theory and psychoanalysis. Bruzzi uses case studies drawn from contemporary popular cinema to reassess established ideas about costume and fashion in cinema, and to challenge conventional interpretations of how masculinity and feminity are constructed through clothing. Her wide-ranging study encompasses : - haute couture in film and the rise of the movie fashion designer, from Chanel to Gaultier - the eroticism of period costume in such film as The Piano and The Age of Innocence - clothing the modern femme fatale in Single White Female, Disclosure and The Last Seduction - generic male chic in Goodfellas, Reservoir dogs and Leon - pride, costume and masculinity in blaxploitation films, Boyz N the Hood and New Jack City - drag and gender confusion in cinea, from the unerotic cross-dressing of Mrs Doubtfire to the eroticised ambiguity of Orlando Stella Bruzzi is a lecturer in film at Royal Holloway, Univeristy of London. She has published widely in the areas of cinema and cultural studies and is a regular cotnributo to Sight and Sound.

Contents : Acknowledgements Introduction Part I : Dressing up 1. Cinema and haute couture : Sabrina to Pretty woman, Trop belle pour toi !, Prt--porter 2. Desire and the costume film : Picnic at hanging rock, The age of innoncence, The piano Part II : Gender 3. The instabilities of the franco-american gangster : Scarface to Pulp Fiction, Casino, Leon 4. The screen's fashioning of blackness : Shaft, New Jack City, Boyz N the Hood, Waiting to Exhale 5. Clothes, power and the modern femme fatale : The Last Seduction, Disclosure, Single White Female Part III : Beyond gender 6. The comedy of cross-dressing : Glen or Glenda, Mrs Doubtfire, The adventures of Priscilla, Queen of the Desert 7. The erotic strategies of androgyny : The Ballad of Little Jo, The Crying Game, Orlando Notes Fimography Bibliography Index xi xiii

3 35

67 95 120

147 173 200 204 208 217

BRYSON Norman (ed.), HOLLY Michael Ann (ed.), MOXEY Keith (ed.) Visual theory : painting and interpretation Cambridge : Polity Press, 1991, 1 vol. (IX-286 p.). Notes bibliogr. Index. ISBN 978-0-7456-0660-6 C 1085

Rsum : In recent years there has been a growing interest in problems of theory and method in the field of art history. Semiology, phenomenology, feminism, analytical philosophy and marxism have all contributed to a lively debate among art historians and have helped to stimulate new research. This volume draws together some of the authors who have been most prominent and influential in recent methodological debates and enables them to develop their views. The contributions include Norman Bryson on semiology and the limits of meaning ; Arthur C. Danto on description and pictorial perception ; Rosalind Krauss on the reception of recent french critical theory ; Linda Nochlin on gender and power ; Michael Podro on depiction ; David Summers on image and metaphor ; and Richard Wollheim on the role of the spectator. Each of these major contributions is critically discussed by a number of other scholars in the field. The result is a unique and engaging volume which will establish itself as a key reference point for the discussion of art historical method. It will be of interest not only to students of art history and the visual arts, but also to students in literature, cultural studies and the humanities generally. Norman Bryson is Professor of Art History at Harvard University. Michael Ann Holly teaches in the Department of Art and Art History at the University of Rochester. Keith Moxey teaches in the Department of Art History, Barnard College at Columbia University.

Contents : List of illustrations Preface Acknowledgements Introduction 1. Women, art, and power, Linda Nochlin Commentary : Will (S)he stoop to conquer ? Preliminaries toward a reading of Edward Hopper's Office at Night, Ellen Wiley Todd Commentary : Linda Nochlin's Women, Art, and Power, Ludmilla Jordanova 2. Semiliogy and visual interpretation, Norman Bryson Commentary : Reflection on Bryson, Stephen Melville 3. Using language to do business as usual, Rosalind Krauss Commentary : The politics of arbitrariness, Norman Bryson 4. What the spectator sees, Richard Wollheim Commentary : Painting after art ? Comments on Wollheim, Flin Schier Commentary : Richard Wollheim's 'seeing-In' and 'representation', Martin Kelly 5. Depiction and the golden calf, Michael Podro Commentary : Poussin and the rhetoric of depiction : a response to Michael Podro, Timothy Erwin 6. Description and the phenomenology of perception, Arthur C. Danto Commentary : Minding the animals -or, can pigeons be hopeful ?, Martin Donogho Commentary : The aesthetics of indiscernibles, Garry Hagberg 7. Real metaphor : towards a redefinition of the 'conceptual' image, David Summers Commentary : On the critical value of categorie : a response to David Summers, David Radcliffe Commentary : Real artefacts : a comment on 'conceptual art', Shelly Errington Notes on contributors Index vii x xi 1 13 47 54 61 74 79 95 101 151 158 163 190 201 216 221 231 260 265 274 276

BRYSON Norman (ed.), HOLLY Michael Ann (ed.), MOXEY Keith (ed.) Visual culture : images and interpretations Middletown : Wesleyan University Press, 1994, 1 vol. (XXIX-429 p.) ISBN 0-8195-6267-X C 1087

Rsum : This anthology collects the work of fifteen lecturers who contributed to a National Endowment for the Humanities Summer Institute entlited "Theory and interpretation in the visual arts", held at the University of Rochester during july and august 1989. Lecturers, organizers, participants, and visitors met daily for six weeks to chart, discuss, and argue over the impact of contemporary theory on the discipline of art history. We came together from an assortment of academic departments (art history, studio arts, philosophy, history, film studies, classics, theater, anthropology, psychology, and literary studies) and from a variety of educational institutions, from technical schools to graduate programs. Especially important to the organizers of the institute was the mix of geographical areas and of international perspectives, for we were concerned about the potential isolation of American art history from European cultural studies. This was the second time such an institute was held, and the second time the editors collected the lectures given for the occasion. Visual theory : painting and interpretation (edited by Norman Bryson, Michael Ann Holly, and Keith Moxey) was published in 1991 by Polity Press in Britain and Harper Collins in the United States as a result of the first symposium, held at Hobart and William Smith Colleges in 1987. All of the essays anthologized in that volume were "theoretical" ; most concentrated on questions arising from debates in analytic philosophy and phenomenology. In this second anthology, we focus on the impact of recent poststructuralist thinking on traditional art historical analysis. Both institutes were designed to encourage discussion of theoretical perspectives in art history. The organizers of the two symposia felt that not many other forums existed for debating the issues that have enlivened so many other fields in the humanities and social sciences, from history, philosophy, and anthropology to literary studies. We simply wanted to see what would happen to the conception of the discipline as a discipline if theoretical issues were brought to the fore. Norman Bryson is Professor of Fine Arts at Harvard University and author of Looking at the overlooked : four essays on still life painting (1990). Michael Ann Holly is Associate Professor of Art History, University of Rochester, and author of Panofsky and the Foundation of Art History (1984). Keith Moxey, Professor of Art History at Barnard College and Columbia University, is author of Peasants, warriors, and wives : popular imagery in the reformation (1989).

Contents : List of illustrations Preface Introduction Feminism/Foucault - Surveillance/sexuality, Griselda Pollock Men's work ? Masculinity and modernism, Lisa Tickner The discontinuous city : picturing and the discursive field, John Tagg Hieronymus Bosch and the "World upside down" : the case of The garden of earthly delights, Keith Moxey Observations on style and history in french painting of the male nude, 1785-1794, Thomas Crow The renunciation of reaction in Girodet's Sleep of endymion, Whitney Davis The theater of Revolution : a new interpretation of Jacques-Louis David's Tennis court oath, Wolfgang Kemp Gricault and "masculinity", Norman Bryson Strategies of identification, Ernst Van Alphen Fassbinder and Lacan : a reconsideration of gaze, look, and image, Kaja Silverman Feminism, psychoanalysis, and the study of popular culture, Constance Penley The ecology of images, Andrews Ross Wlfflin and the imagining of the baroque, Michael Ann Holly Dead flesh, or the smell of painting, Mieke Bal Form and gender, David Summers List of contributors Index vii xiii xv 1 42 83 104 141 168 202 228 260 272 302 325 347 365 384 413 417

BYERS William The blind spot : science and the crisis of uncertainty Princeton : Princeton university press, 2011, XII-208 p. ISBN 978-0-691-14684-3 MOND 496

Rsum : In today's unpredictable and chaotic world, we look to science to provide certainty and answers - and often blame it when things go wrong. The blind spot reveals why our faith in scientific certainty is a dangerous illusion, and how only by embracing science's inherent ambiguities and paradoxes can we truly appreciate its beauty and harness its potential. Crackling with insights into our most perplexing contemporary dilemmas, from climate change to the global financial meltdown, this book challenges our most sacredly held beliefs about science, technology, and progress. At the same time, its shows how the secret to better science can be found where we least expect itin the uncertain, the ambiguous, and the inevitably unpredictable. William Byers explains why the subjective element in scientific inquiry is in fact what makes it so dynamic, and deftly balances the need for certainty and rigor in science with the equally important need for creativity, freedom, and downright wonder. Drawing on an array of fascinating examples - from Wall Street's overreliance on algorithms to provide certainty in uncertain markets, to undecidable problems in mathematics and computer science, to Georg Cantor's paradoxical but true assertion about infinity - Byers demonstrates how we can and must learn from the existence of blind spots in our scientific and mathematical understanding. The blind spot offers an entirely new way of thinking about science, one that highlights its strenghts and limitations, its unrealized promise, and, above all, its unavoidable ambiguity. It also points to a more sophisticated approach to the most intractable problems of our time. William Byers is professor emeritus of mathematics and statistics at Concordia University in Montreal. He is the author of How mathematicians think : using ambiguity, contradiction, and paradox to create mathematics (Princeton).

Contents : Preface : The revelation of uncertainty 1. The blind spot 2. The blind spot revealed 3. Certainty or wonder ? 4. A world in crisis ! 5. Ambiguity 6. Self-reference : the human element in science 7. The mystery of number 8. Science as the ambiguous search for unity 9. The still point 10. Conclusion : living in a world of uncertaintly Acknowledgments Notes References Index vii 1 17 38 59 69 91 106 124 156 179 187 189 197 203

CHEETHAM (ed.), HOLLY Michael Ann (ed.), MOXEY Keith (ed.) The subjects of art history : historical objects in contemporary perspective Cambridge : Cambridge University Press, 1998, 1 vol. (XII336 p.) ISBN 978-0-521-45490-2 MOND 492

Rsum : The subjects of art history provides an introduction to the historiography and theory of the history of art. Examining a variety of theoretical approaches, the editors and contributors to this volume provide interpretations of the history and contemporary relevance of such important methodologies as semiotics, phenomenology, feminism, gay and lesbian studies, museology, and computer applications, among other topics. Each chapter, specially commissioned for this volume, gives a fresh perspective on the topic by demonstrating how a particular approach can be applied to the understanding and interpretation of specific works of art. This volume will be a timely contribution to the current debate on the theory and practice of art history.

Contents : List of illustrations List of contributors Introduction, Mark A. Cheetham, Michael Ann Holly, and Keith Moxey Part one : Philosophy of history and historiography 1. Immanuel Kant and the Bo(a)rders of art history, Mark A. Cheetham 2. Art history's hegelian unconscious : naturalism as nationalism in the study of early netherlandish painting, Keith Moxey 3. Spirits and ghosts in the historiography of art, Michael Ann Holly Part two : The subjects and objects of art history 4. Seeing signs : the use of semiotics for the understanding of visual art, Mieke Bal 5. The politics of feminist art history, Patricia Mathews 6. "Homosexualism", gay and lesbian studies, and queer theory in art history, Whitney Davis 7. Phenomenology and the limits of hermeneutics, Stephen Melville 8. Photo-logos : photography and deconstruction, David Phillips 9. The work of art and its beholder : the methodology of the aesthetic of reception, Wolfgang Kemp 10. Between art history and psychoanalysis : I/Eye-ing Monet with Freud and Lacan, Steven Z. Levine 11. Passing between art history and postcolonial theory, James D. Herbert Part three : Places & spaces for visual studies 12. Art history and museums, Stephen Bann 13. Museums and galleries as Sites for artistic intervention, Gerald McMaster 14. Art history's significant other... film studies, Bruce Barber 15. Interpreting the void : architecture and spatial anxiety, Anthony Vilder 16. Computer applications for art history, William Vaughan Index vii ix 1

6 25 52

74 94 115 143 155 180 197 213

230 250 262 288 308 329

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

Rsum : 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 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 Bibliography Index ix 1 25 67 97 137 151 163

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

Rsum : 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 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 Bibliography Illustration credits Index ix 1 11 81 149 281 361 371 381 383

DASTON Lorraine Things that talk : object lessons from art and science New York : Zone books, 2004, 1 vol. (447 p.). Bibliogr. p. 375-428. Index. ISBN 978-1-89095-144-3 MOND 490

Rsum : Imagine a world without things. There would be nothing to describe, explain, remark on, interpret, or complain about. Without things, we would, in short, stop speaking ; we would become as mute as objects are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without losing their gritty materiality. Things that talk aims to escape the opposition between positivist facts and cultural reading s that bifurcates the current historiography of both art and science. Confronting this impasse from an interdisciplinary perspective, each author singles out one object for close attention : a Bosch drawing, the freestanding column, a Prussian island, soap bubbles, ealry photographs, glass flowers, Rorschach blots, newspaper clippings, paintings by Jackson Pollock. Each object is revealed to be a node around which meanings accrete thickly. But not just any meanings : what these things are made of and how they are made shape what they can mean. Neither the pure texts of semiotics nor the brute objects of positivism, these things are satured with cultural significance. Things become talkative when they fuse matter and meaning ; they lapse into speechlessness when their matter and meanings no longer mesh. Each of the nine evocative objects examined in this book had its historical moment, when the match of this thing to that thought seemed irresistible. At such junctures, certain things become objects of fascination, association, and enless consideration. Things that talk fleetingly realizes the dream of a perfect language, in which words and world merge. Essays by Lorraine Daston, Peter Galison, Anke te Heesen, Caroline A. Jones, Joseph Leo Koerner, Antoine Picon, Simon Schaffer, Joel Snyder, and M. Norton and Elaine M. Wise.

Contents : Preface : Things that talk, Lorraine Daston Introduction Speechless, Lorraine Daston Chapter I : Bosch's equipment, Joseph Leo Koerner Chapter II : The freestanding column in eighteenth-century religious architecture, Antoine Picon Chapter III : Staging an Empire, M. Norton Wise and Elaine M. Wise Chapter IV : A sience whose business is bursting : soap bubbles as commodities in classical physics, Simon Schaffer Chapter V : Res Ipsa Loquitur, Joel Snyder Chapter VI : The glass flowers, Lorraine Daston Chapter VII : Image of self, Peter Galison Chapter VIII : News, paper, scissors : clippings in the sciences and arts around 1920, Anke te Heesen Chapter IX : Talking pictures : Clement Greenberg's Pollock, Caroline A. Jones Notes Contributors Index 7 9 27 67 101 147 195 223 257 297 329 375 429 433

DASTON Lorraine, GALISON Peter Objectivity New York : Zone books, 2010, 1 vol. (501 p.-[46] p. de pl.). Notes bibliogr. Index ISBN 978-1-890951-79-5 MOND 497

Rsum : Objectivity has a history, and it is full of surprises. Lorraine Daston and Peter Galison chart the emergence of objectivity in the mid-nineteenth-century sciences - and show how the concept differs from alternatives, truth-to-nature and trained judgment. This is a story of lofty epistemic ideals fused with workaday pratices in the making of scientific images. From the eighteenth through the early twenty-first centuries, the images that reveal the deepest commitments of the empirical sciences - from anatomy to crystallography - are those featured in scientif atlases : the compendia that teach practitioners of a discipline what is worth looking at and how to look at it. Atlas images define the working objects of the sciences of the eye : snowflakes, galaxies, skeletons, elementary particles. Galison and Daston use atlas images to uncover a hidden history of scientific objectivity and its rivals. Whether an atlas maker idealizes an image to capture the essentials in the name of truth-to-nature or refuses to erase even the most incidental detail in the name of objectivity or highlights patterns in the name of trained judgment is a decision enforced by an ethos as well as by an epistemology. As Daston and Galison argue, atlases shape the subjects as well as the objects of science. To pursue objectivity - or truth-to-nature or trained judgment - is simultaneously to cultivate a distinctive scientific self wherein knowing and knower converge. The point at which they visibly converge is in the very act of seeing - not as a separate individual but as a member of a particular scientific community. Embedded in the atlas image are the traces of consequential choices about knowledge, persona, and collective sight. Objectivity is a book addressed to any one interested in the elusive and crucial notion of objectivity - and in what it means to peer into the world scientifically.

Contents : Preface to the paperback edition Preface to the first edition Prologue : Objectivity shock I. Epistemologies of the eye Blind sight Collective empiricism Objectivity is new Histories of the scientific self Epistemic virtues The argument Objectivity in shirtsleeves II. Truth-to-nature Before objectivity Taming nature's variability The idea in the observation Four-eyed sight Drawing from nature Truth-to-Nature after objetivity III. Mechanical objectivity Seeing clear Photography as science and art Automatic images and blind sight Drawing against photography Self-surveillance Ethics of objectivity IV. The scientific self Why objectivity ? The scientific subject Kant among the scientists Scientific personas Observation and attention Knower and knowledge V. Structural objectivity Objectivity without images The objective science of mind The real, the objective, and the communicable The color of subjectivity 3 9 11 17 17 19 27 35 39 42 51 55 55 63 69 84 98 105 115 115 125 138 161 174 183 191 191 198 205 216 234 246 253 253 262 265 273

What even a god could not say Dreams of a neutral language The cosmic community VI. Trained judgment The uneasiness of mechanical reproduction Accuracy should not be sacrificed to objectivity The art of judgment Practives and the scientific self VII. Representation to presentation Seeing is being : truth, objectivity, and judgment Seeing is making : nanofacture Right depiction Acknowledgments Notes Index

283 289 297 309 309 321 346 357 363 363 382 412 417 419 483

DASTON Lorraine, LUNBECK Elizabeth Histories of scientific observation Chicago : University of Chicago press, 2011, 460 p.[4] p. de pl. ISBN 978-0-226-13677-6 MOND 517

Rsum : Observation is the most pervasive and fundamental practice of all the modern sciences, both natural and human. Its instruments include not only the naked senses but also tools such as the telescope and microscope, the questionnaire, the photographic plate, the notebook, the glassed-in beehive, and myriad other ingenious inventions designed to make the invisible visible, the evanescent permanent, the abstract concrete. Yet observation has almost never been considered as an objets of historical inquiry in itself. This wide-ranging collection offers the first examination of the history of scientific observation in this own right, as both epistemic category and scientific practice. Histories of scientific observation features engaging episodes drawn from across the spectrum of the naturel and human sciences, ranging from meteorology, medicine, and natural history to economics, astronomy, and psychology. The contributions spotlight how observers have scrutinized everything - from seaweed to X-ray radaition, household budgets to the emotions - with ingenuity, curiosity, and perseverance verging on obsession. This book makes a compelling case for the epistemic significance of the long, surprising history of scientific observation, a history full of innovations that have enlarged the possibilities of perception, judgment, and reason. Lorraine Daston is director of the Max Planck Institute for the history of science in Berlin and is visiting professor in the Committee on social thought at the University of Chicago. Elizabeth Lunbeck is the Nelson Tyrone, Jr professor of history and professor of psychiatry at Vanderbilt University.

Contents : Introduction : Observation observed, Lorraine Daston and Elizabeth Lunbeck Part 1 : Framing the history of scientific observation, 500-1800 Introduction 1. Observation in the Margins, 500-1500, Katharine Park 2. Observation rising : birth of an epistemic genre, 1500-1650, Gianna Pomata 3. The Empire of Observation, 1600-1800, Lorraine Daston Part 2 : Observing and believing : evidence Introduction 4. The color of blood : between sensory experience and epistemic sgnificance, Domenico Bertoloni Meli 5. Seeing is believing : professor Vagner's wonderful world, Michael D. Gordin 6. A visual history of Jean Perrin's Brownian Motion Curves, Charlotte Bigg Part 3 : Obserbing in New Ways : techniques Introduction 7. Frogs on the maltelpiece : the practice of observation in daily life, Mary Terrall 8. Sorting things out : the economict as an armchair observer, Harro Maas 9. "A number of scenes in a badly cut film" : observation in the age of strobe, Jimena Canales 10. Empathy as a psychoanalytic mode of observation : between sentiment and science, Elizabeth Lunbeck Part 4 : Observing new things : objects Introduction 11. Reforming vision : the engineer Le Play Learns to observe society sagely, Theodore M. Porter 12. Seeking parts, looking for wholes, Mary S. Morgan 13. Seeing the blusc-h : feeling emotions, Otniel E. Dror 14. Visualizing radiation : the photographs of Henri Becquerel, Kelley Wilder Part 5 : Observing together : communities Introduction 15. The geography of observation : distance and visibility in eighteenth-century botanical travel, Daniela Bleichmar 16. The world on a page : making a general observation in the eighteenth century, J. Andrew Mendelsohn 17. Coming to attention : a commonwealth of observers during the Napoleonic wars, Anne Secord List of contributors Index 1

11 15 45 81

115 117 135 156

181 185 206 230 255

277 281 303 326 349

369 373 396 421 445 449

DAVIS Whitney A general theory of visual culture Princeton : Princeton University Press, 2011, 1 vol. (XVI-384 p.). Notes bibliogr. p. 341-374. Index. ISBN 978-0-691-14765-9 MOND 495

Rsum : What is cultural about vision - or visual about culture ? In this ambitious book, Whitney Davis provides new answers to these difficult and important questions by presenting an original framework for understanding visual culture. Grounded in the theoretical traditions of art history, A general theory of visual culture argues that, in a fully consolidated visual culture, artifacts and pictures have been made to be seen in a certain way ; what Davis calls "visuality" is the visual perspective from wich certain culturally constituted aspects of artifacts and pictures are visible to informed viewers. In this book, Davis provides a systematic analysis of visuality and describes how it comes into being as a historical form of vision. Expansive in scope, A general theory of visual culture draws on art history, aesthetics, the psychology of perception, the philosophy of reference, and vision science, as well as visual-cultural studies in history, sociology, and anthropology. It provides penetrating new definitions of form, style, and iconography, and draws important and sometimes surprising conclusions (for example, that vision does not always attain to visual culture, and that visual culture is not always wholly visible). The book uses examples from a variety of cultural traditions, from prehistory to the twentieth century, to support a theory designed to apply to all human traditions of making artifacts and pictures - that is, to visual culture as a worldwide phenomenon. Whitney Davis is the George C. and Helen N. Pardee professor of history of art at the university of California, Berkeley. He is the author of many books, most recently Replications : archaeology, art history, psychoanalysis and Queer beauty : sexuality and aesthetics from Winckelmann to Freud and Beyond.

Contents : Illustrations Preface Part one : The successions of visual culture 1. Vision has an art history 2. Vision and the successions to visual culture Part two : What is cultural about vision ? 3. What is formalism ? 4. The stylistic succession 5. The close reading of artifacts 6. Successions of pictoriality 7. The iconographic succession 8. Visuality and pictoriality Part three : What is visual about culture ? 9. How visual culture becomes visible 10. Visuality and the cultural succession Notes Index xi xv

3 11

45 75 120 150 187 230

277 322 341 375

DEBRAY Rgis Introduction la mdiologie. Paris : Presses universitaires de France, 2000, 1 vol. (X223 p.). Collection Premier cycle. Bibliogr. p. [217]-223. ISBN 2-13-050105-2 U4 274

Rsum : Loin de la sociologie des mdias avec laquelle on la confond parfois, la mdiologie a pour objet les interactions, passes et prsentes, entre technique et culture. Il sagit de confronter, mieux : rconcilier, ces deux champs traditionnelement et dangereusement opposs. Rflexion sur la trace, larchive et la mmoire, lenqute mdiologique, qui peut aller de lhistoire ancienne la ntre, de lcriture Internet, tie au jour ls effets symboliques des innovations techniques comme les conditions culturelles des tournants technologiques. Son utilit : faire valoir les impratifs de la transmission face aux urgences de la communication. Rhabiliter la matrise des temps longs, que pourrait bientt compromettre la conqute obsessionnelle des espaces, est devenu un enjeu capital de civilisaiton. la dmarche mdiologique, avec dautres, peut y contribuer. Un domaine dtudes en mergence trouve ici sa premire mise au point, accompagne dun retrou critique sur ses prsupposs et ses voisinages. Synthse apritive et accessible, lusage des tudiants comme des simples curieux.

Sommaire : Chapitre I. Le temps de la transmission Langle dattaque Plus que communiquer : transmettre Lextension du champ de fouilles Le propre de lhomme Priorit au monument Chapitre II. The medium is the message Le starter de la mthode Radioscopie dun clich Les mdiasphres, premire approche Technique et/ou culture : comment sy reconnatre ? La preuve par lart Chapitre III. Ceci tuera cela Lobjet : des rapports, non des objets Entre ceci et cela : les ouvertures de compas (du vlo au bon Dieu) La question du dterminisme : le mdium et le milieu Les prcurseurs en perspective Chapitre IV. Lefficacit symbolique Le trajet : du mdium la mdiation Puissance de la parole : une bote noire encore ferme Le code inaugural : lIncarnation Le double corps du mdium Chapitre V. Le conseil des disciplines Le projet : un service auxiliaire Quels centres dhbergement ? Smiologie - Psychologie - Sociologie - Pragmatique - Histoire culturelle Linconscient technique, rsistances et dngations Un mur de plus abattre Chapitre VI. Une mdiologie, pour quoi faire ? But du jeu : calmer le jeu Ni science ni panace Techniques versus ethnies : la zone dangereuse Le prophtisme high-tech ou lexcs de logique Leffet-jogging Vers une techno-thique : ce qui dpend de nous, et le reste Bibliographie 1 1 1 9 16 24 33 33 33 42 52 61 69 69 69 87 98 107 107 107 117 124 139 139 139 159 171 181 181 181 188 194 198 206 217

DIDI-HUBERMAN Georges Quand les images prennent position. Paris : les ditions de Minuit, 2009, 1 vol. (268 p.). Collection Loeil de lhistoire ; 1. Notes bibliogr. ISBN 978-2-7073-2037-7 GER 168

Rsum : Dans un monde o les images prolifrent en tous sens et o leurs valeurs dusage nous laissent si souvent dsorients - entre la propagande la plus vulgaire et lsotrisme le plus inapprochable, entre une fonction dcran et la possibilit mme de dchirer cet cran -, il semble ncessaire de revisiter certaines pratiques o lacte dimage a vritablement pu rimer avec lactivit critique et le travail de la pense. On voudrait sinterroger, en somme, sur les conditions dune possible politique de limagination. Cet essai, le premier dune srie intitule LOeil de lhistoire, tente danalyser les procdures concrtes et les choix thoriques inhrents la rflexion de Bertolt Brecht sur la guerre, rflexion mene entre 1933 et 1955 par un pote exil, errant, constamment soucieux de comprendre une histoire dont il aura, jusqu un certain point, subi la terreur. Dans son Journal de travail comme dans son trange atlas dimages intitul ABC de la guerre, Brecht a dcoup, coll, remont et comment un grand nombre de documents visuels ou de reportages photographiques ayant trait la Seconde Guerre mondiale. On dcouvrira comment cette connaissance par les montages fait office dalternative au savoir historique standard, rvlant dans sa composition potique - qui est aussi dcomposition, tout montage tant dabord le dmontage dune forme antrieure - un grand nombre de motifs inaperus, de symptmes, de relations transversales aux vnements. On dcouvrira ainsi, dans ces montages brechtiens, un lieu de croisement exemplaire de lexigence historique, de lengagement politique et de la dimension esthtique. On verra enfin comment Walter Benjamin - qui a t, en son temps, le meilleur commentateur de Brecht - dplace 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 lexil : exposer la guerre Exil. Pour savoir il faut prendre position : sapprocher, scarter. Position de lexil : Bertolt Brecht entre 1933 et 1948 Journal. Brecht, Benjamin, Kraus et la presse. La littrature moderne comme dmontage et recomposition de lactualit Travail. LArbeitsjournal de Brecht comme journal de pense. Intimit, actualit, historicit : au-del du je Guerre. Le dsordre du monde, voil le sujet de lart. LArbeitsjournal comme criture du montage documentaire o limage est investie dune puissance pique Document. Puissance de la vue chez Brecht : dconstruire et remonter pour exposer. La Kriegsfibel : histoire dun atlas dimages Lisibilit. Observation et imagination. Quiconque oublie le pass ne saurait lui chapper. La lisibilit du temps travers celle des images II. Disposition aux choses : observer ltranget Lgende. Les images de la Kriegsfibel lgendes par des pomes lyriques. Position dialectique et montages temporels : vnements, rminiscences, prvision pigramme. Sens et tradition de lpigramme, du pome funraire la satire politique. Le concept brechtien de photopigramme Polarit. Polarisations spatiales dans la Kriegsfibel : haut et bas, construit et dtruit. Polarisations chosales : documents du non-sens pique. La forme pique comme mthode dobservation par le montage : Walter Benjamin commentateur de Brecht. Cadrages, intervalles et chocs. Prendre position, prendre connaissance, prendre forme Distanciation. Distancier, cest montrer et monter : citation, critique, historicisation tranget. Distancier, cest dmontrer en dmontrant. Llment de la surprise. Connaissance par ltranget, ou la ressemblance inquite. De la disposition aux choses la redisposition des choses III. La dysposition des choses : dmonter lordre Division. Posie et dispersion : lorsque tout semble rompu, bris, sans rapport. Valeur heuristique et opratoire du montage. Roland Barthes sur Brecht et Eisenstein : le dcoupage comme unit, tableau, sens idel. Thtre et montage des attractions Montage. Disposer les diffrences en dys-posant les choses. Esthtiques du montage aprs la Premire Guerre mondiale. Ernst Bloch et la modernit du montage : jeu subversif, mthode archologique, dialectique des formes Dialectique. Brecht avec Socrate, Hegel, Marx. Poser la vrit dans son devenir et ses contradictions. Du devenir linterruption. La dialectique du monteur nest pas celle du philosophe Dsordre. Walter Benjamin sur la mthode brechtienne : document, recadrage, dcalage, retard. Le travail dialectique de limage dans llment du geste. Monter, cest dmonter lordre des discours. Dsordre, transgression, violence, humour IV. La composition des forces : remontrer la politique Ralisme. Histoire et imagination : les contradictions de Brecht. Ce que veut dire tre raliste. Primat du sens et prise de parti : vers le ralisme socialiste 10 11 15 19 24 28 32 40 41 44 51 60 65 69

76 77 86 90 94

102 103

Critique. Ralisme critique et critique du ralisme. Georg Lukcs et la question du montage. Rendre le rel ou rendre le rel problmatique ? Critique brechtienne du ralisme socialiste Parti. Lexposition de la politique et le ralisme comme mthode de combat. Prendre parti, rejoindre le Parti. La littrature de parti selon Lnine. Je suis devenu quelque peu doctrinaire. La prise de parti brechtienne prise partie par Adorno et Hannah Arendt Position. Prendre position : du message au montage. Limagination opratoire et politique. Critique de la violence, caractre destructeur et politique de lexposition selon Benjamin. Lauteur comme producteur. Montage et Umfunktionierung : formes, forces et chocs efficaces V. Linterposition des champs : remonter lhistoire Anachronie. Dmontage du temps : transgresser, prendre position. Lorigine selon Benjamin : une manire philosophique de remonter lhistoire. Avant-garde et archologie. Montage et non-contemporanit selon Ernst Bloch. Brecht entre le sens de lhistoire et les fuses de la mmoire Interposition. Distanciation temporelle : la fable nest ni pur pass, ni pur prsent. Entre phylactres mdivaux et cartons de cinma. Leffrangement des arts selon Adorno Allgorie. Le temps passe entre les images : la mort apparat. Visage, masque, crne. Structure emblmatique de la Kriegsfibel. Pauvre Yorick : message historique et montage allgorique. Le document rendu plus ambigu, cruel, dialectique. Histoire et allgorie selon Benjamin. Pathos. Immanence politique et expressive de lallgorie. Lhistoire comme Leidensgeschichte. Brecht et la mmoire des souffrances : la Piet de Singapour et le cri de Mre courage. Le geste tragique dans la geste pique. Pathos, thos, polis : la compassion chez Brecht selon Ruth Berlau et Hannan Arendt. Quand lmotion devient geste politique Mmoire. La survivance des formules du pathos. Lyrisme documentaire et photographie ; la lgende dialectise. Style pique : mettre sous les yeux et nommer malgr tout. Le temps de laoriste, ou la mmoire incidente Lyrisme. Il ny a dcriture quaffronte. Lyrisme critique et rvolutionnaire. Prendre position et prendre le rythme. La csure selon Hlderlin et le vers rythmes irrguliers chez Brecht. Lyrisme de guerre, entre la peur et le jeu VI. La position de lenfant : sexposer aux images Pdagogie. Brecht, pdagogue en temps de guerre. La pdagogie comme champ de bataille politique : entre asservissement et libration. La Kriegsfibel entre Krieg dem kriege ! et The family of man. Apprendre malgr tout Abcdaire. Un livre o la lecture est geste et dsir. Lisibilit et figurabilit. Brecht, la pdagogie jsuite et lhistoire des abcdaires : lectio et delectatio. Abcdaires dans lavantgarde artistique. Benjamin et le geste dapprendre Navet. Un tat natif de la connaissance. Puissance heuristique de la navet. La dialectique passe par une pense balourde. Regarder comment bougent les corps : Hitler vu par Chaplin. Quand le naf prend position : Les temps modernes Ivresse. Moment danarchie : jouer avec un monde dplac dans limagination. Brecht et livresse potique. Le montage comme ivresse des images. Benjamin et ses ivresses exprimentales : quand ltranget fait revenir laura authentique des choses. Des rafales dimages documentaires-hallucinatoires. Connaissance par les gouffres Illumination. Benjamin : Je brousse les images. Lenfant et le savant : du geste rgressif au geste philosophique. Lillumination comme instant utopique de limage. Energie rvolutionnaire. Rimbaud, illuminateur de la Commune. Position du surralisme : lexactitude automatique de livresse, de lrotisme et du document. Photographie et illumination profane

107 112 118

128 129

137 145 159

171 179

186 187 198 213 220

228

Imagination. Construction temporelle et documentaire de lillumination profane. Hitler, la flche et le bison. Brecht vs Benjamin : position de limagination chez Baudelaire et Kafka. Engagement majeur vs position mineure. Les deux sens de la Beschreibung et la connaissance par les images selon Benjamin. Libert esthtique et position de ltranget : une politique de limagination

238

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

Rsum : 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 fields 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 Chapter 1. Theoretical frameworks Genealogy and the object(s) of visual studies Between art history and cultural studies : methodology of visual studies Chapter 2. Institutions and pedagogy Teaching undergraduates Graduate programs Concluding remarks 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 Notes References Index ix 1 1 6 47 47 64 85 86 91 119 123 125 131 142 146 154 162 173 181 193 203 210 215 224 238 258 268 276 285 295 307

DUFRNE Thierry, TAYLOR Anne-Christine Cannibalismes disciplinaires : quand l'histoire de l'art et l'anthropologie se rencontrent. [Paris] : Institut national d'histoire de l'art, INHA : Muse du quai Branly, 2009, 1 vol. (396 p.) ISBN 978-2-35744-022-7 C 1086

Rsum : Il est loin le temps o les objets venus de civilisations non occidentales - asiatiques, africaines, amrindiennes... - ne trouvaient leur place que dans les musums, constituant des collections qui intressaient surtout les anthropologues, quand les vitrines des muses taient remplies de "beaux" objets, source de recherche pour les historiens de l'art. La cration du muse du quai Branly en est la preuve, ne serait-ce que pour la France. Les frontires entre les deux disciplines sont bel et bien devenues permables : historiens et anthropologues se nourrissent mutuellement de leurs approches, de leurs regards, des mthodes propres leur discipline. Quels hommes furent les pionniers de ces aventures transdisciplinaires ? Quels objets furent les supports de ces discours novateurs ? Quels statuts leur furent tour tour assigns ? Quels lieux furent lus pour les accueillir ? Telles sont les questions auxquelles cet ouvrage, par la plume d'auteurs venus d'universits et de muses tant franais qu'australiens, canadiens, mexicains..., tente de rpondre, par des exemples emprunts, parmi d'autres, l'art inuit, la sculpture fon ou aux collections des muses allemands. Ce volume est issu du colloque Histoire de l'art et anthropologie qui s'est tenu du 21 au 23 juin 2007, l'initiative de Thierry Dufrne, professeur d'histoire de l'art contemporain l'universit Paris Ouest Nanterre La Dfense et secrtaire scientifique du Comit international d'histoire dl'art (CIHA), et d'Anne-Christine Taylor, directrice du dpartement de la Recherche au muse du quai Branly.

Table des matires : En guise d'introduction, Thierry Dufrne, Anne-Christine Taylor By way of introduction, Thierry Dufrne, Anne-Christine Taylor L'anthropologue, l'historien de l'art L'envers du visible : ontologie et iconologie, Philippe Descola Movement, embodiment, emotion, David Freedberg Parcours de savants The creation of indigenous collections in Melbourne : how Kenneth Clark, Charles Mountford, and Leonhard Adam interrogated Australian indigeneity, Jaynie Anderson Andr Leroi-Gourhan et Pierre Francastel, Pierre Lemonnier et Alain Schnapp Nature, idal et caricature : la perception des types physiques chez les premiers anthropologues, Martial Gudron L'invention de "l'art tribal" de l'Inde : Verrier Elwin, Raphal Rousseleau Trois gouttes d'art ngre : gobinisme et mtissage en histoire de l'art, Dominique Jarrass Dlires anthropologiques : Josef Strzygowski face Alois Riegl, Rmi Labrusse Pas de deux L'habitant de la sculpture : remarques sur le locus et la perception du corps plastique, Roland Recht La permanence des images et les changements de temporalit, Jean-Claude Schmitt Aesthetics and anthropology of megacities : a new field of art historical research, Peter Krieger Savoir faire et donner forme, ou ce qui advient lorsqu'on faonne une oeuvre, Michle Coquet L'Occident et les autres Les "Atlas photographiques" : un mcanisme de pense commun l'anthropologie et l'histoire de l'art, Teresa Castro Polysynthse d'une caractrisation entre "objet d'art" et "objet de civilisation", Monia Abdallah L'ornement est-il animiste ?, Thomas Golsenne Cultures en dialogue : options pour les muses du XXIe sicle, Sally Price Les objets trickster dans l'art contemporain autochtone au Canada, Jean-Philippe Uzel Une contribution de l'iconologie de Warburg l'tude des arts lointains : art inuit et formes de l'me, Ccile Pelaudeix Carrire d'objets Art ou ethnologie ? Questions de prsentation dans les Museen fr Vlkerkunde en Allemagne aprs 1900, Anne-Solne Rolland Des reliquaires d'un genre nouveau, Sabine du Crest La mtamorphose des pierres : les remplois, entre rebut et souvenir, Laura Foulquier Du champ de bataille au muse : les tribulations d'une sculpture fon, Maureen Murphy Before the dots, before papunya : Australian Aboriginal Crayon Drawings from Birrundudu, NT 1945, John Stanton The mask stripped bare by its curators : the work of hybridity in the twenty-first century, Ruth Phillips 7 15

25 37

61 79 105 123 133 149

165 179 197 213

229 245 255 269 279 295

313 325 335 347 361 379

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

Rsum : 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 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 Bibliography Index viii xiii 1 16 49 90 142 186 240 300 315 335

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

Rsum : 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 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 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 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. Gaanda scarification : a model for art and identity, Marla C. Berns III.2. They dont 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 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 mens dress of the Kalabari of Nigeria, Tonye V. Erekosima and Joanne B. Eicher vii ix 1 2 34 64 90 115 115 119 123 132 141 151 152 174 200 200 204 211 212 232 256 279 279 288 294 298 309 310 334 358 376 402 402

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 Part V : Dress and the future 14. Your future and dress Reading for Part V V.1. Cosmic couture, Elizabeth Snead Bibliography Credits for figures Index

415 420 422 431 432 448 448 453 473 475

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

Rsum : 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 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 Envoi For further reading Photo credits Index 11 17 46 86 125 160 201 237 243 253 259

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

Rsum : 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 objects 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 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 Part II 7. Allographs 8. Semasiographs 9. Pseudowriting 10. Subgraphemics 11. Hypographemics 12. Emblemata 13. Schemata 14. Conclusion : ghosts and natural images Glossary Frequently cited sources Picture credits Index ix xi xiii

3 13 31 52 68 82

95 120 143 164 181 195 213 236 253 263 165 271

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

Rsum : 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 Bergers bestselling Ways of seeing, James Elkinss 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 butterflys 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 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 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 Postscript : How do we look to a scallop ? For futher reading Figure credits ix

2 12 20 28 34 48 54 62 68 74 80 86 92 100 108 118 126

132 146 154 164 170 176 182 190 196 202 212 218 224 232 238 243 247 255

ELKINS James (ed.) Visual cultures. Bristol ; Chicago [Ill.] : Intellect, 2010, 1 vol. (112 p). Bibliogr. la fin de chaque partie. ISBN 978-1-84150-307-3 MOND 425

Rsum : 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 Slovenia : Visuality and literarity in slovene culture, Andrej Smrekar Ireland : Words upon the windowpane : image, text, and irish culture, Luke Gibbons Poland : A visually-oriented literary culture ?, Kris Van Heuckelom China : Verbal above visual : a chinese perspective, Ding Ning Russia : To read, to look : teaching visual studies in Moscow, Viktoria Musvik Critical response, Esther Snchez-Pardo Contributors 1 7 43 57 71 83 97 111

ELKINS James, NAEF Maja What is an image ? Pennsylvania : The Pennsylvania state unviersity press, 2001, 1 vol. (X-286 p.). Collection The stone art theroy institutes ; 2 ISBN 978-0-271-05064-5 MOND 511

Rsum : What is an Image ? raises the stakes for writing in art history, visual studies, art theory, and art criticism by questioning one of the most fundamental terms of all, the image or picture. This innovative collection gathers some of the most influential historians and theorists working on images to discuss what the visual has come to mean. Topics include concepts such as image and picture in the west and outside it ; the reception and rejection of semiotics ; the question of what is outside the image ; the question of whether images have a distinct nature or are products of discourse, like language ; the relationship between images and religious meanings ; and the study of non-art images in medecine, science, and technology. Among the major writers represented in this book are Gottfried Boehm, Michael Ann Holly, Jacqueline Lichtenstein, W.J.T. Mitchell, Marie-Jos Mondzain, Keith Moxey, Parul Dave Mukherji, Wolfram Pichler, Alex Potts and Adrian Rifkin.

Contents : Series preface Introduction, James Elkins The seminars 1. How many theories of images are there ? 2. What is outisde images 3. Accounts of images, and accounts that begin from images 4. Ontology 5. Non-western accounts 6. Public and private 7. religion, ritual, the sacred 8. Painting and images 9. Image, notation, graph... Assessments Preface, James Elkins Frederick M. Asher Michael Ann Holly Adrian Rifkin Franck Vigneron Keith Moxey Harry Cooper Parul Dave Mukherji Thomas Baumeister Vivian Sobchack Alex Potts Kavita Singh Paul Messaris Emmanuel Alloa Aud Sissel Hoel Ellen Chow Xaq Pitkow Crispin Sartwell Klaus Speidel Antonia Pocock Paul Willemarck Ruth Sonderegger Thomas Macho and Jasmin Mersmann Ciaran Benson Christoph Lthy Sebatien Egenhofer Irmgard Emmelhainz Ladislav Kesner vii 1

19 23 31 35 53 63 75 79 91

105 109 114 116 119 122 125 127 131 136 140 143 146 148 152 155 160 162 165 167 170 173 176 179 182 186 191 193

John Michael Krois Karin Leonhard Francesco Peri Frederik Stjernfelt Rainer Totzke Michael Zimmermann Sunil Manghani Klaus Sachs-Hombach Jos Luis Brea Afterword Wolfram Pichler Notes on the contributors Index

197 201 205 209 214 218 226 229 233

239 271 281

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

Rsum : 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 Scopic regimes of modernity, Martin Jay Modernizing vision, Jonathan Crary The im/pulse to see, Rosalind Krauss General discussion The gaze in the expanded field, Norman Bryson Sexuality and vision : some questions, Jacqueline Rose General discussion ix 3 29 51 79 87 115 131

FOSTER Hal Le retour du rel : situation actuelle de l'avant-garde Bruxelles : la Lettre vole, 2005, 1 vol. (277 p.). Collection Essais. ISBN 2-87317-218-5 MOND 498

Rsum : L'auteur tudie de manire circonstancie la mise en place d'un nouveau paradigme centr sur le "retour du rel" dans l'art de la fin du XXe sicle, comme contrepoint aussi bien au minimalisme et au conceptualisme dominants durant les annes 1970 qu'au simulationnisme postmoderne des annes 1980. C'est galement l'occasion pour l'auteur de rflchir la posture "ethnographique" de l'artiste et de faire le point sur les rapports entre les avant-gardes historiques et la no-avant-garde. Cette lecture critique, qui confronte pratiques artistiques et thories de l'art, se veut aussi prise de position contre l'emprise croissante d'une critique d'art trop facilement encline ne voir dans l'art contemporain que rptitions et pastiches. Hal Foster propose une ambitieuse fresque historique et politique de cet art engag dans les enjeux de son temps. Hal Foster enseigne l'histoire de l'art moderne l'Unviersit de Princeton. Il est l'auteur de trs nombreux ouvrages qui interrogent les rapports entre l'art contemporain, la culture moderne et le capitalisme l're de la globalisation et est l'un des diteurs de la revue October

Table des matires : Introduction 1. Qui a peur de la no-avant-garde ? 2. L'enjeu de minimalisme 3. La passion du signe 4. L'art de la raison cynique 5. Le retour du rel 6. Portrait de l'artiste en ethnographe 7. Qu'est-il arriv au postmodernisme ? 7 23 63 99 127 161 213 249

GELL Alfred Lart et ses agents, une thorie anthropologique. Dijon : Les presses du rel, 2009, 1 vol. (XVII-327 p.). Collection Fabula. Bibliogr. p. XVII et p. 309-316. Index ISBN 978-2-84066-252-5 MOND 407

Rsum : Lart et ses agents, ouvrage posthume paru en 1998 sous le titre Art and agency, est sans doute lune des anthropologies de lart les plus singulires et les plus fcondes. Plutt que de penser loeuvre dart en terme de beaut, Alfred Gell propose de la situer lintrieur dun rseau de relations entre agents et patients qui manifestent une certaine agentivit (agency) par lintermdiaire de loeuvre. Cette thorie a une vocation universelle : il sagit moins de relativiser le systme occidental de lesthtique que de se rendre sensible aux mcanismes de lintentionalit, des ignames dcors de Nouvelle-Guine aux ready-made de Duchamp. Pour universelle quelle soit, cette thorie demeure bien anthropologique : envisager loeuvre dart implique que lon sintresse aux contextes de sa production et de sa circulation. Cest pourquoi Alfred Gell entend produire pour lart ce que Marcel Mauss ou Claude Lvi-Strauss ont thoris pour les systmes de lchange ou de la parent. Empruntant la linguistique dUmberto Eco et la smiotique de C.S. Peirce (sans se plier leurs principes interprtatifs), les termes qui entrent en jeu dans une combinatoire propre lobjet dart sont lindice (lobjet lui-mme), lartiste, le destinataire et le prototype - le rseau de lart dsignant lensemble des relations qui font quun objet dart est reconnu comme tel par les diffrents acteurs sociaux. Les attitudes que nous avons face ces objets doivent tre comprises en les rapprochant des systmes de causalit propres la sorcellerie : nous infrons travers lobjet dart la prsence dune personne dissmine. Cette thorie dplace doublement les termes de lesthtique occidentale (dont le concept de style) car il sagit non seulement dabolir les frontires thoriques entre lart ethnographique des muses et celui, bien vivant, qui est produit et circule dans les socits, mais aussi de trouver la trame cognitive commune La Joconde et aux proues de navires mlansiens. Lobjet dart, dans toute culture, a un certain pouvoir de fascination, quon ne peut comprendre quen saisissant lensemble des interactions sociales qui prsident son mergence.

Sommaire : Une nouvelle thorie de lart, par Maurice Boch I. Dfinition du problme : la ncessit dune anthropologie de lart II. La thorie du rseau de lart (Art nexus) III. Le rseau de lart (Art nexus) et lindice IV. Linvolution de lindice dans le rseau de lart V. La constitution de lindice VI. La critique de lindice VII. La personne dissmine VIII. Style et culture IX. Conclusion. Llargissement de lesprit Bibliographie Remerciements Index vii 1 15 35 63 81 91 119 189 265 309 317 319

HALL Stuart Identits et cultures : politiques des cultural studies. Paris : d. Amsterdam, 2008, 1 vol. (411 p.). Notes bibliogr. ISBN 978-2-35480-030-7 MOND 406

Rsum : A lheure o se dveloppent en France les premiers cursus dtudes culturelles inspirs des cultural studies anglophones et o les politiques de lidentit et des reprsentations suscitent un intrt croissant, la publication de ce recueil de dix-sept essais classiques du sociologue britannique Stuart Hall constitue un dtour ncessaire par les origines multiples et complexes de ce champ de rflexion. Intellectuel de renom international, Stuart Hall nous livre ici une gnalogie critique des cultural studies, de leurs fondements thoriques marxistes et gramsciens leur redfinition des notions de culture et de populaire, en passant par leur rsistance aux disciplines classiques. Mettant en relief les proccupations thoriques et politiques majeures des tudes culturelles, il interroge le concept didentit et ses dclinaisons (ethnicit, race, classe, genre, sexualit) et dveloppe une thorie qui situe la culture au coeur mme du processus de construction identitaire. Quil analyse la formation des cultures diasporiques, les politiques noires britanniques, les situations postcoloniales ou le concept de multiculturalisme, Hall claire dune lumire singulire nombre denjeux centraux de la scne politique internationale contemporaine. Directeur du Center for Contemporary Cultural Studies de Birmingham la fin des annes 1960, puis professeur lOpen University de Londres, Stuart Hall a notamment publi Culture, Media, Language (codit avec Dirithy Hobson et Andrew Lowe, 1980), Questions of cultural identity (co-dit avec Paul du Gay, 1996) et, en franais, Le populisme autoritaire. Puissance de la droite et impuissance de la gauche au temps du thatchrisme et du blairisme (Editions Amsterdam, 2008).

Sommaire : Identits et cultures, par Maxime Cervulle Cultural studies I. Les cultural studies et leurs fondements thoriques II. Les cultural studies et le Centre de Birmingham : problmatiques et problmes III. Cultural studies : deux paradigmes IV. Lmergence des cultural studies et la crise des humanits V. Notes sur la dconstruction du populaire Idologies, hgmonies et mdias VI. La redcouverte de lidologie : retour du refoul dans les media studies VII. Codage/Dcodage (traduit par Michle Albaret et Marie-Christine Gamberini) VIII. Dviance, politique et mdias IX. Le crapaud dans le jarin : thatchrisme et thorie X. Le blanc de leurs yeux : idologies racistes et mdias Identits et politiques des reprsentations XI. Qui a besoin de lidentit ? XII. Nouvelles ethnicits XIII. Quel est ce noir dans culture populaire noire ? XIV. Identit culturelle et diaspora XV. Penser la diaspora : chez-soi de loin Multiculturalismes et moment postcolonial XVI. Quand commence le postcolonial ? Penser la limite XVII. La question multiculturelle 9

17 33 81 105 119

129 169 185 229 259

267 287 299 311 327

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 douvrage. Index. ISBN 978-0-8047-5991-5 MOND 436

Rsum : 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 OConnor Part I. Aesthetics in art history and art theory 1. Kunstwissenschaft versus sthetik : 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. Kants 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 Kants 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 Kants. Transcendental aesthetic, Adrian Piper 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 Notes Index ix 1

19 34 51 66 75 87

103 117 133 147 163 178 193

213 225 238 256 275 313

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

Rsum : 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 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 Conclusion Notes Select bibliography Filmography Index ix 1 8 20 39 56 64 77 95 109 119 136 147 154 170 181 189 219 223 233

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

Rsum : 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 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. 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 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 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 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 ix xi 1 1 6 10 17 22 28 35 35 39 43 47 56 60 63 64 67 73 81 88 91 95 96 100 106 113 123 126 129 130 136 143 147 156 159

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 6. Searching, after certainties Beyond subjects and structures Signs, surfaces, and civilisation Politics, culture, and post-modernism Cultivating nature Notes Select bibliography 7. Sexualities represented Matter and materialism Semantic/somatic : Charles Demuth and Rosa Bonheur Body heat The matter of ideals Notes Selected bibliography 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 Index

161 162 166 170 178 188 190 193 194 196 208 213 222 225 227 228 232 241 246 257 259 261 262 267 276 285 288 290 291

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

Rsum : 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 Introduction 1. Introduction : visual genders, Patricia Hayes 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, Mara Fernanda Lorenzo, Ana La Rey and Cecilia Tossounian 4. The general view and beyond : from slum-yard to township in Ellen Hellmanns photographs of women and the african familial in the 1930s, Marijke du Toit 5. Racialising the virile body : Eadweard Muybridges 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 Svensons queer taxonomy, elizabeth C. Birdsall 11. The temperance temple and architectural representation in late-nineteenth-century Chicago, Paula Young Lee 12. Theres something about Mary Wigman : the woman dancer as subject in german expressionist art, Susan Laikin Funkenstein Index vii

20 49 75 109

139 164 196

219 251 275 308 342

HAYWARD Maria Rich apparel : clothing and the law in Henry VIII's England Farnham (GB) : Ashgate, 2009, XXIV-422 p. ISBN 978-0-7546-4096-7 GB 187

Rsum : English dress in the second half of the sixteenth century has been studied in depth, yet remarkably little has been written on the earlier years, or indeen on male clothing for the whole century. The few studies that do cover these neglected areas have tended to be quite general, focusing upon garments rather than the wearers. As such this present volume fills an important gap by providing a detailed analysis of not only what people wore in Henry's reign, but why. The book describes and analyses dress in England through a variety of documents, including warrants and accounts from Henry's Great Wardrobe and the royal household, contemporary narrative sources, legislation enacted by Parliament, guild regulations, inventories and wills, supported with evidence and observations derived from visual sources and surviving garments. Whilst all these sources are utilised, the main focus of the study is built around the sumptuary legislation, or the four 'Acts of apparel' passed by Henry between 1509 and 1547. English sumptuary legislation was concerned primarily with male dress, and starting at the top of society with the king and his immediate family, it worked its way down through the social hierarchy, but stopped short of the poor who did not have sufficient disposable income to afford the items under consideration. Certain groups - such a women and the clergy - who were specifically excluded from the legislation, receive consideration in the second half of the book. Combining the consideration of such primary sources with modern scholarly analysis, this book is invaluable for anyone with an interest in the history of fashion, clothing, and consumption in Tudor society. Maria Hayward is a reader in history at the University of Southampton and she is a specialist in material culture at the court of Henry VIII. Her books include The 1542 Inventory of Whitehall (2004) and Dress at the Court of King Henry VIII (2007).

Contents : List of illustrations List of tables Preface Acknowledgements Introduction : Signs of self definition : textiles in Henry VIII's England Part I : Sumptuary legislation and the Tudor social structure 1. Costly array : the henrician sumptuary legislation 2. The body politic : the Tudor social structure Part II : Cloth and clothing 3. Production : the English textile and clothing trades 4. Consumption : material choices 5. Rich apparel : clothing and accessories 6. Livery : symbol of royal, noble and military service Part III : Living within the law : the landed hierarchy 7. Defining the House of Tudor : the King and his family 8. The nobility : dukes, earls, marquesses and lords 9. The gentry : knights, esquires and gentlemen 10. The middling and lower sort : yeomen, husbandmen and labourers Part IV : Living beyond the law : the exceptions 11. Women : wives and spinsters, vowesses and widows 12. The ecclesiastical elite : cardinals, archbishops and bishops 13. The parish clergy : priests, parsons, curates and chantry priests 14. Living by the rule : the regular clergy 15. Entertainers : players of interludes and minstrels 16. The secular professions : academics, lawyers and doctors 17. The urban elite : civic livery and the mercantile community Conclusions : The acts of apparel : clothing choices and social definition Documents Glossary Bibliography Index vii xi xv xxv 1

17 41

63 85 109 137

153 171 191 213

225 251 265 275 289 301 317 335 351 379 389 411

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

Rsum : 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 Stoys 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 Book 1. The work and its author 2. From the manufacture of books to the pedagogical cabinet Image 3. Sources and structure of the picture academy for the young 4. Man and his image in the eighteenth century Box 5. The box and collecting 6. The box and its uses Conclusion : the world boxed in, then and now Appendix : bibliographic record of the picture academy Bibliography Index vii xi 3

13 42

65 105

135 163 193 197 203 227

HENTSCHELL Roze The culture of cloth in early modern England : textual constructions of a national identity Aldershot : Ashgate, 2008, 1 vol. (VIII-209 p.). ISBN 978-0-7546-6301-0 GB 188

Rsum : Through its exploration of the intersections between the culture of the wool broadcloth industry and the literature of the early modern period, this study contributes to the expanding field of material studies in sixteenthand seventeenth-century England. The author argues that it is impossible to comprehend the development of emerging English nationalism during that time period, without considering the culture of the cloth industry. She shows that, reaching far beyond its status as a commodity of production and exchange, industry was also a locus for organizing sentiments of national solidarity across social and economic divisions. Hentschell looks to textual productions - both imaginative and non-fiction works that often treat the cloth industry with mythic importance - to help explain how cloth came to be a catalyst for nationalism. Each chapter ties a particular mode, such as pastoral, prose romance, travel propaganda, satire, and drama, with a specific issue of the cloth industry, demonstrating the distinct work different literary genres contributed to what the author terms the "culture of cloth".

Contents : List of figures Acknowledgments Introduction : Ancient, famous, and decayed : The culture of cloth in early modern England Part 1 : Resistance in the flock : labor rebellion in pastoral poetry and prose romance 1. Pasture and pastoral : sheep, anti-enclosure literature, and Sidney's seditious peasants 2. Clothworkers and social protest : the case of Thomas Deloney Part 2 : The circulation of subjectivity in the cloth trade 3. "Vente for our English clothes" : promoting early new world expansion 4. Treasonous textiles : foreign cloth, and the construction of englishness Part 3 : Staging the cloth crisis 5. The fleecing of England, or the drama of corrupt drapers : Thomas Middleton's Michaelmas term 6. Politics on parade : the cockayne project and Anthony Munday's civic pageants for the drapers Bibliography Index vi vii 1

19 51

75 103

129 153 179 201

HEYWOOD Ian (ed.), SANDWELL Barry(ed.), GARDINER Michael (coll.), NADARAJAN Gunalan (coll.), SOUSSLOFF Catherine (coll.) The handbook of visual culture. London : Berg, 2012, xxi-792 p. ISBN 978-1-8478-8573-9 MOND 510

Rsum : Visual culture has become one of the most dynasmic fields of scholarship, a reflection of how the study of human culture increasingly requires distinctively visual ways of thinking and methods of analysis. Bringing together leading international scholars to assess all aspects of visual culture, the Handbook aims to provide a comprehensive and authoritative overview of the subject. The Handbook embraces the extraordinary range of disciplines which now engage in the study of the visual - film and photography, television, fashion, visual arts, digital media, geography, philosophy, architecture, material culture, sociology, cultural studies and art history. Throughout, the Handbook is responsive to the cross-disciplinary nature of many of the key questions raised in visual culture around digitization, globalization, cyberculture, surveillance, spectacle and the role of art. The Handbook guides readers new to the area, as well as experienced researchers, into the topics, issues and questions that have emerged in the study of visual culture since the start of the new millennium, conveying the boldness, excitement and vitality of the subject. Ian Heywood is visiting research fellow at the Lancaster Centre for Contemporary Arts, Lancaster University, UK, and author of Social theories of art : a critique among other works. Barry Sandywell is honorary research fellow in social theory in the Department of Sociology, University of York, UK. He is author of Dictionary of Visual Discourse. A Dialectical Lexicon of Terms and Logological Investigations, among other works, and is co-editor with Ian Heywood of Interpreting visual culture : explorations in the hermeneutics of the visual.

Contents : Illustrations Acknowledgments Contributors Critical approaches to the study of visual culture : an introduction to the handbook, Barry Sandywell and Ian Heywood Part one : Historical and theorical perspectives Editorial introduction 1. Major theoretical frameworks in Visual Culture, Margaret Dikovitskaya 2. Towards a new visual studies and aesthetics : theorizing the turns, Catherine M. Soussloff 3. Scopic regimes of modernity revisited, Martin Jay 4. Phenomenology and its shadow : visuality in the late work of Merleau-Ponty, Michael E. Gardiner 5. Hermeneutical aesthetics and an ontogeny of the visual, Nicholas Davey Part two : art and visuality Editorial introduction 6. Visual culture and contemporary art : reframing the picture, Recasing the object ?, Robin Marriner 7. Beyond museology : reframing the sensorium, Donald Preziosi 8. Cubism and the Iconic turn : a climate of practice, the object and representation, Ian Heywood 9. Reframing nature : the visual experience of early mountaineering, Simon Bainbridge 10. The work on the street : street art and visual culture, Martin Irvine Part three : Aesthetics, politics and visual culture Editorial Introduction 11. Sociology of the spectacle : politics, terror, desire, Roy Boyne 12. Art, feminism and visual culture, Lisa Cartwright 13. Visual consciousness : the impact of new media on literate culture, Nancy Roth 14. The "Dictatorship of eye' : Henri Lefebvre on vision, space and modernity, Michael E. Gardiner 15. Cubist collage and visual culture : representation and politics, Ian Heywood Part four : Practices and institutions of visual culture Editorial introduction 16. Looking sharp : fashion studies, Malcolm Barnard 17. Seeing things : apprehending material culture, Tim Dant 18. Photography and visual culture, Fiona Summers 19. Television as a global visual medium, Kristyn Gorton 20. Film and visual culture, Andrew Spicer 21. Pragmatic vision : connecting aesthetics, materiality and culture in landscape architectural practice, Kathryn Moore xi xiii xv 1

59 68 90 102 115 131

155 164 184 200 220 235

281 290 310 326 342 361

389 405 426 445 464 480 499

22. Images and information in cultures of consumption, Martin Hand Part five : Developments in the field of visual culture Editorial introduction 23. The question of method : practice, reflexivity and critique in visual culture studies, Gillian Rose 24. Digital art and visual culture, Charlie Gere 25. Digitalization, visualization and the "Descriptive turn" in contemporary sociology, Roger Burrows 26. Action-based visual and creative methods in social research, David Gauntlett and Fatimah Awan 27. Neuroscience and the nature of visual culture, John Onians, with Helen Anderson and Kajsa Berg 28. Re-visualizing anthropology through the Lens of The ethnograper's eye, David Howes 29. Seven theses on visual culture : towards a critical-reflexive paradigm for the new visual studies, Barry Sandywell 30. Mapping the visual field : a bibliographical guide, Barry Sandywell Name Index Subject Index

516

535 542 559 572 589 607 628 648 674 765 775

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

Rsum : 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 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 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 Contributors vii

3 29 47 71

87 105 122 147 175

189 203 215 231 251 260 269

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

Rsum : 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 Introduction : Why "What is research in the visual arts ? Obsession, archive, encounter" ?, Marquard Smith 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 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 Contributors vii x

3 13 33 47 65 85

105 119 138 158 168 183 196 213

HOOPER-GREENHILL Eilean Museums and the interpretation of visual culture London : Routledge, 2000, 1 vol. (xiv-195 p). Collection Museum meanings ; 4. Bibliogr. p. 176-190. Index. ISBN 0-415-08632-9 MOND 502

Rsum : Museums and the interpretation of visual culture focuses on objects and meaning in the museum. How do museum visitors interpret the collections they see on display, and how are these interpretations influenced by the pedagogic approach taken by the museum ? Questions about the character of visual narratives, cultural difference and the cosntruction of identities present the museum as part of cultural politics. A new museum idea - the post-museum - is about to transform the familiar modernist museum. Eilean Hooper-Greenhill explores specific objetcs and collections in detail : the founding collections at the National Portrait Gallery, London ; Hinemihi, a Maori meeting house in Surrey ; the Maori collections and the books of Markereti (Margaret Staples-Browne) and of Merton Russel-Cotes ; and the Lakota Ghost Dance Shirt formerly in Kelvingrove Museum, Glasgow. The construction of meaning from material things is discussed in relation to individual interpretive processes and also to interpretive communities. Museum pedagogy is analysed, with a transmission approach to exhibition being linked to the modernist museum and a cultural and constructivist approach emerging in the post-museum. This is a multi-disciplinary study that adopts an innovative and original approach to a highly topical question : that of meaning-making in museums. Focusing its attention on pedagogy and visual culture, this work asks a lot of questions - How and why is it that museums select and arrange artefacts, shape knowledge, construct a view ? How do museums produce values ? How do active audiences make meaning from what they experience in museums ? - and the author does not claim to answer them all ; instead she is putting these issues on the agenda and hopes to provoke new thought and discussion on a subject that is growing in importance every day. Eilean Hooper-Greenhill has taught in schools, colleges, museums and galleries. She has been lecturing in the Department of Museum Studies, University of Leicester since 1980, took over as Head of Department in 1996 and is now professor. Her principal publications are Museums and the shaping of knowledge (Routledge, 1992), Museums an their visitors (Routledge, 1994) and her edited collections are Museum, media, message (Routledge, 1995) and The educational role of museums (2nd edn, Routledge, 1999).

Contents : List of illustrations Preface Acknowledgements 1. Culture and meaning in the museum 2. Picturing the ancestors and imag(in)ing the nation : the collections of the first decade of the National Portrait Gallery, London 3. Speaking for herself ? Hinemihi and her discourses 4. Words and things : constructing narratives, constructing the self 5. Objects and interpretive processes 6. Exhibitions and interpretations : museum pedagogy and cultural change 7. The rebirth of the museum Notes Bibliography Index vii ix xiii 1 23 49 76 103 124 151 163 176 191

HUYSSEN Andreas After the great divide : modernism, mass culture, postmodernism Bloomington ; Indianapolis : Indiana university press, 1986, XII-244 p. ISBN 978-1-597-40555-3 MOND 508

Rsum : Ever since the mid-19th century, the culture of modernity has been characterized by a volatile relationship between high art and mass culture. Indeed, the emergence of early modernism in writers such as Flaubert and Baudelaire cannot be adequately understood on the basis of an assumed logic of "high" literary evolution alone. Modernism constituted itself through a conscious strategy of exclusion, an anxiety of contamination by its other : an increasingly consuming and engulfing mass culture. Both the strengths and the weaknesses of modernism as an adversary culture derive from that fact. Not surprisingly, this anxiety of contamination has appeared in the guise of an irreconcilable opposition, especially in the l'art pour l'art movements of the turn of the century (symbolism, aestheticism, art nouveau) and again in the post-world war II era in abstract expressionism in painting, in the privileging of experimental writing, and in the official canonization of "high modernism" in literature and literary criticism, in critical theory and the musuem.

Contents : Acknowledgments Introduction Part one : The vanishing other : mass culture 1. The hidden dialectic : avangarde, technology, mass culture 2. Adorno in reverse : from Hollywood to Richard Wagner 3. Mass culture as woman : modernism's other Part two : Texts and contexts 4. The Vamp and the machine : Frits Lang's Metropolis 5. Producing revolution : heiner Mller's Mauser as learning play 6. The politics of identification : "Holocaust" and west german drama 7. Memory, myth, and the dream of reason : Peter Weiss's Die sthetik des Widerstands Part three : Toward the postmodern 8. The cultural politics of pop 9. The search for tradition : avantgarde and postmodernism in the 1970s 10. Mapping the postmodern Notes vi vii

3 16 44

65 82 94 115

141 160 179 222

JULIEN Marie-Pierre (dir.), ROSSELIN Cline (dir.) Le sujet contre les objets... tout contre : ethnographies de cultures matrielles Paris : CTHS, 2009, 1 vol. (300 p.). Collection Orientations et mthodes ; 15. ISBN 978-2-7355-0705-4 MOND 499

Rsum : Ce livre est issu des rflexions du groupe de recherche Matire Penser (MP) qui, depuis quinze ans, prend au srieux la dimension matrielle des objets et des corps pour alimenter la rflexion anthropologique. Le sujet est contre les objets... tout contre ! Ainsi, loin de s'opposer aux objets au point de les esprer immatriels, les tres humains dploient quotidiennement des savoir-faire qui, dans la proximit et la confrontation la matire, deviennent des savoir-tre. Dans un contexte de recherche o beaucoup de travaux contribuent comprendre l'action du sujet sur la matire, mais oublient de questionner le retour de cette action sur la matire puis sur le sujet lui-mme, les auteurs du prsent ouvrage ont fait le choix de s'interroger moins sur le tissage des tapis, l'art de la guerre, le ramassage d'objets, l'autopsie de cadavres et l'assainissement liquide des villes, que sur les tisseuses, les guerriers, les rippers, les mdecins lgistes et les goutiers. La notion de sujet, revisite par les sciences sociales et humaines, est discute ici afin de montrer le rle fondamental jou par la culture matrielle dans la construction des tres humains. Marie-Pierre Julien est ethnologue, chercheuse associe au Laboratoire Cultures et Socits en Europe (CNRS-UDS), intervient au sein d'ethnoArt et participe l'ANR Alimados (Strasbourg). Cline Rosselin est membre du CERMAHVA (universit Franois Rabelais de Tours) et enseigne l'anthropologie et la sociologie l'universit d'Orlans. Elles ont publi ensemble La culture matrielle (2005) aux ditions La Dcouverte.

Table des matires : Introduction Quand il y a matire penser, Marie-Pierre Julien et Cline Rosselin Rfrences bibliographiques Premire partie : (Re)penser l'anthropologie de la culture matrielle Chapitre 1 : La liaison tumultueuse des choses et des corps : un positionnement thorique, Nicoletta Diasio Introduction Un monde en vitrine Des emblmes aux usages : savoirs sur la consommation Techniques du corps, d'objet, de soi Ces matires qui nous font Des objets aux humains... et retour la recherche de nouveaux sujets : l'exemple de l'enfant natre En guise de conclusion : questions ouvertes Chapitre 2 : Pour une anthropologie du matriel, Marie-Pierre Julien, Cline Rosselin et Jean-Pierre Warnier Le matriel : signe, acteur, autre ? Un rsidu : la matrialit des objets et des corps ou la valeur praxique des choses Les objets dans l'action Les couplages et dcouplages sujet-objet ou le jeu des identifications Un hors sujet pour l'ethnologie ? Chapitre 3 : "Subjectivit", "subjectivation", "sujet" : dialogue, Marie-Pierre Julien, Cline Rosselin, Jean-Pierre Warnier Rcapitation Rfrences bibliographiques des chapitres 1, 2 et 3 Seconde partie : La construction des sujets l'preuve d'ethnographies de cultures matrielles Chapitre 4 : Pour une anthropologie de l'"erreur", l'approche comparative des checs techniques : quelques jalons, Jean-Luc Jamard Cadres de rfrence Objectivation, subjectivation, erreur Schmas d'expriences Croyances, savoirs et techniques Rfrences bibliographiques Chapitre 5 : Corps en chantier, Agns Jeanjean Des ouvriers oublis ? Travail et subjectivation Les chantiers et ce que l'on y met de soi - De l'ingniosit 9 17 19 21 21 23 34 43 55 66 73 79 85 87 92 95 103 104 111 149 150 167 169 170 174 177 187 191 193 193 196 197 198

- De la puissance et du courage Dprciation, exploitation - Quand les outils manquent - Quand l'espace dit la domination - Quand la mapitrise du temps chappe Quand les corps s'abment : mises en abyme - Bicorporalit et thique Quand le langage est concern : le "parler" des chantiers - Un parler domin et masculin - Un parler "sec" - Parole rare Rfrences bibliographiques Chapitre 6 : Exprience sensorielle, subjectivation et partage : le corps des mdecins lgistes, Jol Candau Introduction L'exprience olfactive du cadavre : subjectivation et partage - Savoirs et savoir-faire olfactifs des mdecins lgistes - La culture olfactive Quel partage ? - Les critres de l'hominit - Le partage de la ralit linguistique - Le partage de la connaissance infra-consciente Conclusion Rfrences bibliographiques Chapitre 7 : La formation de fminits travers le tissage dans le Sirwa (Maroc), Myriem Naji Quelle matrialit est incorpore ? Faonner la matire corporelle Travail sur soi, savoir sur soi, ralisation de soi Stabilit et plaisirs Valeur de la matire, valeur de soi La discipline de tisser comme pouvoir d'action Rfrences bibliographiques Chapitre 8 : La communaut Emmas de Besanon : des sujets et des objets pris dans des rseaux d'actions sur les actions, Franois Hoarau Emmas : une institution analysable en termes de gouvernementalit Le ripper comme sujet et les "ramassages" comme dmnagement - Le travail de "ramassage" - Considrations diverses sur le vcu des ramassages : du transfert et du dmnageur Des autres mtiers Emmas et de leurs sujets - Quand la vie quotidienne est faite d'aptitudes - Les leons du mtier de ferrailleur

202 204 204 206 208 211 212 214 214 216 217 219 221 221 222 222 225 228 230 232 234 238 240 243 245 249 252 255 256 259 262 265 265 268 268 272 274 274 275

- Du sujet construit dans un rapport la matire De l'inscription des sujets dans un rseau d'action sur les actions - Des donateurs - Du conflit entre rippers d'un ct et menuisiers et l'lectricien de l'autre - Des conflits de sujectivation Bnfices attendus d'une analyse en termes de rseaux d'actions sur les actions et de subjectivation dans un rapport la matire Rfrences bibliographiques Conclusion L'incorporation d'objets : des savoir-faire aux savoir-tre, Cline Rosselin Rfrences bibliographiques

278 280 280 283 285 287 289

291 3000

KLEINERT Annemarie Le "journal des dames et des modes" ou la conqute de l'Europe fminine (1797-1839) Stuttgart : Thorbecke, 2001, 1 vol. (VII-502). Collection Beihefte der Francia ; 46. Bibliogr. p. 458-481. ISBN 3-7995-7440-9 FR 1517

Rsum : En France, pays de la Haute Couture, des journaux s'occupant rgulirement de mode n'existent que depuis les annes 80 du 18e sicle. Un des pionniers de ce genre, minent par son tirage et par sa longvit de presque 42 ans, est le Journal des Dames et des Modes. Beaucoup de collaborateurs portent des noms clbres et, dans de nombreuses publications du monde civilis de l'poque, on copiait ses gravures en couleur. L'ouvrage dcrit l'histoire de cet illustr, fond par le libraire Sellque et l'ancien prtre Pierre de La Msangre. Au cours de la Rvolution, La Msangre ayant perdu ses fonctions ecclsiastiques et son activit comme professeur de philosophie au collge de La Flche, il tente de vivre comme crivain et journaliste Paris. Peu aprs la fondation du journal, Sellque est victime d'un attentat visant tuer Napolon la veille du jour de Nol 1800. Le livre retrace les difficults initiales du magazine, rencontres lors de sa tentative de se faire une renomme parmi les autres priodiques parisiens. Il raconte ses annes de succs sous l'Empire et la Restauration, quand toute l'Europe suivait ses conseils en matires d'tiquette et quand un critique comparait l'influence de son diteur La Msangre celle de Napolon, soulignant que "les conqutes" de l'ancien homme d'glise taient plus durables que celles de l'empereur des Franais. Il explique aussi que plusieurs jeunes talents comme le peintre Paul Gavarni et trs probablement l'crivain Honor de Balzac firent leurs dbuts dans ce priodique. Tandis que l'exprience du jeune peintre taient marginalement connue, l'observation sur Balzac, qui signait ses articles seulement d'initiales ou de pseudonymes, reprsente une dcouverte. Finalement, l'ouvrage esquisse les huit dernires annes aprs la mort de l'abb en 1831, quand le journal fut confront une dure concurrence et des mutations technologiques et administratives. Le cadre chronologique est complt par la biographie des diteurs, rdacteurs, dessinateurs, graveurs et imprimeurs. On traite les rapports du priodique avec les belles-lettres, les arts et la culture industrielle, son influence sur la position de la femme dans la socit, ainsi que la composition de son lectorat. La question des innovations urbaines dcrites par le journal est aborde, comme celle de son importance politique car il contribuait la promotion d'ides nationales et la suprmatie de la mode franaise en Europe. Une annexe donne des informations dtailles sur l'volution technique du journal, sur les nombreuses sries de gravures publies au sige de l'entreprise et sur les donnes biographiques des collaborateurs les plus importants. Enfin, il prsente un choix d'articles et de planches typiques classs par sujets et dates, permettant de se faire une ide de ce qu'tait, au temps du classicisme et du romantisme, la revue fminine la plus importante en France. Annemarie Kleinert, ne en 1947, est spcialiste de l'histoire de la presse fminine. Dj sa thse de docteur d'tat, en 1976, tait un ouvrage de repre sur les premiers journaux de mode en France. Elle est aussi l'auteur d'une biographie sur Eva Evdokimova, personnage du monde de la danse classique, ainsiqu'une volumineuse documentation sur l'Universit libre de Berlin. Elle a dirig des projets de recherche auprs de diverses universits allemandes. A San Diego, l'universit de Californie, elle a enseign l'histoire de la civilisation europenne.

Table des matires : 1. Introduction 2. Les dbuts du journal 2.1. La renaissance d'une presse fminine aprs la Terreur 2.2. La fondation du priodique en 1797 2.3. Les contrefaons d'illustrations et d'articles du magazine 2.4. Le fondateur, victime d'un attentat contre Napolon 2.5. Un ancien prtre, diteur du journal : Pierre de La Msangre 2.6. Le sige du journal rue Montmartre 3. L'apoge de l'illustr 3.1. Le magazine sous Napolon : Moniteur officiel de la mode 3.2. Diffusion et tirage 3.3. Abonns et lecteurs 3.4. La Msangre, mcne de jeunes talents 3.5. Vers 1830 : l'diteur vieillissant se heurte certains obstacles 3.6. Le conflit entre les hritiers de La Msangre 4. Le dclin et la succession du priodique aprs 1831 4.1. Crise et relance 4.2. Une femme la tte de l'illustr 4.3. Balzac et le Journal des Dames et des Modes 4.4. La mme revue sous un nouveau titre : Gazette des Salons 4.5. L'Association universelle des journaux de modes, littrature 4.6. Les successeurs du clbre pionnier de la presse de mode 5. Conclusion 6. Quelques gravures du journal reproduites en couleur Annexe A. rpertoire des transformations subies par le journal A.1. Titres et sous-titres A.2. Priodicit A.3. Format des pages A.4. Prix de l'abonnement en France A.5. Adresse du sige du journal A.6. Nombre de pages des cahiers du journal A.7. Prsentation des gravures A.8. Tableau de production annuelle des cahiers parus A.9. Datation selon le calendrier rpublicain 1 11 11 17 35 49 57 72 85 85 112 127 151 161 181 194 194 209 232 264 272 283 298 305 313 313 313 313 314 314 314 315 315 316 319

B. Les collaborateurs du magazine B.1. Noms et dates de collaboration des diteurs, rdacteurs, dessinteurs, graveurs, imprimeurs et distributeurs B.2. Portraits des principaux collaborateurs C. Rpertoire des illustrs et sries rattachs au journal C.1. Les illustrs annexs par le journal C.2. Environ mille six cents gravures publies en sries au sige du journal D. Le journal, objet de collections D.1. Prix pays par les collectionneurs D.2. Bibliothques publiques possdant le priodique E. Quelques pages extraites du Journal des Dames E.1. Fac-simil du premier cahier paru le 20 mars 1797 E.2. Choix d'articles et de gravures publis par le journal E.2.1. La grande politique dans un magazine non-politique E.2.2. Le journal, haute cole de galanterie et de conversations spirituelles E.2.3. Le journal, reflet de l'industrialisation croissante E.2.4. La vie littraire, artistique et thtrale E.2.5. Paris et l'espace habit E.2.6. La socit parisienne E.2.7. L'mancipation des femmes E.2.8. Le magazine, guide en matire d'ducation E.2.9. Faits divers E.2.10. Modes et coutumes F. Inventaire des documents F.1. Documents d'archives F.2. Bibliographie F.3. Journaux fminins, almanachs et autres priodiques consults F.4. Crdit photographique Remerciements Liste des figures Index

322 322 329 353 353 353 367 367 369 372 373 381 381 386 393 401 412 419 426 433 438 444 455 455 458 476 481 482 483 487

LEADER Darian Ce que l'art nous empche de voir Paris : d. Payot & Rivages, 2011, 1 vol. (233 p.). Collection Petite bibliothque Payot ; 789. ISBN 978-2-228-90619-7 MOND 474

Rsum : Le 21 aot 1911, La Joconde disparat du Louvre. Vole. Apollinaire et Picasso figurent parmi les suspects. Surtout, des milliers de personnes - dont Franz Kafka et son ami Max Brod - se prcipitent au muse dans le seul but de contempler l'emplacement vide du tableau ! Parmi ces fivreux visiteurs, beaucoup n'avaient auparavant jamais mis les pieds au Louvre. Qu'est ce que cela signifiait ? Pourquoi prouvaient-ils subitement le besoin d'y venir en masse ? 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'esprons-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

Rsum : 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 Milles 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 I. The celluloid image : historical dress in film, Edward Maeder The three faces of Cleopatra (photo essay) II. The photogenic formula : Hairstyles and makeup in historical films, Alicia Annas 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 Exhibition checklist Filmography, Edward Maeder and David Ehrenstein Notes to the text Index 7 8 9

52 78 97 113 193 250 252

MANGHANI Sunil Image critique & the fall of the Berlin wall Chicago : Intellect, 2008, 230 p. Bibliogr. p. [211]-220. Index ISBN 978-1-84150-190-1 GER 216

Rsum : Taking the fall of the Berlin wall as a key marker in recent history - a period in which increasingly we find ourselves watching 'instant history' unfold live on air - the book presents a new critical concept of image critique : a double procedure of both a critique of images and the use of images as a means to engage with our contemporary mediated culture for new critical purposes. A rich array of primary sources are woven together to provide a thorough critique of the recent and lively theoretical debates about visual culture. The book does not seek to present any straightforward analysis of visual representations of the fall of the wall, but instead inhabits its historical and ongoing resonance as a means to situate a complex interactive account of history, politics, human action, freedom, the media and visual culture. Sunil Manghani is senior lecturer in media at York St John University

Contents : List of illustrations The Fall of the Berlin Wall (...an imaginary) Before words Chapter 1 : On the sight of the Berlin wall Chapter 2 : The problem of visual culture Chapter 3 : The end of history ? Chapter 4 : Living without an alternative Chapter 5 : Public sreening : critical pictures of the Wall After : Ecologies of images, topologies of critique Bibliography Index 7 9 19 31 67 95 141 165 201 211 221

MARGOLIS (ed.), PAUWELS Luc (ed.) The SAGE handbook of visual research methods Los Angeles : SAGE, 2011, 1 vol. (XXI-754 p.) ISBN 978-1-84787-556-3 MOND 491

Rsum : This book captures the state of the art in visual research. Margolis and Pauwels have brought together, in one volume, a unique survey of the field of visual research that will be essential reading for scholars and students across the social sciences, arts and humanities. The SAGE handbook of visual research methods encompasses the breadth and depth of the field, and points the way to future research possibilities. It illustrates 'cutting edge' as well as long-standing and recognized practices. This book is not only 'about' research, it is also an example of the way that the visual can be incorporated into data collection and the presentation of research findings. Chapters describe a methodology or analytical framework, its strengths and limitations, possible fields of application and pratical guidelines on how to apply the method or technique. The handbook is organized into seven main sections : Framing the field of visual research Producing visual data and insight Participatory and subject-centered approaches Analytical frameworks and approaches Visualization technologies and practices Moving beyond the visual Options and issues for using and presenting visual research Eric Margolis is an Associate Professor in the Hugh Downs School of Human Communication. He is President of the International Visual Sociology Association. Luc Pauwels is Professor of Visual Culture at the University of Antwerp. He is Chair of the Visual Communication Studies Division of the ICA and Vice-President of the International Visual Sociology Association (IVSA).

Contents : About the authors Preface : Aims and organization of this handbook Part 1 : Framing the field of visual research 1. An integrated conceptual framework for visual research, Luc Pauwels 2. Looking two ways : mapping the social scientific study of visual culture, Richard Chalfen 3. Visual studies and empirical social inquiry, Jon Wagner 4. Seeing things : visual research and material culture, Jon Wagner Part 2 : Producing visual data and insight 5. Anthropological filmmaking : an empirical art, David MacDougall 6. Repeat photography in landscape research, Mark Klett 7. Rephotography for documenting social change, Jon H. Rieger 8. Visual research methods in the design process, Prasad Boradkar Part 3 : Participatory and subject-centered approaches 9. Community-based participatory video and social action in rural South Africa, Claudia Mitchell and Naydene de Lange 10. Differentiating practices of participatory visual media production, Richard Chalfen 11. Some theoretical and methodological views on photo-elicitation, Francesco Lapenta 12. Children-produced drawings : an interpretive and analytical tool for researchers, Tirupalavanam G. Ganesh 13. The photo diary as an autoethnographic method, Elisabeth Chaplin Part 4 : Analytical frameworks and approaches 14. Quantitative content analysis of the visual, Annekatrin Bock, Holger Isermann and Thomas Knieper 15. Iconography and iconology as a visual method and approach, Marion G. Mller 16. Visual semiotics : key features and an application to picture ads, Winfried Nth 17. Press photography and visual rhetoric, Terence Wright 18. Methodological approaches to disclosing historic photographs, Eric Margolis and Jeremy Rowe 19. Researching film and history : sources, methods, approaches, James Chapman 20. Looking closely : toward a natural history of human ingenuity, Ray McDermott and Jason Raley 21. Ethnomethodology and the visual : practices of looking, visualization, and embodied action, Michael Ball and Gregory Smith 22. Videography : an interpretative approach to video-recorded micro-social interaction, Hubert Knoblauch and Ren Tuma Part 5 : Visualization technologies and pratices 23. Eye tracking as a tool for visual research, Bettina Olk and Arvid Kappas 24. Expanding cartographic practices in the social sciences, Innisfree McKinnon 25. Participatory geographic information systemes (PGIS) in visual research, 0 ix xix 1 3 24 49 72 97 99 114 132 150 169 171 186 201 214 241 263 265 283 298 317 337 359 372 392 414 431 433 452 474

26. Numbers into pictures : visualization in social analysis, John Grady 27. Visual conceptualization opportunities with qualitative data analysis software, Raewyn Bassett Part 6 : Moving beyond the visual 28. Multimodality and multimodal research, Theo van Leeuwen 29. Researching websites as social and cultural expressions : methodological predicaments and a multimodal model for analysis, Luc Pauwels 30. How to 'read' images with texts : the graphic novel case, Jan Baetens and Steven Surdiacourt 31. A multisensory approach to visual methods, Sarah Pink Part 7 : Options and issues for using and presenting visual research 32. Interactive media representation, Roderick Coover 33. Doing and disseminating visual research : visual arts-based approaches, Dnal O'Donoghue 34. Making arguments with images : visual scholarship and academic publishing, Darren Newbury 35. Making a 'case' : applying visual sociology to researching eminent domain, Brian Gran 36. Visual research ethics at the crossroads, Rose Wiles, Andrew Clark and Jon Prosser 37. Legal issues of using images in research, Jeremy Rowe Index

494 530 547 549 570 590 601 615 617 638 651 665 685 707 723

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

Rsum : 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 Ladys 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 Eisenhowers 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 : Americas love affair with the car in the television age 5. When Elvis cut his hair : the meaning of mobility 6. Betty Crockers picture cook book : the aesthetics of food in the 1950s 7. Nixon in Moscow : appliances, affluence, and americanism Afterword Notes Illustration credits Acknowledgments Index 1 8 50 86 128 164 202 242 284 289 319 321 323

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 (d. complte) MOND 416-1

Rsum : 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 Editors 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 : Fashions 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 (d. complte) MOND 416-2

Rsum : 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 Editors introduction Part 1 : The power of dress 1. The cavaliers and the parvenus as imitators of the court, Werner Sombart 2. Lord Chesterfields 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 Shz 10. Street style : dress in John Gays 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 (d. complte) MOND 416-3

Rsum : 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 Editors introduction 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 flneur, 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 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. Robertss The exquisite slave : the role of clothes in the making of the Victorian woman, David Kunzle 10. Reply to David Kunzles Dress reform as antifeminism : a response to Helene E. Robertss The exquisite slave (vol. 2, n 3), Helene E. Roberts 11. Fashion - Jewellery, Marguerite de Ponty (Stphane Mallarm) 12. Fashion, Marguerite de Ponty (Stphane Mallarm) 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 mens 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 womens 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-sicle Paris, Valerie Steele 23. Sex and the city : Metropolitan modernities in English history, Margot Finn ix xv

3 19 56 78 106 132

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 (d. complte) MOND 416-4

Rsum : 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 Editors introduction Part 1 : Fashions structures 1. Dress as an expression of the pecuniary culture, Thorstein Veblen 2. The philosophy of fashion, Georg Simmel 3. The economic and social rle of fashion, Pierre Clerget 4. The cerementing of the gentleman, Gerald Heard 5. The predominance of male homosociality, J.C. Flgel 6. Epilogue on trousers, Eric Gill 7. The functions of folk costume in Moravian Slovakia : introduction, Petr Bogatyrv 8. An economic interpretation of women's fashions, Paul M. Gregory 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 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 ix xv

3 14 38 48 52 55 60 62

79 87 107

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

Rsum : 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, Ren 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, Nstor Garca 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 : flneur/flneuse, 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 Notes on contributors Index

617 625 636 654 669 677 685 696 711 717

MIRZOEFF Nicholas An introduction to visual culture. London ; New York : Routledge, 2009, 1 vol. (XXII-321 p.). Bibliogr. la fin de chaque chapitre. Index. ISBN 978-0-415-32759-6 MOND 426

Rsum : 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 Holbeins 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 Introduction : Global visual cultures : paradox and comparison Keyword : The division of the sensible Chapter 1 : Sight becomes vision : from al-Haytham to perspective Keyword : culture as transculture Chapter 2 : "1492" : expulsions, expropriations, encounters Breakout image : The Ambassadors : slavery and the gaze Chapter 3 : Slavery, modernity and visual culture Keyword : Visuality Chapter 4 : Panoptic modernity Keyword : modernity Breakout image : Photography and death Chapter 5 : Imperial transcultures : from Kongo to Congo Keyword : Race Chapter 6 : Sexuality disrupts : measuring the silences Keyword : The fetish and the gaze Chapter 7 : Inventing the west Keyword : Empire and the State of emergency Chapter 8 : Decolonizing visions Keyword : Networks Chapter 9 : Discrete states : digital worlds from the difference engine to Web 2.0 Breakout image : Blade runner Chapter 10 : The death of the death of photography Keyword : Spectacle and surveillance Chapter 11 : Celebrity : from imperial monarchy to reality TV Breakout image : the Abu Ghraib photographs Chapter 12 : Watching war Index vii xiii xvi 1 17 21 41 45 63 68 89 94 113 119 127 147 153 169 176 192 197 218 224 245 250 264 271 287 292 310

MIRZOEFF Nicholas The right to look : a counterhistory of visuality Durham : Duke university press, 2011, XIX-385 p.-[8] p. de pl. ISBN 978-0-8223-4895-5 MOND 507

Rsum : In The Right to Look, Nicholas Mirzoeff develops a comparative decolonial framework for visual culture studies, the field that he helped to create and shape. Casting modernity as an ongoing contest between visuality and countervisuality, or the right to look, he explains how visuality sutures authority to power and renders the association natural. An early-nineteenth-century concept, meaning the visualization of history, visuality has been central to the legitimization of Western hegemony. Mirzoeff identifies three complexes of visualityplantation slavery, imperialism, and the present-day military-industrial complexand explains how, within each, power is made to seem self-evident through techniques of classification, separation, and aestheticization. At the same time, he shows how each complex of visuality has been counteredby the enslaved, the colonized, and opponents of war, all of whom assert autonomy from authority by claiming the right to look. Encompassing the Caribbean plantation and the Haitian revolution, anticolonialism in the South Pacific, antifascism in Italy and Algeria, and the contemporary global counterinsurgency, The Right to Look is a work of astonishing geographic, temporal, and conceptual reach. Nicholas Mirzoeff is Professor of Media, Culture, and Communication at New York University. He is the author of several books, including An Introduction to Visual Culture, Watching Babylon: The War in Iraq and Global Visual Culture, and Diaspora and Visual Culture: Representing Africans and Jews, as well as the editor of The Visual Culture Reader.

Contents : List of Illustrations Preface. Ineluctable Visualities Acknowledgments Introduction. The Right to Look, or, How to Think With and Against Visuality Visualizing Visuality 1. Oversight: The Ordering of Slavery 2. The Modern Imaginary: Anti-Slavery Revolutions and the Right to Existence Puerto Rican Counterpoint I 3. Visuality: Authority and War 4. Abolition Realism: Reality, Realisms, and Revolution Puerto Rican Counterpoint II 5. Imperial Visuality and Countervisuality, Ancient and Modern 6. Anti-Fascist Neorealisms: North-South and the Permanent Battle for Algiers Mexican-Spanish Counterpoint 7. Global Counterinsurgency and the Crisis of Visuality Notes Bibliography Index ix xiii xvii 1 35 48 77 117 123 155 188 196 232 271 277 311 343 373

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

Rsum : 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 Lees Do the right thing and Oliver Stones 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 Americas 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. Mitchells book Iconology is also available from the University of Chicago Press.

Contents : List of illustrations Acknowledgments Introduction I. Picture theory 1. The pictorial turn 2. Metapictures 3. Beyond comparison : picture, text, and method II. Textual pictures 4. Visible language : Blake's art of writing 5. Ekphrasis and the other 6. Narrative, memory, and slavery 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 IV. Pictures and power 10. Illusion : looking at animals lookind-g 11. Realism, irrealism, and ideology : after Nelson Coodman V. Pictures and the public sphere 12. The violence of public art : Do the right thing 13. From CNN to JFK Conclusion : some pictures of representation Index xi xiii 1

11 35 83

111 151 183

213 241 281

329 345

371 397 417 427

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

Rsum : 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 Mitchells 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 Part one : Images 1. Vital signs, cloning terror 2. What do pictures want ? 3. Drawing desire 4. The surplus value of images Part two : Objects 5. Founding objetcs 6. Offending images 7. Empire and objecthood 8. Romanticism and the life of things 9. Totemism, fetishim, idolatry 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 Index ix xiii xix

5 28 57 76

111 125 145 169 188

201 222 245 272 294 309 336 357

MONNAS Lisa Merchants, princes and painters : silk fabrics in Italian and Nothern paintings, 1300-1550 New Haven : Yale university press, 2008, 1 vol. (XI-408 p.) ISBN 978-0-300-11117-0 N 2540

Rsum : Covering a period that witnessed the flowering of the Renaissance and the major expansion of the Italian silk industry, this volume examines the silks depicted in paintings from Italy, England and the Netherlands over the course of 250 years. Through a close study of the workshop practice and techniques of the artists who represented these fabrics, Lisa Monnas offers a masterly evaluation of the paintings as source material for classifying surviving textiles. Dealing with an exceptionally long period, she considers a great many examples in greater depth than has ever been attempted, and gives particular attention to the identification of historic textile types and their weave structure. Monnas examine a vast range of subjects, including silk as a marker of social status, the material possessions of artists and their ownership of textiles as props, the involvement of painters in silk design, and the repetition and transfer of patterns. She considers the evidence of paintings not only for the veracity with which the silks are depicted but also for its value as a period of two and a half centuries, tastes and patterns of consumption altered, and these changes, which can be traced through documentary sources, are also reflected in the paintings. The conclusion of this impressive analysis brings the discussion full circle by looking at the reincarnation, during the nineteenth and early twentieth centuries, of silk designs taken from late-medieval and renaissance paintings, reproduced as wallpapers or woven as new fabrics (some of which are still in production today). This important and desirable book - beautifully illustrated with several unfamiliar paintings and with surviving fabrics, some of which have never been reproduced before - not only re-evaluates the dating and identification of individual textiles, but also brings fresh insights into the material values of the artists and their clients. Its aithoritative and original approach to both fabrics and paintings makes it of inestimable value to historians of textiles, art and material culture alike.

Contents : Preface Acknowledgements Introduction 1. Who wore silk ? The price of silk fabrics, artists' clothing and studio props 2. Painters and the design of woven silks 3. Cloth of gold in fourteenth-century Sienese and Florentine paintings 4. Painting velvet in Italy and the Netherlands during the first half of the fifteenth century 5. The transmission of textile designs in fifteenth- and early sixteenth-century Netherlands paintings 6. Decorative silks in fifteenth- and early sixteenth-century Italian paintings 7. Textiles in portraits Venice, Florence and England, 1480-1550 8. Convetion or reality ? Reading textiles in paintings 9. A life of their own : the longevity and changing use of silk fabrics Epilogue : Nineteenth-century english textiles and wallpapers designed after fabrics shown in medieval and renaissance paintings Appendices I. Looms, textile types and historic terminology (includes glossaries of weaving, dress and painting terms, measurements and money) II. Letter of William Makefyrr, 1506 III. Vestments woven with Christ and St Thomas in Rome and Florence IV. Copes with named benefactors with dates attached, extracted from the ninety-one copes in the inventory of St Paul's Cathedral, London, 1295 V. The terms paonazzo and morello VI. Letter concerning an order of clothing for the contessa de Melzo, 1475 VII. Carpets at the early Tudor court VIII. Abridged genealogy of the Medici family Tables 1. Selvedge colours on italian silk fabrics, 1376-1466 2. Loom widths of italian silks, thirteenth-sixteenth centuries 3. Weaving prices specified by the Florentine silk guild, 1429 4. Prices of silk and wool from a wardrobe account of Edward IV, 1480 5. Prices of silk purchased for the great wardrobe of Henry VIII, 1533-1534 6. Textiles and clothing given to Drer, purchased by Him or given Him, on his journey to the Netherlands, 1520-1521 7. Neri di Bicci's Ricordance : Purchases of cloth, december 1453-january 1461 8. Extracts from the coronation account of Edward VI, 1547 Notes Bibliography Index Photograph credits ix xi 1 23 41 67 97 121 149 181 217 247 269

295 307 308 310 314 316 317 318

319 320 322 323 325 327 330 332 335 375 392 408

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

Rsum : 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 Part one : Questions and definitions 1. Defining visual culture 2. Visual practice and the function of images 3. The covenant with images Part two : Images between cultures 4. The violence of seeing : idolatry and iconoclasm 5. The circulation of images in mission history 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 Conclusion Notes Select bibliography Index ix xiii 1

25 48 75

115 147

191 220 217 261 305 311

MOXEY Keith The practice of persuasion : paradox & power in art history Ithaca ; Londres : Cornelle University press, 2011, XII-146 p. ISBN 0-8014-8675-0 MOND 514

Rsum : This sequel to The practice of theory stresses the continued need for self-reflective awareness in art historical writing. Offering a series of meditations on the discipline of art history in the context of contemporary critical theory, Moxey addresses such central issues as the status of the canon, the nature of aesthetic value, and the character of historical knowledge. The chapters are linked by a common interest in, even fascination with, the paradoxical power of narrative and the identity of the authorial voice. Keith Moxey is Ann Whitney Olin Professor of Art History at Barnard College and Columbia University. He is the author of the Practice of theory : poststructuralism, cultural politics, and art history, also from Cornell, and Peasans, warriors, and wives : popular imagery in the reformation.

Contents : Illustrations Acknowledgments Introduction : The politics of persuasions Chapter one : Art history's hegelian unconscious : naturalism as nationalism in the study of early netherlandish painting Chapter two : History, fiction, memory : riemenschneider and the dangers of persuasion Chapter three : Motivating history Chapter four : Perspective, Panofsky and the philosophy of history Chapter five : Nostalgia for the real : the troubled relation of art history of Visual Studies Chapter six : After death of the "Death of the author" Index ix xi 1 8 42 65 90 103 124 143

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

Rsum : 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 Panofskys writings. Talking a fresh look at work by artists from Albrecht Drer and Erhard Schn 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 artists biography. Moxeys 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 Part one : cultural politics : theory Introduction Chapter one : Representation Chapter two : Ideology Chapter three : Authorship Part two : cultural politics : practice Chapter four : Panifsky's melancolia Chapter five : The paradox of mimesis Chapter six : Seeing through Chapter seven : Making "genius" Index ix 1

23 29 41 51

65 79 99 111 149

NORTH Susan (ed.), TIRAMANI Jenny (ed.) Seventeenth-century women's dress patterns London : V&A publishing, Victoria and Albert museum, 2011, 1 vol. (160 p.). Bibliogr. p. 160. ISBN 978-1-85177-631-3 MOND 500

Rsum : This innovative and breathtakingly detailled book on the V&A's fashion collections presents dress patterns, cosntruction details, embroidery and making instructions for 15 garments and accessories from the wardrobes of seventeenth-century women. Book one in this exciting series includes waistcoats, bodices, gloves and a mantle. Full step-by-step drawings of the construction sequence are given for each garment to enable the reader to accurately reconstruct them. There are scale patterns of every item and scale diagrams for making linen and metal thread laces, knitting patterns and embroidery desings. Multiple photographs of the objects, close-up construction details and the use of x-ray photography reveal the hidden elements of the clothes, the precise number of layers and the stitches used inside.

Contents : Introduction and acknowledgements The tools and techniques of the tailor and seamstress Embroidery tools and techniques Knitting stitches Sewing stitches Embroidery stitches How to use this book The patterns Margaret Layton's waiscoat, 1610-15, Claire Thornton Pink silk waistcoat, 1610-20, Jenny Tiramani Blackwork waistcoat, 1920-25, Luca Costigliolo Fustian waistcoat, 1630s, Jenny Tiramani Slashed satin bodice, 1630s, Luca Costigliolo Knitted silk waistcoat, 1630-1700, Susan North Embroidered linen mantle, 1590-1610, Claire Thornton Linen smock, 1620-40, Armelle Lucas Linen hood, 1600-1640, Armelle Lucas Embroidered coif and forehead cloth, 1600-1650, Armelle Lucas Linen band and cuffs, 1630-35, Jenny Tiramani Embroidered partlet and sleeve panels, 1615-25, Jenny Tiramani Linen kerchief, 1600s, Susan North Embroidered linen gloves, 1600-1625, Claire Thornton Embroidered kid gloves, 1610-30, Jenny Tiramani Bibliography 6 9 14 16 17 18 20

22 34 48 60 70 88 98 110 120 124 128 136 142 144 150 160

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

Rsum : 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 : Valria 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 womens 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 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, Valria 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 Index ix xi xv 1 13 28 41 53 73 92 112 128 145 164 177 194 211

PAUWELS Luc Visual cultures of science : rethinking representational practices in knowledge building and science communication Hanover : Darthmouth College Press, 2006, 1 vol. (XIX299 p.). Collection Interfaces : studies in visual culture ISBN 1-58465-512-7 MOND 501

Rsum : This collection explores the issues involved in the creation and deployment of visual representations in both the natural and the social sciences. Issues of representation affect every aspect of scientific activity, from the encoding, display, analysis, and presentation of data to the communication of scientific concepts and information to students and the general public. Visual cultures of science offers a useful mix of theoretical analyses, as well as revealing case studies, addressing such topics as the technologies of visualization (from X-ray machines to films made by anthropologists), the persuasive power of the graphic presentation of data (including a critique of the work of Edward Tufte), and the distillation of data into pedagogical representations such as scientific wall charts for classroom use. This book addresses both abstract and practical issues of representation, as well as demonstrating the importance of recognizing historicized perspectives in considering issues of representation. Luc Pauwels is professor and chair of the department of communication sciences at the university of Antwerp. His previous publications include De verbeelde samenleving (Imaging Society) and articles in Visual studies, visual sociology, and Journal of visual literacy.

Contents : Introduction : The role of visual representation in the production of scientific reality 1. A theoretical framework for assessing visual representational practices in knowledge building and science communications, Luc Pauwels 2. The producton of scientific images : vision and re-vision in the history, philosophy, and sociology of science, Michael Lynch 3. Representing or mediating : a history and philosophy of X-ray images in medicine, Bernike Pasveer 4. The accursed part of scientific iconography, Francesco Panese 5. Images of science in the classroom : wall charts and science education, 1850-1920, Massimiano Bucch 6. Representing moving cultures : expression, multivocality, and reflexivity in anthropological and sociological filmmaking, Luc Pauwels 7. Arguing with images : Pauling's theory of antibody formation, Alberto Cambrosio, Daniel Jacobi, and Peter Keating 8. Discipline and the material form of images : an analysis of scientific visibility, Michael Lynch 9. Edward Tufte and the promise of a visual social science, John Grady 10. Making science visible : visual literacy in science communication, Jean Trumbo Contributors Index vii 1 26 41 63 90 120 153 195 222 266 285 291

PRICE Sally Au muse des illusions : le rendez-vous manqu du quai Branly Paris : Denol, 2011, 1 vol. (358 p.). Collection Mdiations. Bibliogr. p. [329]-355. ISBN 978-2-20726184-2 FPA 81

Rsum : Le muse du quai Branly consacr aux civilisations d'Afrique, d'Asie, d'Ocanie et des Amriques a t le grand projet de Jacques Chirac. Il devait favoriser le "dialogue des cultures" mais, cinq ans aprs son ouverture, il semble davantage relever d'un monologue occidental sur les arts primitifs. En cela, il est rvlateur du profond malaise que suscite l'altrit dans une Rpublique se prtendant aveugle la diffrence. Critique amicale de la part de la plus franaise des anthropologues amricaines, Au muse des illusions commence par le rcit, inform aux meilleures sources, de la cration du muse. Il explique comment un dessin prsidentiel servant les intrts de quelques-uns a mobilis des annes durant les moyens de l'tat, au gr de msaventures o le grotesque l'a souvent disput au dsordre. Surtout, Sally Price dmontre quel point les concepteurs du muse ont privilgi le spectaculaire au dtriment d'une dmarche pdagogique. On a rarement vu un tel cart entre les intentions proclames et un rsultat fait d'illusions voire d'erreurs. Mais l'apport essentiel de cet ouvrage est de pointer la singularit du muse du quai Branly par rapport aux tablissements du mme genre l'tranger. Exemple parfait du fonctionnement de l'"tat culturel" la franaise, sa conception a d'abord obi au principe de lacit dans son sens le plus large. Les peuples et communauts dont sont issus les objets prsents n'ont gure t consults et le rendez-vous a bel et bien t manqu. Bon nombre des questions essentielles auxquelles la France est confronte aujourd'hui sont donc abordes ici : la place de l'immigration, les fondements de la citonneyet, la lacit, le vivre ensemble, l'affaiblissement des autorits politiques... A ce titre, la faade de verre du muse du quai Branly apparat comme un fragile rempart contre les dmons que la socit franaise ne veut pas affronter. Sally Price est l'auteure de plusieurs livres sur l'art primitif dans l'imaginaire occidental. Diplme de Harvard, elle a enseign Paris et partage son temps entre les tats-Unis, o elle est professeure d'anthropologie, et la Martinique.

Table des matires : Introduction Par o commencer ? I. Les deux Jacques 1. La scne primitive 2. Le jardin secret du prsident 3. Le connaisseur passionn 4. "Good-bye, Columbus" II. Des muse dans la ville lumire 5. tat de culture 6. Le plus grand muse du monde III. Le dmnagement 7. bas la hirarchie 8. En route 9. La cohabitation 10. Grondements tous les tages 11. Du rve la ralit 12. De quelques points d'interrogation IV. Donneurs d'organes 13. Grabuge au Trocadro 14. Rsistance 15. Colonies et crocodiles 16. La valse mille temps V. Contre-palais sur Seine 17. Btonner 18. Prliminaires la transpiration 19. Derrire le "mur poilu" 20. Du verre, des jardins et des aborignes 21. Et au milieu coule une rivire 22. Choeur des tnbres Epilogue Postface Remerciements Notes Bibliographie 9 15

21 25 34 45

53 62

69 82 90 98 105 114

137 147 162 167

181 187 190 205 221 238 263 277 303 305 329

RIBEIRO Aileen Facing beauty : painted women & cosmetic art New Haven [Conn.] : Yale University Press, 2011, 371 p. ISBN 978-0-300-12486-6 MOND 505

Rsum : Throughout the history of the Western world, countless attempts have been made to define beauty in art and life, especially with regard to women's bodies and faces. Facing Beauty examines concepts of female beauty in terms of the ideal and the real, investigating paradigms of beauty as represented in art and literature and how beauty has been enhanced by cosmetics and hairstyles. This thought-provoking book discusses the shifting perceptions of female beauty, concentrating on the period from about 1540 to 1940. It begins with the Renaissance, when a renewed emphasis on the individual was reflected in the celebration of beauty in the portraits of the day. The fluid, sensual lines of the Baroque period initiated a shift toward a more "natural" look, giving way in the 18th century to a more stylized and artificial face, a mask of ideal beauty. By the late 19th century, commercial beauty preparations had become more readily available, leading to new technological developments within the beauty industry in the early 20th century. Beauty salons and the wider availability of cosmetics revolutionized the way women saw themselves. Ravishing images of some of the most beautiful women in history, both real and ideal, accompanied by illustrations from costume books, fashion plates, advertisements, caricatures, and cosmetics, bring the evolving story of beauty to life. Aileen Ribeiro is Professor Emeritus in the history of art at the Courtauld Institute of Art, London.

Table des matires : Introduction 1. Renaissance 2. Enlightenment 3. Modernity Coda : now Notes Select bibliography Index Photograph credits 1 52 52 222 326 334 350 357 370

RIELLO Giorgio (ed.), McNEIL Peter (ed.) Shoes : a history from sandals to sneakers London ; New York : Berg, 2011, 439 p. ISBN 978-0-85785-038-6 MOND 512

Rsum : Shoes are now much more than just things to walk in. From kids on the block to models on the catwalk, we use them to signal how fashionable we are. But, beyond style, this most intimate object communicates much more... our sexual desires, aesthetic sense, social status and personality. And, before they became supreme objects of desire, shoes had a history. From ancient times to the present, shoes have had a cultural as well as a practical purpose. Within these pages is pretty much everything you ever wanted to know about shoes - the tiny crushing shoes of China, the infamous chopine with its 23-inch heel, how dandies made men's shoes beautiful in the eighteenth century, and how the powers of conservatism made them dull again, war and the Wellington boot, sex and the high heel, the codes of the "gay shoe", shoes in fairytales and in art, the irresistable rise of the sneaker, and the cult of shoe designers. Giorgio Riello is professor of global history and culture at the University of Warwick. He has widely published on fashion, textiles and product innovation in eighteenth- and nineteenth-century Europe and Asia. He is the author of A foot in he past (2006) and Global cotton (2012). He is the co-editor of several volumes, including The fashion history reader : global perspectives (2010, with Peter McNeil) Peter McNeil is professor de design history in the school of design at the University of Technology, Sydney and foundation professor of fashion studies at Stockholm University. Recent publications include Fashion : critical and primary sources (4 vols, Berg, 2009). He is currently an investigator within "Fashioning the early modern : creativity and innovation in Europe, 1500-1800", funded by the humanities in the Europe research aerea (HERA).

Contents : Preface Introduction : A long walk : shoes, people and places, Giorgio Riello and Peter McNeil Chapter 1 : Beneath their shining feet : shoes and sandals in classical Greece, Sue Blundell Chapter 2 : Sumptuous shoes : making and wearing in medieval Italy, Maria Giuseppina Muzzarelli Chapter 3 : Courtly lady of courtesan ? The venetian chopine in the Renaissance, Andrea Vianello Chapter 4 : Walking the streets of London and Paris : shoes in the enlightenment, Peter McNeil and Giorgio Riello Chapter 5 : War and Wellingtons : military footwear in the age of Empire, Alison Matthews David Chapter 6 : The perils of choice : women's footwear in nineteenth-century America, Nancy Rexfod Chapter 7 : Purity, pollution and place in traditional Japanese footwear, Martha Chaiklin Chapter 8 : Interrogating Africa's past : footwear among the Yoruba, Tunde M. Akinwumi Chapter 9 : A dream of butterflies ? Shoes in Chinese culture, Paola Zamperini Chapter 10 : Fashioning masculinity : men's footwear and modernity, Christopher Breward Chapter 11 : A delicate balance : women, power and high heels, Elizabeth Semmelhack Chapter 12 : Shoes and the erotic imagination, Valrie Steele Chapter 13 Sex and sin : the magic of red shoes, Hilary Davidson Chapter 14 : Beyond the rainbow : queer shoes, Clare Lomas, Peter McNeil and Sally Gray Chapter 15 : Made in Italy : Ferragamo and twentieth-century fashion, Stefania Ricci Chapter 16 : Style through design : form and function, Giovanni Luigi Fontana Chapter 17 : Sole representation : shoe imagery and twentieth-century art, Julia Pine Chapter 18 : Limousines for the feet : the rhetoric of sneakers, Alison Gill Chapter 19 : The male Cinderella : shoes, genius and fantasy, Peter McNeil and Giorgio Riello Notes Glossary Contributors Bibliography Index 1 2 30 50 76 94 116 138 160 182 196 206 224 250 272 290 306 326 352 372 386 412 422 425 427 437

RIELLO Giorgio (ed.), McNEIL Peter (ed.) The fashion history reader : global perspectives London : Routledge, 2010, 1 vol. (XXVI-566 p.) ISBN 978-0-415-49324-6 MOND 503

Rsum : History is uncomfortable with fashion and fashion frequently denies its own history. Why ? This path-breaking analysis presents the views of over seventy leading academics of many cultures and spans the twelfth to the twentieth centuries. The Fashion History Reader is an innovative work that provides a broad introduction to the complex literature in the fields of fashion studies, and dress and fashion history. Twenty-three chapters and over forty shorter "snapshot" texts cover a wide range of topics and approaches within the history of fashion, ranging from object-based studies to theory-driven analyses. Themes also move in and across time, providing a chronology to enable student learning. A comprehensive introduction by the editors contextualises the debates for students, synthesising past history and bringing them up to date through a discussion of globalisation. Each section also includes a short, accessible introduction by the editors, placing each chapter within the wider, thematic treatment of fashion and its history. There are also higly detailed further reading sections which encourage students to enhance their learning independently. Giorgio Riello is Associate professor in global history and culture at the University of Warwick, UK and Director of the Pasold Research Fund. Peter McNeill is Professor of Design History at the University of Technology Sydney, Australia and Professor of Fashion Studies at Stockholm University, Sweden.

Contents : List of figures List of snapshot illustrations Acknowledgements List of contributors Preface Introduction : The fashion history reader : global perspectives, Giorgio Riello and Peter McNeil Snapshot 1 : The study of fashion and dress, Negley Harte Part 1 : Fashion's 'origins' : the Middle Ages and Renaissance, Giorgio Riello and Peter McNeil 1. The birth of fashion, Sarah-Grace Heller Snapshot 2 : Fashion, fabrics and the Orient, Giorgio Riello 2. A short history of sumptuary laws, Alan Hunt Snapshot 3 : The 'fashion other' : jews in the late middle ages, Maria Giuseppina Muzzarelli 3. Codpieces and masculinity in early modern England, Will Fisher Snapshot 4 : Objects of fashion in the Renaissance, Evelyn Welch Part 2 : Fashion and social order : the early modern world, Peter McNeil and Giorgio Riello 4. Clothing and early modern Venetian society, Patricia Allerston Snapshot 5 : Embroidery, women and fashion in the early modern period, Susan C. Frye 5. Male headwear at the courts of Henry VIII and Edward VI, Maria Hayward Snapshot 6 : The stage, costume and fashion, Catherine Richardson Snapshot 7 : The courtier and fashion, Carole Collier Frick 6. Mapping the world : dress in Cesare Vecellio's costume books, Eugenia Paulicelli Snapshot 8 : Fashion in the archive, Janine Christina Maegraith 7. Clothing the courtier, Jennifer M. Jones Snapshot 9 : Fashion in the Spanish court, Hilary Davidson Part 3 : The fashion revolution : the 'long' eighteenth century, Giorgio Riello and Peter McNeil 8. Custom or consumption ? Plebeian fashion in eighteenth-century England, John Styles Snapshot 10 : Fashion in the museum : the material culture of artefacts, Miles Lambert 9. Fashioning cottons : Asian trade, domestic industry and consumer demand, 1660-1780, Beverly Lemire Snapshot 11 : Fashion and silk design, Lesley Ellis Miller 10. Fashion in the eighteenth century : some anglo-french comparisons, Aileen Ribeiro Snapshot 12 : Fashion, prestige, and the eigteenth-century beau monde, Hannah Greig 11. Fashion journals and the education of enlightened consumers, Daniel L. Purdy Snapshot 13 : Fashion and the eighteenth-century satirical print, Peter McNeil Snapshot 14 : Ideology and the dangers of fashion in early national america, Linzy A. Brekke xi xv xvii xxi xxv 1 15 19 25 40 43 59 62 81 85 93 111 114 132 135 138 160 163 169 173 179 191 194 214 217 235 238 257 263

Part 4 : Between luxury and leisure : the nineteenth century, Peter McNeil and Giogio Riello 12. Artificial beauty, or the morality of dress and adornment, Valerie Steele Snapshot 15 : Fashion, readers and the novel in the nineteenth century, Clair Hughes 13. Modes of manliness : reflections on recent histories of masculinities and fashion, Christopher Breward Snapshot 16 : Fashion, the factory and exploitation, Katrina Honeyman Snapshot 17 : Jewellery and fashion in the nineteenth century, Elizabeth Fischer 14. L'Homme des foules, dandy, flneur : fashion and the metropolis 1850-1940, Ulrich Lehmann Snapshot 18 : The dandy, Olga Vainshtein Snapshot 19 : Fashion and France in the Second Empire, Alex M. Cain 15. Clothing behaviour as non-verbal resistance : marginal women and alternative dress in the nineteenth century, Diana Crane Snapshot 20 : Fashion, birth and death in the nineteenth century, Lou Taylor Part 5 : Westernisation and colonialism : the age of empires, Giorgio Riello and Peter McNeil 16. Fashions in late imperial China, Antonia Finnane Snapshot 21 : Reforming dress in Peter the great's Russia, Christine Ruane Snapshot 22 : Clothing and ethnicity in colonial spanish america, Rebecca Earle 17. British attitude to Indian and European dress, Emma Tarlo Snapshot 23 : Distance and respectability in colonial Australia, Margaret Maynard Snapshot 24 : Fashion and abolitionism, Alice Taylor 18. The westernisation of clothes and the state in Meiji Japan, Ken'ichiro Hirano Snapshot 25 : Ottoman clothing rules : changes in the nineteenth and twentieth centuries, Suraiya Faroqhi 19. Western modes and Asian clothing : reflections on borrowing other people's dress, Verity Wilson Snapshot 26 : Fashion and anthropology : the case of Africa, Karen Tranberg Hansen Snapshot 27 : Islamic fashion, Annika Rabo Snapshot 28 : Orientalism today, Hazel Clark Part 6 : Modern to hyper/ultra-modern : the twentieth century, Peter McNeil and Giorgio Riello 20. Poiret's modernism and the logic of fashion, Nancy J. Troy Snapshot 29 : Haute couture, Alexandra Palmer Snapshot 30 : The origins of the modern fashion show, Caroline Evans Snapshot 31 : Madame Grs : master couturier, Patricia Mears Snapshot 32 : Fashion as 'art' versus fashion as 'craft' revisited, Sanda Miller 21. Nice threads : identity and utility in American fashion, Gregory Votolato Snapshot 33 : Women designing modernity, Rebecca Arnold Snapshot 34 : Fashion and the moving image, Louise Wallenberg Snapshot 35 : Totalitarian dress, Djurdja Bartlett Snapshot 36 : Fashion and film, Stella Bruzzi

267 275 298 301 308 311 314 329 332 335 354 357 365 380 383 386 399 402 405 416 418 437 440 442 445 455 466 470 473 476 478 492 495 498 502

22. The self as image : a critical appraisal of postmodern theories of fashion, Llewellyn Negrin Snapshot 37 : Fashion and club culture, 1970-90, Sally Gray Snapshot 38 : Fashion in the 1980s : a time of revival, Alistair O'Neill Snapshot 39 : Fashion and adornment, Michael Carter Snapshot 40 : Ethics and the future of fashion, Elizabeth Wilson 23. Italian and Chinese agendas in the global fashion industry, Simona Segre Reinach Snapshot 41 : Made-in-Italy : between past and future, Giovanni Luigi Fontana Snapshot 42 : The contemporary japanese consumer, Toby Slade Snapshot 43 : Luxury brands and fashion : an un-nautral marriage ? Marc de Ferrire le Vayer Snapshot 44 : Fashion branding : Ralph Lauren's stage, D.J. Huppatz Index

504 522 525 528 531 533 543 546 550 553 557

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

Rsum : 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-sicle 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 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 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 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, Gisle 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 x xiii xvii xxi 1 3 15 26

35 37 42 47 51 56 60 63

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 mmoire, Pierre Nora 27. The illustrated history book : history between word and image, Maurice Samuels 28. Revolutionary sons, white fathers and creole difference : Guillaume Guillon-Lethire'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 portire 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

SHERROW Victoria Encyclopedia of hair : a cultural history Westport (Conn.) : Greenwood Press, 2006, XXVI-455 p.[8] p. de pl. ISBN 978-0-313-33145-9 MOND 509

Rsum : The Encyclopedia of Hair looks at the history of hair through the ages, revealing certain common threads as well as many differences among cultures around the world. Ideas about what constitues attractive, stylish, or appropriate hair have varied from place to place and from one historical era to the next. Certain styles have come and gone, while others reappear with variations. Men's and women's hairstyles have reflected ideas about age, gender, religious beliefs, occupation, politics and other aspects of life. Hairstyling approaches also reflect pratical considerations such as climate, occupation, economics and the kinds of tools and materials that are available. Since the twentieth century, mass media and celebrities have played an increasingly influential role in determining hairstyle trends and fashions.

Contents : List of entries Guide to related topics Preface Introduction The Encyclopedia Bibliography Index vii xi xvii xix 1 415 445

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

Rsum : 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

STAFFORD Barbara Maria Body criticism : imaging the unseen in enlightenment art and medicine. Cambridge (Mass.) ; London : The MIT Press, 1993, 1 vol. (XXI-585 p.). Bibliogr. p. [534]-573. ISBN 0-262-69165-5 MOND 494

Rsum : In this elegant and profusely illustrated history of perception, Barbara Stafford explores a remarkable set of body metaphors deriving from both aesthetic and medical practices that were developed during the enlightenment for making visible the unseeable aspects of the world. While she focuses on these metaphors as a reflection of the changing attitudes toward the human body during the period of birth of the modern world, she also presents a strong argument for our need to recognize the occurence of a profound revolution - a radical shift from a text-based to a visually centered culture. Stafford uses this historical insight to argue that modern societies need to develop innovative, nonlinguisitic paradigms and to train a broad public in visual aptitude. Barbara Maria Stafford is professor of art history at the University of Chicago.

Contents : List of illustrations Preface Introduction : The visualization of knowledge Somatic metaphors Antinomies Hunting for method Surface or depth Picture and text 1. Dissecting Searching operations Physiognomics, or corporeal connoisseurship The calculation of incongriuty Pathognomics, or the pursuit of looks 2. Abstracting Systems of epitomization Wounds of experience Distracting styles of pain Patterns of interiority 3. Conceiving Barbarisms, or strangeness incarnate "Brain-born images" Breeding for difference Grotesques, or Ars combinatoria 4. Marking Contagious pointillism Stains of desire "Like a shadow on the skin" Romantic misfits 5. Magnifying Microscopic seers Visual quackery Dream projections Free to be false 6. Sensing A finer touch viii xvii

1 24 34 38 40

47 84 103 120

131 158 178 199

211 233 254 266

281 306 319 329

341 362 378 392

401

Mental meteorology Fluid phantoms Communicable feelings Conclusion : The aesthetics of almost Selected bibliography Index

417 437 450

480 534 574

STAFFORD Barbara Maria Echo objects : the cognitive work of images Chicago [Ill.] ; London : University of Chicago Press, 2007, 1 vol. (xiii-281 p.-[12] p. de pl.). ISBN 978-0-226-77051-2 MOND 493

Rsum : Barbara Maria Stafford is at the forefront of a growing movement that calls for the humanities to confront the brain's material realities. In Echo objects, she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. In turn, she contends, brain scientists could enrich their investigations of mental activity by incorporating phenomenological considerations - particularly the intricate ways that images focus intentional behavior and allow us to feel thought. This, then, is a book for both sides of the aisle, a stunningly broad exploration of how complex images - or patterns that compress space and time - make visible the invisible ordering of human consciousness. Stafford demonstrates, for example, how the compound formats of emblems, symbols, collage, and electronic media reveal the brain's grappling to construct mental objects that are redoubled by prior associations. On the other hand, she compellingly shows that findings in evolutionary biology and the neurosciences are providing profound opportunities for understanding aesthetic conundrums as old and deep seated as the human urge to imitate, the mapping of inner space, and the role of narrative and nonnarrative representation. As precise in her discussions of firing neurons as she is about the coordinating dynamics of image making, Stafford locates these major transdisciplinary issues at the intersection of art, science, philosophy, and technology. Ultimately, she makes an impassioned plea for a common purpose - for the acknowledgment that, at the most basic level, these separate projects belong to a single investigation. Barbara Maria Stafford is the William B. Ogden Distinguished Service Professor at the University of Chicago. She is the author of eight books, inluding, most recently, Visual analogy, and a coauthor of Devices of wonder.

Contents : List of illustrations Acknowledgments Introduction 1. Form as figuring it out : toward a cognitive history of images 2. Compressive compositions : emblem, symbol, symbiogenesis 3. Mimesis again ! Inferring from appearances 4. Primal visions : the geography of interiority 5. How patterns meet : from repreentation to mental representation 6. Impossible will ? Unconscious organization, conscious focus Coda : reverberations Notes Index vii xi 1 9 43 75 105 135 175 205 217 263

STOICHITA Victor I. Leffet pygmalion : pour une athropologie historique des simulacres. Genve : Droz, 2008, 1 vol. (320 p.). Collection Titre courant ; 37. Notes bibliogr. Index. ISBN 978-2-600-00537-1 EUR 731

Rsum : LEffet Pygmalion procde dune incursion dans limmense fortune littraire, visuelle, audiovisuelle enfin, du mythe fondateur de la premire histoire de simulacres consigne par la culture occidentale. La lgende raconte quun sculpteur chypriote tombe amoureux de loeuvre quil faonne ; dans un lan de magnanimit, les dieux dcident de lanimer. Devenue, par la volont divine, femme et pouse de son crateur, cette dernire reste nanmoins un artefact qui, sil est dou dme et de corps, nen demeure pas moins un fantasme. Un simulacre, prcisment. Artifice priv de modle, le simulacre ne copie pas un objet rel, il sy projette plutt et lescamote, il existe en soi. Ne procdant pas de la copie dun modle, ntant nullement fond sur la ressemblance, le simulacre transgresse la mimsis qui domine la pense artistique. Ambitieux, louvrage ne se satisfait pas dune approche interdisciplinaire. Ainsi dfinit-il son objet critique non par une succession de tmoignages artistiques ou littraires, mais par la conception mme de la reprsentation, le statut du modle et de la copie. En ce sens, si un texte dOvide ou de Vasari, une miniature mdivale, une statue vivante de la Renaissance, une peinture romantique, une photographie, un film et jusqu une poupe Barbie sont convoqus par Victor Stoichita, cest pour tre examins avec les mmes principes critiques et contribuer un discours hermneutique sur la conception occidentale de limage. Le mythe de Pygmalion, parabole de linfraction mme de la reprsentaiton, de lviction de la mimsis et de la dviation du dsir, fonde une anthropologie de lobjet esthtique et donne voir la feinte originelle dans toute socit captive par les simulacres et ses leurres, telle que la ntre.

Sommaires : Remerciements Introduction Chapitre I. Modifications 1. L'os et la chair 2. Caresses 3. Rougeur Chapitre II. Amplifications 1. La flche 2. Pierres vivantes 3. Chants, trombes et cymbales Chapitre III. Variations 1. Bonheurs et malheurs d'un modle 2. Vive figure Chapitre IV. Doubles 1. Hlne et l'eidlon 2. Hlne et la statue 3. La statue parlante dans la "galerie" du Chevalier Marino 4. "Comme dans un vieux conte" Chapitre V. La statue nerveuse 1. Le pas 2. La sculpture dans la peinture/la sculpture dans la sculpture 3. Noeuds 4. "... un fluide thr dans la pierre amollie a dj pntr" Chapitre VI. Photo/Sculpture 1. "Fin de sance" (photographie et sculpture) 2. Monte du "trs vritable fantme" (photosculpture) Chapitre VII. La copie originale 1. La relation pygmalionienne 2. Le chignon de Madeleine 3. Le visage de Judy 4. La transformation En guise de conclusion : vingt thses sur le simulacre Annexe : Ovide, Les Mtamorphoses, X, 243-297 Index Table des illustrations 7 9 19 19 31 33 41 41 52 76 89 92 108 127 127 137 151 157 173 173 190 209 221 237 237 259 267 267 272 275 282 297 299 303 307

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

Rsum : 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-scne, 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. 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 Conclusion Glossary Bibliography 1 13 35 55 73 85 101

TILLEY Christopher (ed.), KEANE Webb (ed.), KCHER 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

Rsum : 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 Kchler 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 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, Bjrnar Olsen 7. Colonial matters : material culture and postcolonial theory in colonial situations, Peter van Dommelen 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 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 Part IV : Process and transformation Introduction, Susanne Kchler 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 viii xi 1 7 7 13 29 43 60 74 85 104 125 125 131 145 161 173 186 197 197 203 221 230 254 267 285 303 315 325 325 329 341 355 373 384 402

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

VAN BUREN Anne H. ; WIECK Roger S. (coll.) Illuminating fashion : dress in the art of medieval France and the Netherlands, 1325-1515 New York [N.Y.] : The Morgan Library & Museum ; London : D Giles, 2011, 1 vol. ([x]-431 p.). ISBN 978-1-904832-90-4 EX 182

Rsum : Illuminating fashion : dress in the art of medieval France and the Netherlands, 1325-1515, is a long-awaited, indepth study of dress in northern Europe from the early fourteenth century to the dawn of the Renaissance. This is the first comprehensive history of fashion to be based exclusively on firmly dated or datable art. Drawing mainly upon illuminated manuscripts, this book also features panel painting, tapestry, sculpture, and early printed books produced in France and the duchy of Burgundy during the late medieval period - a time of rapid change in dress. This publication examines fashion's relationship to social customs, culture, and politics. It also demonstrates the rich symbolism in late medieval art : how artists used clothing and costume as a kind of code that reflected the wearer's identity, occupation, and moral character. Analyzing the visual representation of garments - real and fanciful - Illuminating fashion provides invaluable assistance to the modern viewer in interpreting a work of art through fashion. In addition, van Buren's astute observations on the evolution of dress can be used in dating a work of art. At the heart of the work is a pictorial history of fashion from 1325 to 1515, a suite of more than three hundred color illustrations. This is followed by a comprehensive, annotated glossary of medieval clothing terms and a detailed list of dated and datable artworks that portray contemporaneous civilian dress. The index of clothing terms enables the reader to follow the development and evolution of particular garments.

Contents : Acknowledgements Director's foreword, William M. Griswold Tribute to Anne H. van Buren, Gregory T. Clark Introduction Dress in late medieval art The historical conditions Chronology and geography Emblematics of medieval dress The visual record The nature of the images Using the images today Album A pictorial history of fashion, 1325-1515 Glossary : english and french clothing terms Appendix : dated and datable works of art F. France B. The Burgundian Realm H. Northern Netherlands and adjacent german territories Abreviations Bibliography : Works cited in abbreviated form Index of art Index of clothing terms vii ix x

38 291 321

391 393 421 429

WALKER John A., CHAPLIN Sarah Visual culture : an introduction. Manchester ; New York : Manchester university press ; New York : Distributed exclusively in the USA by St. Martins Press, 1997, 1 vol. (VIII-231 p.). Notes bibliogr. en fin de chapitres. Index. ISBN 978-0-7190-5020-6 MOND 431

Rsum : 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 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 Appendix : Modular schemes Index vi viii 1 7 18 31 51 65 81 97 111 128 147 165 180 196 217 219

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

Rsum : Todays 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 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 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 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 xv 3 3 4 4 9 13 14 17 19 20 21 21 22 22 23 25 25 26 26 28 30 32 40 43 45 45 46 46 47 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 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 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

66 67 69 71 72 73 73 74 74 75 76 77 77 79 79 90 92 94 96 100 100 101 101 101 103 103 104 104 105 106 108 112 115 118 120 121 123 124 125 125 125 126 126

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 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 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

129 129 130 131 135 139 145 149 152 152 153 153 153 155 155 156 156 157 169 170 171 172 174 175 175 175 176 177 177 178 178 187 189 191 193 194 195 195 195 196

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 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 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 Chapter twelve : Sanctions in various settings From the headlines Question to answer as you read Sanctions within the family Sanctions within the school

197 197 198 198 207 211 211 212 212 213 215 215 216 217 228 233 234 234 235 235 237 237 238 238 239 243 245 247 248 249 249 250 253 253 253 254 254 255 255 257 257 260

Sanctions within the workplace Summary Key terms and concepts Suggested readings Research activity 12.1 Literature analysis Research activity 12.2 Memories of teasing 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 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 References Glossary Index Photo credits

269 272 272 273 273 273 275 275 276 276 278 279 281 282 284 286 287 290 292 293 293 293 294 294 295 295 297 298 298 302 306 311 313 316 316 316 317 317 318 319 345 361 377