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e-Book Confronting Images: Questioning the Ends of a Certain History of Art epub download

e-Book Confronting Images: Questioning the Ends of a Certain History of Art epub download

Author: Georges Didi-Huberman
ISBN: 0271024712
Pages: 336 pages
Publisher: Penn State University Press (September 29, 2005)
Language: English
Category: Americas
Size ePUB: 1944 kb
Size Fb2: 1361 kb
Size DJVU: 1454 kb
Rating: 4.4
Votes: 358
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Subcategory: History

e-Book Confronting Images: Questioning the Ends of a Certain History of Art epub download

by Georges Didi-Huberman



Georges Didi-Huberman

Georges Didi-Huberman. According to Didi-Huberman, visual representation has an ''underside'' in which seemingly intelligible forms lose their clarity and defy rational understanding.

Art history, Didi-Huberman argues, has had to ‘kill’ the symptomatic image, deny its violence and its .

Christopher Wood, Yale University. I cannot think of any more important book in the recent history of art. Confronting Images is just what the English-speaking art-historical community needs to help it out of the impasse of debates around ‘cultural studies’ and ‘visual literacy. -James Elkins, School of the Art Institute of Chicago.

Confronting Images book. Goodreads helps you keep track of books you want to read. Start by marking Confronting Images: Questioning the Ends of a Certain History of Art as Want to Read: Want to Read saving. Start by marking Confronting Images: Questioning the Ends of a Certain History of Art as Want to Read: Want to Read savin. ant to Read.

Similar books and articles. Georges Didi-Huberman - 2008 - University of Chicago Press. Didi-Huberman Georges - 1989 - History of the Human Sciences 2 (2):135-169

Similar books and articles. Confronting Images: Questioning the Ends of a Certain History of Art. Georges Didi-Huberman - 2009 - Pennsylvania State University Press. In the Image of Auschwitz. Bruno Chaouat - 2006 - Diacritics 36 (1):86-96. Didi-Huberman, . Before the Time. The History and Anachronism of Images. M. Tokárová - 2008 - Filozofia 63:654-655. Didi-Huberman Georges - 1989 - History of the Human Sciences 2 (2):135-169.

Questioning The Ends Of A Certain History Of Ar. This book poses special challenges to the translator

Questioning The Ends Of A Certain History Of Ar. Georges didi-huberman. This book poses special challenges to the translator. Its diction is studied and its rhetorical machinery is intricate. There is much wordplay.

Confronting Images also offers brilliant, historically grounded readings of images . Since its initiation in 1985, CHArt (Computers and the History of Art) has se. .

Confronting Images also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer's Lacemaker. Renaissance Art: A Very Short Introduction. This book looks at the transformation that Art and Art History is undergoing through engagement with the digital revolution Подробнее. Stallabrass J. Contemporary Art: A Very Short Introduction.

Georges Didi-Huberman FBA (born 13 June 1953) is a French philosopher and art historian. Questions posées aux fins d'une histoire de l'art, Minuit, 1990 (translated into English as Confronting Images: Questioning the Ends of a Certain History of Art, Penn State Univ. Ce que nous voyons, ce qui nous regarde, Minuit, 1992.

The work of Georges Didi-Huberman has rethought art history in a number of.Questionings the Ends of a Certain History of Art. Book.

The work of Georges Didi-Huberman has rethought art history in a number of fundamental ways, and has drawn significantly on the work of Gilles Deleuze and Felix Guattari to do so. In particular, the notions of the survival (Nachleben) of the image, of the dynamogram of art history, of a non-humanist art history, and of a rhizomatic temporality, or ‘Renaissance’ as Didi-Huberman puts it, owe a significant debt to Deleuze and Guattari. Didi-Huberman connects Warburg's nonlinear conception of art history to the rhizome (2002, 24, 388, 404, 446), and to strata and stratification (2002, 24, 37, 40, 95, 158, 404, 446, 460).

When the French edition of Confronting Images appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an “underside” in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the “science of iconology.”

To escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud’s concept of the “dreamwork,” not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. Confronting Images also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer’s Lacemaker.