Confronting Images 在線電子書 pdf 下載 txt下載 epub 下載 mobi 下載 2024


Confronting Images

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Georges Didi-Huberman 作者
Penn State University Press
譯者
2009-6-15 出版日期
336 頁數
USD 39.95 價格
Paperback
叢書系列
9780271024721 圖書編碼

Confronting Images 在線電子書 圖書標籤: 藝術史  藝術理論  Georges_Didi-Huberman  藝術  視覺轉嚮  視覺文化  英文  美術   


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發表於2024-12-23

Confronting Images 在線電子書 epub 下載 mobi 下載 pdf 下載 txt 下載 2024

Confronting Images 在線電子書 epub 下載 pdf 下載 mobi 下載 txt 下載 2024

Confronting Images 在線電子書 pdf 下載 txt下載 epub 下載 mobi 下載 2024



Confronting Images 在線電子書 用戶評價

評分

最精彩的兩處:第一章對Fra Angelico的The Annunciation的評論;附錄對Proust和Vermeer的評論,為這兩處給瞭五星。中間三章主要是藝術史和藝術方法的迴顧,對瓦薩裏、康德和潘諾夫斯基思想的分析和批評,其中更喜歡瓦薩裏章一點。曾和導師談起這本書,她還特意去看瞭提到的部分,也說很喜歡。

評分

最精彩的兩處:第一章對Fra Angelico的The Annunciation的評論;附錄對Proust和Vermeer的評論,為這兩處給瞭五星。中間三章主要是藝術史和藝術方法的迴顧,對瓦薩裏、康德和潘諾夫斯基思想的分析和批評,其中更喜歡瓦薩裏章一點。曾和導師談起這本書,她還特意去看瞭提到的部分,也說很喜歡。

評分

first and last chapters elucidate better his theory, issues of medieval/renaissance, incarnation/representation. Second and third chapters refute the Vasarian and Kantian paradigm of art history for a turn to phenomenology. Appendix is a practice of his paradigm of the symptom and dreamwork.

評分

first and last chapters elucidate better his theory, issues of medieval/renaissance, incarnation/representation. Second and third chapters refute the Vasarian and Kantian paradigm of art history for a turn to phenomenology. Appendix is a practice of his paradigm of the symptom and dreamwork.

評分

first and last chapters elucidate better his theory, issues of medieval/renaissance, incarnation/representation. Second and third chapters refute the Vasarian and Kantian paradigm of art history for a turn to phenomenology. Appendix is a practice of his paradigm of the symptom and dreamwork.

Confronting Images 在線電子書 著者簡介


Confronting Images 在線電子書 著者簡介


Confronting Images 在線電子書 pdf 下載 txt下載 epub 下載 mobi 在線電子書下載

Confronting Images 在線電子書 圖書描述

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

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

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