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Confronting images : questioning the ends of a certain history of art

Author: Georges Didi-Huberman
Publisher: University Park, Pa. : Pennsylvania State University Press, ©2005.
Edition/Format:   Print book : EnglishView all editions and formats
Database:WorldCat
Summary:
When French edition of this book appeared, 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 the author, visual representation has an "underside," in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he  Read more...
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Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Georges Didi-Huberman
ISBN: 0271024712 9780271024714 9780271024721 0271024720
OCLC Number: 61109368
Description: xxvi, 310 pages : illustrations ; 23 cm
Contents: Exorcist --
History of art within the limits of its simple practice --
Art as rebirth and the immortality of the ideal man --
History of art within the limits of its simple reason --
Image as rend and the death of God incarnate --
Detail and the Pan.
Other Titles: Devant l'image.
Responsibility: Georges Didi-Huberman ; translated from the French by John Goodman.
More information:

Abstract:

When French edition of this book appeared, 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 the author, 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." The author suggests that art historians look to Freud's concept of the "dreamwork"--Not to find a code of interpretation, but rather to think of representation as a mobile process that often involves substitution and contradiction. This book also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer's Lacemaker.

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