IllustrationHarvard University Press, 1992 - Počet stran: 168 Positioning himself in the slippery divide between two highly charged critical approaches--deconstruction and cultural studies--J. Hillis Miller explains why the split occurred and offers, for the first time, an eloquent analysis of the goals and methods of cultural studies. Miller's Illustration is an intellectual adventure that transgresses the boundaries of critical theory to reveal the ideological forces at work. The result, art critic Norman Bryson concludes, "is an extraordinary performance". In a positive, constructive way, Miller describes cultural studies as, primarily, a means of contextualizing works of art. Relating the assumptions behind this approach to recent social, political, and technological changes, he shows how cultural studies is itself subject to its context and thus perhaps misguided insofar as it portrays art objects as "mere illustration". In particular, Miller considers new forms of electronic research in the humanities which, with their vast, homogenizing effect on data, can compel a critic to reconfigure information--in fact, to create the context that he or she means simply to identify. To illustrate this phenomenon, Miller investigates one topic of importance for cultural studies: the relation of verbal and visual forms in multimedia works. Drawing examples from Twain, Gorey, Mallarme, James, Ruskin, Heidegger, Dickens, and Turner, he shows how neither word nor image takes priority in such collaborations; nor is either a mere representation of a pre-existing reality. The transformations wrought by cultural artifacts on their contexts, Miller contends, must be identified through detailed and vigilant "rhetorical" readings if the force of a work of art is tobe passed on into the current cultural situation. And for the new form these readings take, the reader-critic must in turn assume responsibility. |
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Strana 134
... look at it from as great a distance as the width of the gallery will allow of , and then you see nothing but a burst of sunlight'.93 These early critics recog- nized some obscure danger involved in looking at this pic- ture . It is like ...
... look at it from as great a distance as the width of the gallery will allow of , and then you see nothing but a burst of sunlight'.93 These early critics recog- nized some obscure danger involved in looking at this pic- ture . It is like ...
Strana 141
... look on Nature we already theorise [ theoretisieren ] . But in order to guard against the possible abuse of this abstract view , in order that the practical deductions we look to should be really useful , we should theorise without ...
... look on Nature we already theorise [ theoretisieren ] . But in order to guard against the possible abuse of this abstract view , in order that the practical deductions we look to should be really useful , we should theorise without ...
Strana 166
... look more like ' mi ragi . . . ' . 115 Ronald Paulson suggests they might stand for ' mi raggia ' ( shine on me ) or might stand for ' mi rabbine ' ( darken me ) . Mirare in Italian means ' to look at ' or ' wonder at ' , another ...
... look more like ' mi ragi . . . ' . 115 Ronald Paulson suggests they might stand for ' mi raggia ' ( shine on me ) or might stand for ' mi rabbine ' ( darken me ) . Mirare in Italian means ' to look at ' or ' wonder at ' , another ...
Obsah
Acknowledgements | 7 |
Part Two Word and Image | 61 |
References | 152 |
Autorská práva | |
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