Theory for Art History / Emerling, Jae
Language: eng. Series: Theory:4 A book series from RoutledgePublication details: Routledge, 2019. Oxon;Description: vii, 232 pISBN:- 9780415533904
- 2nd ed. 701.18 EME-T
Item type | Current library | Collection | Call number | Status | Notes | Date due | Barcode | Item holds | |
---|---|---|---|---|---|---|---|---|---|
Books | Library, SPAB H-2 | Non Fiction | 701.18 EME-T (Browse shelf(Opens below)) | Available | Rec. by Saurabh Tewari | 011134 |
Browsing Library, SPAB shelves, Shelving location: H-2, Collection: Non Fiction Close shelf browser (Hides shelf browser)
701.17 RET Rethinking aesthetics: | 701.17 RET Rethinking aesthetics: | 701.18 DAL-M Methods and theories of art history / | 701.18 EME-T Theory for Art History / | 701.85 COL Colour in art, design and nature / | 701.85 MCC-D Design in black and white / | 701.85 SWI-D Dimentional color/ |
Table of Contents
INTRODUCTION: Becoming Theoretical
PREDECESSORS
1. Sigmund FREUD
2. Karl MARX
3. Friedrich NIETZSCHE
4. Ferdinand de SAUSSURE
THEORY FOR ART HISTORY
5. Theodor W. ADORNO
6. Giorgio AGAMBEN
7. Hannah ARENDT
8. Louis ALTHUSSER
9. Alain BADIOU
10. Roland BARTHES
11. Georges BATAILLE
12. Jean BAUDRILLARD
13. Walter BENJAMIN
14. Pierre BOURDIEU
15. Judith BUTLER
16. Gilles DELEUZE and Félix GUATTARI
17. Jacques DERRIDA
18. Michel FOUCAULT
19. Martin HEIDEGGER
20. Luce IRIGARAY
21. Julia KRISTEVA
22. Jacques LACAN
23. Emmanuel LEVINAS
24. Jean-François LYOTARD
25. Maurice MERLEAU-PONTY
26. Jacques RANCIÈRE
27. Edward W. SAID
28. Gayatri Chakravorty SPIVAK
Theory for Art History provides a concise and clear introduction to key contemporary theorists, including their lives, major works, and transformative ideas.
Written to reveal the vital connections between art history, aesthetics, and contemporary philosophy, this expanded second edition presents new ways for rethinking the methodologies and theories of art and art history. The book comprises a complete revision of each theorist; updated and trustworthy bibliographies on each; an informative introduction about the reception of critical theory within art history; and a beautifully written, original essay on the state of art history and theory that serves as an afterword.
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