Image from Syndetics
Text| Item type | Current library | Call number | Copy number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|---|
| Standard Loan | LSAD Library Main Collection | 704.042 POL (Browse shelf(Opens below)) | 1 | Available | 39002000281460 |
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Enhanced descriptions from Syndetics:
In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?
Includes bibliographical references and index
Table of contents provided by Syndetics
- List of illustrations (p. x)
- Preface (p. xiii)
- Acknowledgements (p. xviii)
- Part I Firing the canon
- 1 About canons and culture wars (p. 3)
- Theoretical models for the critique of the canon: ideology and myth (p. 6)
- What is the canon - structurally? (p. 9)
- Psycho-symbolic investment in the canon, or, Being childish about artists (p. 13)
- 2 Differencing: feminism's encounter with the canon (p. 23)
- Three positions (p. 23)
- About difference and differance (p. 29)
- Thinking about women ... Artists (p. 33)
- Part II Reading against the grain: reading for ...
- 3 The ambivalence of the maternal body: re/drawing Van Gogh (p. 41)
- A feminist reading of Van Gogh? (p. 41)
- Bending women (p. 43)
- Inside a studio behind the vicarage in Nuenen (p. 46)
- Sexuality and representation (p. 50)
- What are they really talking about? (p. 53)
- Class, sexuality and animality (p. 55)
- Freud, Van Gogh and the Wolf Man: Mater and nanny (p. 57)
- Who's seeing whose mother? Feminist desire and the case of Van Gogh (p. 60)
- 4 Fathers of modern art: mothers of invention: cocking a leg at Toulouse-Lautrec (p. 65)
- Late-coming and premature departure (p. 65)
- Debasement and desire: registers of social and sexual difference (p. 67)
- Looking up to dad (p. 70)
- When small is not enough (p. 75)
- Whose [who's] missing [the] Phallus? What's in the gloves? (p. 77)
- Deconstructing the derriere: the physical other (p. 81)
- Loving women (p. 87)
- Conclusion (p. 90)
- Part III Heroines: setting women in the canon
- 5 The female hero and the making of a feminist canon: Artemisia Gentileschi's representations of Susanna and Judith (p. 97)
- Seeing the artist or reading the picture? (p. 98)
- Feminists and art history: what women? (p. 98)
- Susanna and the Elders (p. 103)
- Trauma, memory and the relief of representation (p. 108)
- Decapitation or castration: Judith Slaying Holofernes (p. 115)
- 6 Feminist mythologies and missing mothers: Virginia Woolf, Charlotte Bronte, Artemisia Gentileschi and Cleopatra (p. 129)
- A feminist myth of the twentieth century: murdered creativity and the female body (p. 129)
- Lucy Snowe meets Cleopatra: the resistant feminist reader and the female body (p. 132)
- Missing mothers: inscriptions in the feminine: Cleopatra (p. 138)
- Coda: rapish scenes and Lucretia (p. 158)
- 7 Revenge: Lubaina Himid and the making of new narratives for new histories (p. 169)
- A post-colonial feminist revenge on the canon? (p. 169)
- On some painting in Revenge (p. 173)
- History painting (p. 186)
- On mourning and melancholia (p. 189)
- Covenant versus terrorism (p. 191)
- Part IV Who is the other?
- 8 Some letters on feminism, politics and modern art: when Edgar Degas shared a space with Mary Cassatt at the Suffrage Benefit Exhibition, New York 1915 (p. 201)
- Letter I On the question of I and non-I (p. 201)
- Letter II On the social other (p. 213)
- Letter III On the jouissance of the other (p. 226)
- Letter IV On the mortality of the other (p. 230)
- Letter V On the exhibition with the other (p. 234)
- 9 A tale of three women: seeing in the dark, seeing double, at least, with Manet (p. 247)
- Introduction: Laure, Jeanne and Berthe (p. 247)
- Berthe (p. 258)
- Jeanne (p. 261)
- Laure (p. 277)
- Conclusion (p. 305)
- Epilogue (p. 317)
- Bibliography (p. 318)
- Index (p. 328)