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A catalogue record for this book is available from m e British Li brarv. Printed in china Ed itor: EI isa beth Ingles contents Introduction How to use this book. A place to start Chapter 1 What makes theory "theory"? is theory pure, universal, and impartial? Positivism, or the theory of anti-theoretical positions?
A catalogue record for this book is available from m e British Li brarv. Printed in china Ed itor: EI isa beth Ingles contents Introduction How to use this book. A place to start Chapter 1 What makes theory "theory"? is theory pure, universal, and impartial? Positivism, or the theory of anti-theoretical positions?
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A catalogue record for this book is available from m e British Li brarv. Printed in china Ed itor: EI isa beth Ingles contents Introduction How to use this book. A place to start Chapter 1 What makes theory "theory"? is theory pure, universal, and impartial? Positivism, or the theory of anti-theoretical positions?
Авторское право:
Attribution Non-Commercial (BY-NC)
Доступные форматы
Скачайте в формате PDF или читайте онлайн в Scribd
Anne D’Alleva
Methods &
Theories o
vans Art History
71 Great Russell street
london WC1B 38P
United kingdom
Tel: +44 20 74308850
Fax: +44 20 7430 8880
e-mail:enquiries@laurenceking co.uk
www.laurenceking.co.uk
Copyright 2005 Anne D’Alleva.
Allrights reserved. No part of this publication
may be reproduced or transmitted in any form or
by any means, electronic or mechanical, including
photocopy, recording or any information storage
and retrieval system, without prior permission in
writing from the publisher
catalogue record for this book is available
from the British Library.
ISBN 1-85669-417-8
Printedin china
Editor: Elisabeth ingles
Picture Researcher: Sally Nicholls
Design: Andrew Lindesay
Front cover: jean-Auguste-Dominique Ingres, Oedipus and the sphinx (detail), 1808, reworked c. 1827. 7 Fehi
oil on canvas, 6 ft 2inx 4 ft 9 in (1.89 x 1.44 m). Louvre. Patis. Laurence King PublishingContents
Introduction Howto use this book
Chapter1 Thinking about theory
What makes theory “theory”?
Is theory pure, universal, and impartial?
anti-theoretical positions
Positivism, or the theory ot
‘Thinking through theory
Conclusion
W Jargon
i What's the difference between theory and methodology?
Aplace to start
Chapter2 Theanalysis ofform, symbol, and sign
m in art history
Iconography and iconology
Forma
Panofiky's iconography and iconology | Iconography and
iconology since Panaféky | Practicing iconography and
iconology
Semiotics
The founding semioticians: Saussure and Peirce | Systems and
codes | Interpreting codes and signs | Semiotics and art history |
Practicing semiotic art history
Word and image
Conclusion
@ Are works of art puzzles? Are art historians detectives?
@ Dowe “read” works of art?
A place to start
Chapter3 Art's contexts
‘The history of ideas
Marxist and materialist perspectives on art
The critique of capitalism and historical materialism | Ideology
and cultural hegemony | Marxism and art | Materialist and
Manvist art history | Practicing Marxist art history
IV CONTENTS
10
41
16
28
3
44
39,
45
46
40
48
Feminisms
A brief history of the women’s movement | The beginnings of
feminist art history | Current issues in feminist art history |
Essentialism and feminist art history | Practicing feminist
art history
, LGBTT Studies, and Queer Theory
LGBTI Studies | Queer'Theory | Gender performativity, a key
queer idea | LGBT1Queer art history | Practicing Queer/I.GBTI
art history
Cultural Studies and postcolonial theory
Sexualiti
Race and postcolonial theory | Subaltern Studies | Art history,
Cultural Studies, and Visual Culture | Practicing art history
informed by Cultural Studies|postcolonialism
Conclusion
@ So what’s normal—or normative?
A place to start
Chapter4 Psychology and perception in art
Art history and psychoanalysis
Basic Freud | Freud on art | Freud’s critics | Basic Lacan |
Lacan on art | Lacan's critics | Psychoanalysis and contemporary
arthistory | The,
Reception theory I: the psychology of art
Reception theory II: reader response theory and
s of reception
Practicing reception theory/psychoanalytic art history
the aestheti
Conclusion
Jungian archetypes
B Object relations theory and the nature of creativity
@ The anxiety of influence
Aplace to start
Chapter5 Taking a stance toward knowledge
Hermeneutics
‘The hermeneutic trio | The hermeneutic circle | Hermeneutics
and arthistory | Practicing hermeneutic art history
V/ CONTENTS
60
70
76
88
88
109
113
120
03
96
110
121Structuralism and post-structuralism 131 Introduction
Culture as structure | Binary oppositions | Intertextuality and How e this book
the death of the author | Post-structuralism | Foucault's history: ow to us s b 10
knowledge is power | Structuralism, post-structuralism, and art
history | Practicing structuralist and post-structuralist art history
Deconstruction 143 I want to suggest a different metaphor for theoretical work:
Arthistory and deconstruction | Practicing deconstructive art the metaphor of struggle, of wrestling with the angels. The
history only theory worth having is that which you have to fight
Postmodernism as condition and practice 149 off, not that which you speak with profound fluency.
Defining madernism(s) | Adding the “post” to modernism |
Challenging master narratives | Fragmentation, pastiche, and the
Stuart Hall, Cultural Studies and
L ¥ etical Legacies 2
simulacrum | Modernism, postmodernism, and art history | Its Theoretical Legacies (1992)
Practicing postmodemist art history
Conclusion 157
A place to start 158 s book gives you a starting point, no more and no less, in
approaching theories of art historical practice. It is neither encyclo-
Chapter 6 writing with theory 159 pedie nor exhaustive—I don’t know how it could be and not lose
he kind of paper you're probably writing now 159 its usefulness as a reference, the kind of dog-eared book that you
Learning how to write with theory 163 keep in a pile next to the computer.
The place of theory in research 165 This hook provides signposts, a set of possible orientations
Which comes first? | How do you know which theory (or theories) toward the field of art history, by presenting some of the theoretical
108e perspectives most widely used in the discipline today. | have done
Writing the paper 169 my best not to over-synthesize, but to present individual
Crafting a theoretically driven argument | Integrating theory | arguments, controversies, and divergent perspectives whenever
Supporting your points|providing evidence possible. Arthistorical theory is a forum of intense, often
passionate debate. These ideas it embraces aren't ever a “done
deal,” but are always under development and constantly changing.
For that matter, art history itself, as an academic discipline, isn’t a
Notes 173 “done deal”: it has changed enormously
Creativity, imagination, and truth 172
nce | was an
undergraduate—twenty years ago as I write this—and it will
Acknowledgments 182
change justas much over the next twenty years.
Index 183 Sowho, do | imagine, is going to be looking for the signposts |
Photo credits 186 present here? My imagined readers are undergraduate students of
art history. They are people seriously interested in the practice of
art history, even if they are new to it and even if they are not intend-
sional careers as art historians.
ing to make profe They are people
who are interested in the world of ideas, who engage in intellec-
tual, political, and artistic pursuits outside their coursework. They
are people who are not content simply to memorize slides—in
fact, I sometimes hope that they are people who actively resist
Vi] CONTENTS 1 INTRODUCTION: HOW TO USE THIS BOOKmemorizing slides! They are people whose professors may be
assigning readings in critical theory, or referring to critical theories
in class, and who, therefore, want background information or sug-
gestions for pursuing these ideas further. These descriptions may
or may not fityou, but, regardless, I welcome you to the intellectual
forum to which this book is a contribution.
Bewamed, however, thatthis book is nota historiography of art
history, nor is it an explanation of theories of art. [nstead it
addresses the multiple intersections of art history and critical
theary, since some of the latter ha
s been generated through the
practice of art history and some not, over the past thirty years or so.
Because this book is nota historiography, it sometimes gives litle
emphasis to key figures in the history of art. For example, the Swiss
scholar Heinrich Wolfflin (1864-1945) may not bea central figure
in current theoretical debates within art history, but if you're
studying historiography then he's critically important and I would
certainly hope that, in other contexts, art-history students are
reading his work and grappling with the issues it presents.!
Because of the range of approaches to be covered here, I've tried
to give this book a simple, rational plan. The core of the book is
chapters two through five, which present detailed discussions of
Each chapter
different theoretical approaches to art history
presents a group of related approaches: for example, Chapter 3,
Art’s contexts, discus:
Marxist and materialist, feminist, queer,
and postcolonial theory together, because, as | see it, all of thes
approaches address the contextual history of art in fundamental
ways. OF course, many such groupings are possible, as. the
numerous cross-references clearly demonstrate, and the selection
of theories presented here reflects my sense of the field. In no way
do I sce this bookas reflecting or contributing to the formation ofa
canon of critical theory, a set lis
of the most important work
Instead, it’s more like a family album—a collection of snapshots
that document the field. This book is subject to change, and is
written from an individual perspective, just as a family album may
be put together by someone who hasa particular perspective on the
events depicted and may add and remove photographs atwill.
Each chapter starts with a brief introduction explaining the
range of theories it presents, then separ
ate sections discuss each of
them in turn. The explanation of each approach starts with a broad
overview. Then, especially ifthis body of theory did notemerge fiom
within art history, I discuss art historians who have taken it up
2 | INTRODUCTION: HOWTO USE THIS BOOK
Finally I take a work of art, or two, and develop a line of questioning
according to that particular theoretical model. This helps you
understand how to generate research questions and how the ideas
of particular scholars and theorists might be employed in art-
historical analysis. A brief conclusion sums up each chapter and
adds any final thoughts
‘Two additional chapters frame this core. Chapter 1: Thinking
about theory introduces the concept of theory and explains why
theory is important to the practice of art history, Chapter 6: Work-
ing with theory presents some practical ideas about writing
theoretically driven a
history papers. It focuses on the ten- to
twenty-page research paper, as this is the format undergraduate
art history students confront most often.
‘There are many ways to read this book, depending on your level
of expertise, time constraints, and goals. There’s always that
mythic reader who devours the book from cover to cover. On the
other hand (and, perhaps, more realistically) you may read a partic-
tion to get a basic orientation to a set of ideas
say, feminism or reception theory—and then
ular chapter or s
that interests you
use that to put together a reading list that will help you delve fur-
ther into the field. Or you may just be looking for some ideas to
traight to the sample
works of art and browse the research questions for inspiration. If
frame a research topic, and so you may go
you're working on a paper, you may turn to Chapter 6 to get help in
developing your argument.
Iwantto emphasize that the nextstep fora student interested in
seriously engaging with any of the theoretical perspectives
presented here is to read primary texts. If, for example, you've read
ism in Chapter 3: Art’s contexts, you
should start reading works by Karl Marx and Friedrich Engels,
the relevant section on Mary
Antonio Gramsci, Louis Althusser, and other important theorists.
There are many field-specific anthologies sto help you
get started, and ultimately you will want to read the full-length
works themselves. You should also start reading works by Marxist
art historians. The works listed at the end of the chapter under A
place to start will help you, as will the endnotes, but there’s no
of such tex
substitute for getting out there and digging into the literature.
‘The act of reading itself becomes somewhat different when
engaging with challenging theoretical texts, and you may find that
the reading techniques you've been using in your studies aren’t
very helpful. To enhance active reading and critical thinking, many
3 | INTRODUCTION: HOWTO USETHIS BOOK