Differencing the Canon

Feminism and the Writing of Art's Histories
1. Auflage 1999
ISBN: 978-0-415-06700-3
Verlag: Taylor & Francis Ltd

Buch, Englisch, 364 Seiten, Format (B × H): 175 mm x 245 mm, Gewicht: 943 g

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?

Zielgruppe

Postgraduate

Autoren/Hrsg.

Pollock, Griselda

Fachgebiete

• Sozialwissenschaften Soziologie | Soziale Arbeit Soziologie Allgemein Feminismus, Feministische Theorie
• Geisteswissenschaften Kunst Kunstgeschichte
• Geisteswissenschaften Kunst Kunst, allgemein

Inhaltsverzeichnis

Preface PART I Firing the canon 1 About canons and culture wars 2 Differencing: feminism's encounter with the canon PART II Reading against the grain: reading for. 3 The ambivalence of the maternal body: re/drawing Van Gogh 4 Fathers of modern art: mothers of invention: cocking a leg at Toulouse-Lautrec PART III Heroines: setting women in the canon 5 The female hero and the making of a feminist canon: Artemisia 6 Feminist mythologies and missing mothers: Virginia Woolf, Charlotte Bronte, Artemisia Gentileschi and Cleopatra 7 Revenge: Lubaina Himid and the making of new narratives for new histories 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 9 A tale of three women: seeing in the dark, seeing double, at least, with Manet

Über Autor(innen)

Griselda Pollock