Images: A Reader
Images: A Reader provides a key resource for students, academics, practitioners and other readers engaged in the critical, theoretical, and practical study of images. The Reader is concerned with the notion of the ‘image’ in all its theoretical, critical and practical contexts, uses and history. It provides a map of the differences and similarities between the various disciplinary approaches to images, breaking the ground for a new interdisciplinary study of images, in the arts and humanities and beyond. The selection of over 80 key readings, across the domains of philosophy, art, literature, science, critical theory and cultural studies tells the story of images through intellectual history from the Bible to the present. By including both well-established writings and more recent, innovative research, the Reader outlines crucial developments in contemporary discourses about images.
(3.2), Jameson (3.4) , Gilroy (3.5). Bordo (3.6), Gombrich (4.2), Barthes (5.3), Bal (5.4). Ihde (6.5), lacan (7.1), Metz (7.2). Mulvey (7.3) . Ricoeur (8,2), Romanyshyn (8.4), Wittg enstein (9,1). Le Doeuff (9.4), Deleuze (9.5), Benjamin (9.6), Berger (9.7), Kl ee (10.1), Eisenstein (10.2) , Galison (10.5), McLuhan (11.1), Lynch (11.2), Sontag (11.3), Danto (11.4). Grieve (11.5). Lury (11.6) , Cheng (11.7), Krauss (12.2), Dyer (12.3), Mitchell (13.1), Stafford (13.3). Debray (13.4) Tabl e 4
definitions of r ealit y and image. It assumes that w hat is rea l persists, un chan ged and int act, whil e only images have changed : shore d up by the m ost tenuous claim s to cre dibility, th ey have som ehow become more seductive. But the notion s of image and reality are co m ple me ntary. Wh en the no tion of r eality changes, so do es that of the imag e, and vice versa . ' OUf era ' does no t prefer im ages t o r eal thi ngs out of perver sity but partly in res po nse to the ways in which
similar to th e accepted ideas more rationali stically propagated by the surface message. Convers ely, a number of repressed gratifications which playa large ro le O Il the hidden level r» (..-d . I . [It'r n;ll;t d n I J o , from . He" v to loo k at tdc", l.~ i()n ' . In The Culture Induurr l\rnJ\Jl'dg<." 19':)( . pp. 175 -7 . R cprodu ct-.d w ith pcnnb .'I.iotl . Origin all\' Ir 1/ . ,( )O ( on : J "r . I . . . . •• V lot > l Q t <1 ... . ?'l .'\-; The . 11:•.,} I e RadiO -"'0._ _ , _ _
ort . Nationhood, as Alfre d Sherman pointed out in 1976, Paul Gilroj' . from There Am ', No Blo,k io ,he Umon jod b) pcr rnissto n of T&F Inform a, Lond ono Routledge, t 992, Pl': 56-9, Reproduced FIGURE 3.1 : Con servative Party election poster, 1978_ Courtesy of The Conservative Party, \'\litb the Conservatives, there arc 11,) ' blacks, no'whites, j ust people, Conservative" believe rhar treating rninorincs as equals en courages the majontv to treat them as cquals. Yet the Labour P arty
ma ker. T he worl d so seen is conce ived of" as exi sting prior to artist-viewer. [.. . 1The artist of the fir st kind claim s that 'I see the worl wh ile that o f the second sho w s rath er that the wo rl d is 'being seen .' T OWA R DS A VI S UAL C R IT IC AL T H E O RY SUSAN BUCK -MORSS 1111' pro d ucti on of a dis course of visual culture entails th e liquidation of ar t ;l ' I I l' have kn own it . Th er e is no way within suc h a d iscour se for art to sll ~t,li n a sep arate e xistence ,