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The Domain of Images /
In the domain of visual images, those of fine art form a tiny minority. This original and brilliant book calls upon art historians to look beyond their traditional subjects-painting, drawing, photography, and printmaking-to the vast array of "nonart" images, including those from science, t...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Ithaca, NY :
Cornell University Press,
[2018]
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| Temas: | |
| Acceso en línea: | Texto completo Texto completo |
MARC
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| 100 | 1 | |a Elkins, James, |e author. |4 aut |4 http://id.loc.gov/vocabulary/relators/aut | |
| 245 | 1 | 4 | |a The Domain of Images / |c James Elkins. |
| 264 | 1 | |a Ithaca, NY : |b Cornell University Press, |c [2018] | |
| 264 | 4 | |c ©2001 | |
| 300 | |a 1 online resource (304 p.) : |b 5 tables, 105 halftones, 48 line drawings | ||
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| 505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t Preface -- |t Acknowledgments -- |t List of Plates -- |t PART I -- |t 1. Art History and Images That Are Not Art -- |t 2. Art History as the History of Crystallography -- |t 3. Interpreting Nonart Images -- |t 4. What Is a Picture? -- |t 5. Pictures as Ruined Notations -- |t 6. Problems of Classification -- |t PART II -- |t 7. Allographs -- |t 8. Semasiographs -- |t 9. Pseudowriting -- |t 10. Subgraphemics -- |t 11. Hypographemics -- |t 12. Emblemata -- |t 13. Schemata -- |t 14. Conclusion: Ghosts and Natural Images -- |t Glossary -- |t Frequently Cited Sources -- |t Picture Credits -- |t Index |
| 506 | 0 | |a restricted access |u http://purl.org/coar/access_right/c_16ec |f online access with authorization |2 star | |
| 520 | |a In the domain of visual images, those of fine art form a tiny minority. This original and brilliant book calls upon art historians to look beyond their traditional subjects-painting, drawing, photography, and printmaking-to the vast array of "nonart" images, including those from science, technology, commerce, medicine, music, and archaeology. Such images, James Elkins asserts, can be as rich and expressive as any canonical painting. Using scores of illustrations as examples, he proposes a radically new way of thinking about visual analysis, one that relies on an object's own internal sense of organization.Elkins begins by demonstrating the arbitrariness of current criteria used by art historians for selecting images for study. He urges scholars to adopt, instead, the far broader criteria of the young field of image studies. After analyzing the philosophic underpinnings of this interdisciplinary field, he surveys the entire range of images, from calligraphy to mathematical graphs and abstract painting. Throughout, Elkins blends philosophic analysis with historical detail to produce a startling new sense of such basic terms as pictures, writing, and notation. | ||
| 538 | |a Mode of access: Internet via World Wide Web. | ||
| 546 | |a In English. | ||
| 588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 03. Jan 2023) | |
| 650 | 0 | |a Visual communication. | |
| 650 | 4 | |a Art History. | |
| 650 | 4 | |a Literary Studies. | |
| 650 | 7 | |a ART / Criticism. |2 bisacsh | |
| 773 | 0 | 8 | |i Title is part of eBook package: |d De Gruyter |t Cornell University Press Backlist 2000-2013 |z 9783110536157 |
| 776 | 0 | |c print |z 9780801487248 | |
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| 856 | 4 | 0 | |u https://degruyter.uam.elogim.com/isbn/9781501723902 |z Texto completo |
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