Showing papers by "Mieke Bal published in 1996"
Book•
01 Jan 1996
TL;DR: The story of W 8 -his master's eye head-hunting as mentioned in this paper is a classic example of headhunting in the museum museum setting: first person, second person, same person a postcard from the edge.
Abstract: Telling, showing, showing off the value factory the talking museum museumtalk first person, second person, same person a postcard from the edge the story of W 8 - his master's eye head-hunting.
200 citations
TL;DR: Elkins as mentioned in this paper argues that "the incoherence of pictures begins here, with the admission that things are very strange indeed" (James Elkins, "Marks, Traces, Traits, Contours, Orli, and Splendores: Nonsemiotic Elements in Pictures", Critical Inquiry 21 [Summer 1995]: 860).
Abstract: James Elkins ends his article in the summer issue of Critical Inquiry on an enticing note: "The incoherence of pictures begins here, with the admission that things are very strange indeed" (James Elkins, "Marks, Traces, Traits, Contours, Orli, and Splendores: Nonsemiotic Elements in Pictures," Critical Inquiry 21 [Summer 1995]: 860). This attention to incoherence, and an interest in strangeness, indeed, strangeness as a primary heuristic tool, was the leading principle of my book Reading "Rembrandt," which advocated an approach to images as well as texts that would take vision and textuality as semiotic modes rather than ontological media. l It would make sense to feel that this was a congenial essay with which I could productively engage since, I expected, it would productively engage with my work. In the chapter "Recognition: Reading Icons, Seeing Stories" of that book, I discuss the art historical approach par excellence, iconography, and try to negotiate the disciplinary boundaries between art history and, say, a more semiotic approach to images by giving iconography maximal
7 citations
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TL;DR: In this article, the author discusses art history and its theories from the perspective of a professional theorist who is regularly attacked for his work on art. And he argues that the discrepancy has to do with a confusion between paradigm and discipline and that resistance to theory is a paradigmatic position disguised as disciplinary allegiance.
Abstract: Part of a symposium on art history and its theories. The writer discusses art history and its theories from the perspective of a professional theorist who is regularly attacked for his work on art. He examines the reasons for the discrepancy between the considerable impact of theories in the pedagogical practice of art history and the absence of such an impact in the institution. He argues that the discrepancy has to do with a confusion between paradigm and discipline and that resistance to theory is a paradigmatic position disguised as disciplinary allegiance. He points out that as a theorist, primarily semiotic, he does belong to, or participates in, the paradigm to which many art historians also belong, a paradigm that adherents to the alternative paradigm, which has a firm hold on art history as an institution, do not recognize as valid.
6 citations