Double Exposures : The Subject of Cultural Analysis


Double Exposures : The Subject of Cultural Analysis

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  • 製本 Paperback:紙装版/ペーパーバック版/ページ数 384 p.
  • 言語 ENG,ENG
  • 商品コード 9780415917049
  • DDC分類 306


Feminist literary theorist, specialist in Rembrandt, and a scholar with a knack for reading Old Testament stories, Mielke Bal weaves a tapestry of signs and meanings that enrich our senses.

Full Description

A feminist literary theorist, specialist in Rembrandt, and a scholar with a knack for reading Old Testament stories, Mieke Bal weaves a tapestry of signs and meanings that enrich our senses. Her subject is the act of showing, the gesture of exposing to view. In a museum, for example, the object is on display, made visually available. "That's how it is," the display proclaims. But who says so?Bal's subjects are displays from the American Museum of Natural History, paintings by such figures as Courbet, Caravaggio, Artemisia Gentileschi, and Rembrandt, as well as works by twentieth-century artists, and such literary texts as Shakespeare's Rape of Lucrece.

Table of Contents

Acknowledgments                                    ix
Das Gesicht An Der Wand xi
Edwin Janssen
Introduction 1 (12)
Telling, Showing, Showing Off 13 (44)
in which the threshold between two worlds
is more telling than the division between
the two sides of New York's Central Park,
and words expose images exposing words
Setting as Image, Nature as Sign
Who Is Speaking?
Asian Mammals: The Politics of Transition
The Contest between Time and Space:
Evolution and Taxonomy
Circular Epistemology
In the Beginning Was the Word
Picking Up Crumbs
The Value Factory 57 (30)
in which issues of ownership and
preservation reveal a first-person
narrator, and literary theory is brought in
to learn the foreign language spoken in
museums; and in which the distinction
between types of museums turns out to be
more than just labeling
The Medusa Effect
Discourses of Ownership and Conservation
For Goodness' Sake
Repetition and Metaphor
On Distinction
Difficulties of Looking and the Need to
The Talking Museum 87 (48)
in which one image reads another by hanging
next to it, and in which parrots can speak
without imitating; but this requires that
discourse be liberated from the stronghold
of linguistic supremacy
Reading the Handwriting on the Wall
Museology versus Museums
Speaking Spaces: Reading Rooms
Word and Image Are But/Not One: Reading
Reading Walls: Second Episode
Allegorical Museology
Museumtalk 135(30)
in which conversations lead to monologues
and authority makes sense, so that
museology becomes a measure for cultural
The Discourse of Museum Discourse
Art Apart
Showing Your Hand
First Person, Second Person, Same Person 165(30)
in which the best scholarship gets
entangled in a narrative of display in its
very attempts to avoid such discourses, but
where unknotting those knots turns out to
be worthwhile
Narrative under Suspicion
Telling Stories Is Harder Than You Think
The ``New'' Epistemology
Narrative and Epistemology
Second Person?
A Postcard From The Edge 195(30)
in which postcards, undeliverable for lack
of a recent address, can still be returned
to sender
Playing Games
``Beauty'' and the Critical Project
The Subject of Eroticism
Looking for Naughty Boys
Pimp versus Client
Returns to Sender
The Story Of W 225(30)
in which lessons about reading metaphor
against simplification are practiced to
save Lucretia's (after) life, and the
struggle to find words to fit images
provides a model of integrative display
The Practice of Theory
Rape, Suicide, Signs, and Show
Contagious Logorrhea: Between Men
Vision Vying Violence: Between Women
Expository Writing
His Master's Eye 255(34)
in which it turns out not all modern men
heed Shakespeare's will, to the detriment
of their own enjoyment; but some do, and
thus teach cultural analysis about its
A Vision That Is Not (One)
Portrait of the Expert as an Old Man
Vision against Vision
The Interests of Realism
The Master's Piece
The Women Talk (Back)
Self-reflection: Exposing Modes of Vision
Head Hunting 289(24)
in which ``Judith'' demonstrates that
epistemology is not the prerogative of
philosophers, and images will point out,
for the last time, what can be shown, and
what cannot
The Missing Head
Epistemic Risks and Gentileschi
Vision and Narrative as Epistemologies
``Judith'' as Epistemology, Gentileschi
as Philosopher
Laying Bare
Works Cited 313(18)
Index 331