Overview

The paradigmatic moment of the opposition between the verbal and the visual arts may be seen in Lessing[s treatise on the Laocon sculptural group, written in 1766; a moment that is identified within a historical framework of modern aesthetics that begins with Lessing; that goes through Pater; and then culminates in Greenberg. I delineate the opposition as a history of diffusions, displacements and idealist reparations of class division. From the vantage point of my argument, the reader can experience a watershed in a critical tradition that has emerged in Williams[s The Long Revolution (1961), Culture (1963) and Keywords (1976); Thompson[s Working Class (1963) and Customs (1993); Schweizer[s Ut Pictura Poesis (1972); Brger[s Theory (1984); Wellbery[s Lessing[s Laocoon (1984); Mitchell[s Iconology (1986); Summers[s Judgement of Sense (1987); Rancire[s Nights of Labor (1989) and Politics (2007); Eagleton[s Ideology (1990); Jay[s Downcast Eyes (1994); Kirby[s Telling Flesh (1997); Barnard[s Art (1998); Jameson[s Postmodernism (1999); Edgar[s Key Concepts (1999); Schoroeder[s Visual Consumption (2002); Eldridge[s Philosophy of Art (2003); Kelly[s Iconoclasm (2003); Malshe[s Aesthetics (2003); Hall[s Subjectivity (2004); Stallabrass[s Contemporary Art (2004); Heffernan[s Museum (2004) and Cultivating Picturacy (2006); Szerszynski[s Nature (2005); Cottington[s Modern Art (2005); Day[s Class (2007); Hawkes[s Ideology (2007); Gillespie[s Theological Origins (2008); and Crawford[s Shop Class (2009).

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