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Full Product Details

Author:   Jae Emerling
Publisher:   Taylor & Francis Ltd
Imprint:   Routledge
Edition:   2nd edition
Weight:   0.489kg
ISBN:  

9780415533898

ISBN 10:   0415533899
Pages:   240
Publication Date:   18 June 2019
Audience:   College/higher education ,  Tertiary & Higher Education ,  Undergraduate
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

INTRODUCTION : Becoming Theoretical PREDECESSORS 1. Sigmund FREUD 2. Karl MARX 3. Friedrich NIETZSCHE 4. Ferdinand de SAUSSURE THEORY FOR ART HISTORY 5. Theodor W. ADORNO 6. Giorgio AGAMBEN 7. Hannah ARENDT 8. Louis ALTHUSSER 9. Alain BADIOU 10. Roland BARTHES 11. Georges BATAILLE 12. Jean BAUDRILLARD 13. Walter BENJAMIN 14. Pierre BOURDIEU 15. Judith BUTLER 16. Gilles DELEUZE and Félix GUATTARI 17. Jacques DERRIDA 18. Michel FOUCAULT 19. Martin HEIDEGGER 20. Luce IRIGARAY 21. Julia KRISTEVA 22. Jacques LACAN 23. Emmanuel LEVINAS 24. Jean-François LYOTARD 25. Maurice MERLEAU-PONTY 26. Jacques RANCIÈRE 27. Edward W. SAID 28. Gayatri Chakravorty SPIVAK AFTERWORD: An Art History of Events: Images, Temporality, Transmissibility

Reviews

Located outside the often spectral interiors of historicity, Emerling's Theory for Art History demands our attention with an exquisite rendering of art and image making. His is as much a spatial reckoning with the labor, manifestation, and reception of art history as it is a deliberation on how we construct the temporal. With each chapter, we are fortunate to lose ourselves among these pages as they extend meaning, promise epistemic entanglements, and signify our own disciplinary un-becoming. Sean Anderson, The Museum of Modern Art, New York, USA A lucid and profoundly hopeful inquiry into the possibilities for art history and critical theory by one of the most brilliant of the emerging generation of art historians. Donald Preziosi, University of California, Los Angeles, USA

Located outside the often spectral interiors of historicity, Emerling's Theory for Art History demands our attention with an exquisite rendering of art and image making. His is as much a spatial reckoning with the labor, manifestation, and reception of art history as it is a deliberation on how we construct the temporal. With each chapter, we are fortunate to lose ourselves among these pages as they extend meaning, promise epistemic entanglements, and signify our own disciplinary un-becoming. Sean Anderson, The Museum of Modern Art, New York, USA A lucid and profoundly hopeful inquiry into the possibilities for art history and critical theory by one of the most brilliant of the emerging generation of art historians. Donald Preziosi, University of California, Los Angeles, USA

Author Information

Jae Emerling is a Professor of Art History in the College of Arts + Architecture at the University of North Carolina, Charlotte. He is also the author of Photography: History and Theory, published by Routledge.

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