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Francesca Woodman and the Kantian Sublime - Claire Raymond - Bog

Bag om Francesca Woodman and the Kantian Sublime

In her feminist inquiry into aesthetics and the sublime, Claire Raymond reinterprets the work of the American photographer Francesca Woodman (1958-1981). Placing Woodman in a lineage of women artists beginning with nineteenth-century photographers Julia Margaret Cameron and Clementina, Viscountess Hawarden, Raymond compels a reconsideration of Woodman''s achievement in light of the gender dynamics of the sublime. Raymond argues that Woodman''s photographs of decrepit architecture allegorically depict the dissolution of the frame, a dissolution Derrida links to theories of the sublime in Kant''s Critique of Judgement. Woodman''s self-portraits, Raymond contends, test the parameters of the gaze, a reading that departs from the many analyses of Woodman''s work that emphasize her dramatic biography. Woodman is here revealed as a conceptually sophisticated artist whose deployment of allegory and allusion engages a broader debate about Enlightenment aesthetics, and the sublime.

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  • Sprog:
  • Engelsk
  • ISBN:
  • 9781138246683
  • Indbinding:
  • Paperback
  • Sideantal:
  • 186
  • Udgivet:
  • 3. oktober 2016
  • Størrelse:
  • 233x154x17 mm.
  • Vægt:
  • 298 g.
  • 8-11 hverdage.
  • 16. januar 2025
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Forlænget returret til d. 31. januar 2025
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Beskrivelse af Francesca Woodman and the Kantian Sublime

In her feminist inquiry into aesthetics and the sublime, Claire Raymond reinterprets the work of the American photographer Francesca Woodman (1958-1981). Placing Woodman in a lineage of women artists beginning with nineteenth-century photographers Julia Margaret Cameron and Clementina, Viscountess Hawarden, Raymond compels a reconsideration of Woodman''s achievement in light of the gender dynamics of the sublime. Raymond argues that Woodman''s photographs of decrepit architecture allegorically depict the dissolution of the frame, a dissolution Derrida links to theories of the sublime in Kant''s Critique of Judgement. Woodman''s self-portraits, Raymond contends, test the parameters of the gaze, a reading that departs from the many analyses of Woodman''s work that emphasize her dramatic biography. Woodman is here revealed as a conceptually sophisticated artist whose deployment of allegory and allusion engages a broader debate about Enlightenment aesthetics, and the sublime.

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