What precisely, he asks, are pictures and theories about pictures doing "now," in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture?
What we have is a variety of disciplines--semiotics, philosophical inquiries into representation, new departures in art history, studies in mass media--that attempt to converge on the problem of pictorial representation and visual culture.
Although the book is resolutely theoretical throughout, it can also be viewed as a kind ofapplied iconology.Although we have thousands of words about pictures, Mitchell notes that we do not yet have a satisfactory theory of them. As a philosopher, he deals extensively with the epistemological problems raised by perspective in the writings of Panofsky, Cassirer, MerleauPonty , Husserl and odiers. Particularly, Mitchell's discussion of William Blake is astounding and I found myself captivated by it. It is the kind ofbook that is difficult to put down and even more difficult to review. That many of his observations are contentious will not surprise readers who are familiar with his earlier study Iconology , which, like the present work, examines the relations between iconography, textuality, and ideology. Especially if you aren't up on what's happening in the art world. ISBN: The last chapter treats the eventual acceptance of fiction as a narrative category, in the Ming and Ch'ing dynasties beginning in The author ranges so widely that it is impossible to dojustice to the variety and the complexity ofhis arguments which are conducted with enviable mastery , or even to list them all.
A "Postscript" summarizes recent trends in the criticism of Chinese literature and makes suggestions concerning its future. The brilliant moments are brilliant, but the rest is almost too hard to decipher.
Instead of constructing a theory of pictures, the first section reverses the traditional hierarchy between word and image, and considers various ways of picturing theory. Whereas Iconology asks what images are, how they differ from words, Mitchell explains, its sequel and companion volume "raises the same questions with regard to pictures, the concrete, representational objects in which images appear" 4.
For the comparatist and the narratologist, the parallels between Western and Chinese commentary on fiction between about and are astonishing.
It is the kind ofbook that is difficult to put down and even more difficult to review. Many of the discussions of events and artists' work are frustratingly brief. Certainly, the author must have had to make choices about relative weightings of scope and depth.Central perspective has been a pet project of dieoreticians because it is one of die few features of works of art that can be analyzed with measurable precision. Although the book is resolutely theoretical throughout, it can also be viewed as a kind ofapplied iconology. By staging a confrontation between Panofsky and Wallace Martin University ofToledo W. Mitchell asked what images are, how they differ from words, and why these questions have been such a source of contention for centuries. Although we have thousands of words about pictures, Mitchell notes that we do not yet have a satisfactory theory of them. To a considerable extent the remainder of the volume is devoted to demonstrating the validity ofthis surprising proposition. The brilliant moments are brilliant, but the What's good in this book, is really good. It is a pity that Lu did not make these comparisons; but he cannot be expected to know everything, and he has opened a path for further work on this subject. The defense of fiction as something different from truth or falsity appears at about the same time in the East and the West.
What precisely, W. In investigating the ontological status ofpictures, the author comes to the conclusion that pictures are inseparable from texts and vice versa.
The last chapter treats the eventual acceptance of fiction as a narrative category, in the Ming and Ch'ing dynasties beginning in Refusing to succumb to what he regards as a specious dichotomy, Mitchell analyzes the dynamics ofthe "imagetext" in every conceivable configuration.