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Titel och upphov Differencing the canon : feminist desire and the writing of art's histories
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*60014$aCassatt, Mary,$d1844-1926
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In this major book, Griselda Pollock engages boldly in the culture wars over `what is the canon?` and `what difference can feminism make?` Do we simply reject the all-male line-up and satisfy our need for ideal egos with an all women litany of artistic heroines? Or is the question a chance to resist the phallocentric binary and allow the ambiguities and complexities of desire - subjectivity and sexuality - to shape the readings of art that constantly displace the present gender demarcations?
List of illustrations p. x Preface p. xiii Acknowledgements p. xviii Firing the canon About canons and culture wars p. 3 Theoretical models for the critique of the canon: ideology and myth p. 6 What is the canon - structurally? p. 9 Psycho-symbolic investment in the canon, or, Being childish about artists p. 13 Differencing: feminism's encounter with the canon p. 23 Three positions p. 23 About difference and differance p. 29 Thinking about women ... Artists p. 33 Reading against the grain: reading for ... The ambivalence of the maternal body: re/drawing Van Gogh p. 41 A feminist reading of Van Gogh? p. 41 Bending women p. 43 Inside a studio behind the vicarage in Nuenen p. 46 Sexuality and representation p. 50 What are they really talking about? p. 53 Class, sexuality and animality p. 55 Freud, Van Gogh and the Wolf Man: Mater and nanny p. 57 Who's seeing whose mother? Feminist desire and the case of Van Gogh p. 60 Fathers of modern art: mothers of invention: cocking a leg at Toulouse-Lautrec p. 65 Late-coming and premature departure p. 65 Debasement and desire: registers of social and sexual difference p. 67 Looking up to dad p. 70 When small is not enough p. 75 Whose [who's] missing [the] Phallus? What's in the gloves? p. 77 Deconstructing the derriere: the physical other p. 81 Loving women p. 87 Conclusion p. 90 Heroines: setting women in the canon The female hero and the making of a feminist canon: Artemisia Gentileschi's representations of Susanna and Judith p. 97 Seeing the artist or reading the picture? p. 98 Feminists and art history: what women? p. 98 Susanna and the Elders p. 103 Trauma, memory and the relief of representation p. 108 Decapitation or castration: Judith Slaying Holofernes p. 115 Feminist mythologies and missing mothers: Virginia Woolf, Charlotte Bronte, Artemisia Gentileschi and Cleopatra p. 129 A feminist myth of the twentieth century: murdered creativity and the female body p. 129 Lucy Snowe meets Cleopatra: the resistant feminist reader and the female body p. 132 Missing mothers: inscriptions in the feminine: Cleopatra p. 138 Coda: rapish scenes and Lucretia p. 158 Revenge: Lubaina Himid and the making of new narratives for new histories p. 169 A post-colonial feminist revenge on the canon? p. 169 On some painting in Revenge p. 173 History painting p. 186 On mourning and melancholia p. 189 Covenant versus terrorism p. 191 Who is the other? Some letters on feminism, politics and modern art: when Edgar Degas shared a space with Mary Cassatt at the Suffrage Benefit Exhibition, New York 1915 p. 201 On the question of I and non-I p. 201 On the social other p. 213 On the jouissance of the other p. 226 On the mortality of the other p. 230 On the exhibition with the other p. 234 A tale of three women: seeing in the dark, seeing double, at least, with Manet p. 247 Introduction: Laure, Jeanne and Berthe p. 247 Berthe p. 258 Jeanne p. 261 Laure p. 277 Conclusion p. 305 Epilogue p. 317 Bibliography p. 318 Index p. 328