Konstfacks bibliotek

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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 illustrationsp. x
• Prefacep. xiii
• Acknowledgementsp. xviii
• Firing the canon
• About canons and culture warsp. 3
• Theoretical models for the critique of the canon: ideology and mythp. 6
• What is the canon - structurally?p. 9
• Psycho-symbolic investment in the canon, or, Being childish about artistsp. 13
• Differencing: feminism's encounter with the canonp. 23
• Three positionsp. 23
• About difference and differancep. 29
• Thinking about women ... Artistsp. 33
• Reading against the grain: reading for ...
• The ambivalence of the maternal body: re/drawing Van Goghp. 41
• A feminist reading of Van Gogh?p. 41
• Bending womenp. 43
• Inside a studio behind the vicarage in Nuenenp. 46
• Sexuality and representationp. 50
• What are they really talking about?p. 53
• Class, sexuality and animalityp. 55
• Freud, Van Gogh and the Wolf Man: Mater and nannyp. 57
• Who's seeing whose mother? Feminist desire and the case of Van Goghp. 60
• Fathers of modern art: mothers of invention: cocking a leg at Toulouse-Lautrecp. 65
• Late-coming and premature departurep. 65
• Debasement and desire: registers of social and sexual differencep. 67
• Looking up to dadp. 70
• When small is not enoughp. 75
• Whose [who's] missing [the] Phallus? What's in the gloves?p. 77
• Deconstructing the derriere: the physical otherp. 81
• Loving womenp. 87
• Conclusionp. 90
• Heroines: setting women in the canon
• The female hero and the making of a feminist canon: Artemisia Gentileschi's representations of Susanna and Judithp. 97
• Seeing the artist or reading the picture?p. 98
• Feminists and art history: what women?p. 98
• Susanna and the Eldersp. 103
• Trauma, memory and the relief of representationp. 108
• Decapitation or castration: Judith Slaying Holofernesp. 115
• Feminist mythologies and missing mothers: Virginia Woolf, Charlotte Bronte, Artemisia Gentileschi and Cleopatrap. 129
• A feminist myth of the twentieth century: murdered creativity and the female bodyp. 129
• Lucy Snowe meets Cleopatra: the resistant feminist reader and the female bodyp. 132
• Missing mothers: inscriptions in the feminine: Cleopatrap. 138
• Coda: rapish scenes and Lucretiap. 158
• Revenge: Lubaina Himid and the making of new narratives for new historiesp. 169
• A post-colonial feminist revenge on the canon?p. 169
• On some painting in Revengep. 173
• History paintingp. 186
• On mourning and melancholiap. 189
• Covenant versus terrorismp. 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 1915p. 201
• On the question of I and non-Ip. 201
• On the social otherp. 213
• On the jouissance of the otherp. 226
• On the mortality of the otherp. 230
• On the exhibition with the otherp. 234
• A tale of three women: seeing in the dark, seeing double, at least, with Manetp. 247
• Introduction: Laure, Jeanne and Berthep. 247
• Berthep. 258
• Jeannep. 261
• Laurep. 277
• Conclusionp. 305
• Epiloguep. 317
• Bibliographyp. 318
• Indexp. 328