劉巧楣
美術史學與批評（碩博士班）
課號：141 M0300
藝術史研究所
2005年春

課程大綱

預定每週分別由二或三人小組進行每篇讀物之課堂報告，每組30分鐘，須附摘要與評論大綱，修課者每二週選取一篇讀物繳交書面摘要與簡短評論，以一頁為原則。
* optional
1. Introduction: art history and art theory
Topic: the relations of the arts
- Mark A. Cheetham, “Immanuel Kant and the Bo(a)rders of Art History,” in M. A. Cheetham, M. A. Holly, K. Moxey, ed., The Subjects of Art History. Historical Objects in Contemporary Perspectives (Cambridge, 1998), 143-154.
- E. Gombrich, “Norm and Form: The Stylistic Categories of Art History and their Origins in Renaissance Ideals,” in Norm and Form. Studies in the art of the Renaissance (Oxford, 1966), 81-98.

2. Form analysis (1)
- Alois Riegl, “The Place of the Vapheio Cups in the History of Art” (1900), in The Vienna School Reader. Politics and Art Historical Method in the 1930s, ed. Christopher S. Wood (New York: Zone Books, 2003), pp.105-129.
- Heinrich Wöfflin, Principle of Art History: The Problem of the Development of Style in Later Art, 1932. “Introduction,” “Linear and Painterly.”

3. Form analysis (2)
- Meyer Schapiro, “Style,” 1953, in Theory and Philosophy of Art: Style, Artist, and Society (New York: G. Braziller, 1994), 51-102.
- David Summers, “ ‘Form’, Nineteenth-Century Metaphysics, and the Problem of Art Historical Description,” in The art of art history: a critical anthology, ed. by Donald Preziosi (Oxford : Oxford University Press, 1998), 127-142.

4. Iconography or iconology
- E. Panofsky, “Iconography and Iconology,” in Meaning in the Visual Arts. (Chicago : University of Chicago Press, 1982, c1955)
- E. Panofsky, “Die Perspektve als ‘symoblische Form,’ ” Vorträge der Bibliothek Warburg, 1924-1925 (Leipzig and Berlin, 1927); Perspective as symbolic form, translated by Christopher S. Wood (New York ; Cambridge, Mass., 1991).

5. art and society (1)
- A. Hauser, “Sociology of Art,” 1958, in Marxism and Art. Writings in Aesthetics and Criticism, ed. Berel Lang and Forrest Williams (New York, 1972), 269-280.
- Pierre Bourdieu, La Distinction. Critique sociale du jugement (Paris, 1979); English translation by Richard Nice, Distinction : a social critique of the judgement of taste (Cambridge, Mass., 1984), 11-96, 563-570. (“The Aristocracy of Culture”).

6. art and society (2)
- Michael Baxandall, “The Period Eye,” in Painting and experience in fifteenth century Italy; a primer in the social history of pictorial style (Oxford, 1972), 29-108.
- T. J. Clark, “On the Social History of Art,” in Image of the people : Gustave Courbet and the 1848 revolution (London, 1973), 9-20.

7. Semiotics
* Charles Peirce, “Logic as semiotic: the theory of signs,” in Philosophical writings of Peirce, selected and ed. with an introd. by Justus Buchler (1972), 98-119.
- Meyer Schapiro, “On Some Problems in the Semiotics of Visual Art : Field and Vehicle in Image-Signs” , Semiotica, 1: 3 (1969), repr. in Theory and Philosophy of Art: Style, Artist, and Society. Selected Papers, vol. VI (New York, 1994).
- Mieke Bal and Norman Bryson, “Semiotics and Art History,” Art Bulletin 73:2 (1991), 174-208.

8. Psychoanalysis
- S. Freud, “Leonardo da Vinci and a memory of his childhood,” 1910, in Sigmund Freud, Art and Literature (London, 1985), 143-231.
* M. Schapiro, “Leonardo and Freud: On Art Historical Study,” Journal of the History of Ideas, XVII (1956), 147-178; repr. in Theory and Philosophy of Art, 153-199.
- Steven Z. Levine, “Between art History and Psychoanalysis: I/Eye-ing Monet with Freud and Lacan,” in The Subjects of Art History, 197-212.

9. Phenomenological approaches
- Maurice Merleau-Ponty, “Le doute de Cézanne,” 1946; repr. in Sens et non-sens, (Paris, 1945 ; 1966, 5th ed.), 15-44. English translation in Sense and non-sense, by Hubert L. Dreyfus & Patricia Allen Dreyfus ([Evanston, Ill.]: Northwestern University Press, 1964).
- Jacques Derrida, “ ‘Genèse et structure” et la phenomenologie,” in L’écriture et la difference (Paris, 1967), 229-251. English translation by Alan Bass, Writing and difference (Chicago, 1978).

10. Deconstruction and the arts
- around Van Gogh’s shoes: Heiddegger, Schapiro and Derrida.
J. Derrida, “Restitutions de la vérité en pointure,” in La Vérité en peinture (Paris, 1978), 291-436. The truth in painting, translated by Geoff Bennington and Ian McLeod (Chicago, 1987). (excerpt)
- Jean Claude Lebensztejn, “Starting out from the frame (vignettes),” in Deconstruction and the Visual Arts. Art, Media, Architecture, ed. Peter Brunette and David Wills (Cambridge, 1994), 118-140.

11. Feminism
- Linda Nochlin, “Why Have There Been No Great Women Artists,” in Women, art, and power: and other essays (New York: Harper & Row, 1988), pp.145-178.
- Eunice Lipton, “The Bathers. Modernity and Prostitution,” Looking into Degas. Uneasy Images of Women and Modern Life (Berkeley, 1986), 151-186.
* Linda Nochlin, “A House Is Not a Home: Degas and the Subversion of the Family,” in Representing Women (London, 1999), 152-179.

12. Gender studies
- Judith Butler, Gender Trouble. Feminism and the Subversion of Identity (New York: Routledge, 1990).
- Amelia Jones, “The Ambivalence of Rrose Sélavy and the (Male) Artist as ‘Only the Mother of the Work’,” in Postmodernism and the En-gendering of Marcel Duchamp (Cambridge; New York: Cambridge University Press, 1994), 146-190.

13. In Search of Cultural History: Tradition and reception
- Aby Warburg, “Sandro Botticelli’s Birth of Venus and Spring. An Examination of Concepts of Antiquity in the Italian Early Renaissance,” 1893, in The Renewal of Pagan Antiquity: Contributions to the Cultural History of the European Renaissance, translated by David Britt (Getty Information Institute, 1999), 89-156; 405-431.
- Wofgang Kemp, “The work of art and its beholder: the methodology of the aesthetics of reception,” in The Subjects of Art History, 180-196.

14. Visual culture
- Peter Hamilton, “Representing the Social: France and Frenchness in Post-War Humanist Photography,” in Representation: Cultural Representations and Signifying Practices, edited by Stuart Hall (London, 1997), 75-150.
- Timothy Mitchell, “Orientalism and the Exhibitionary Order,” in The art of art history: a critical anthology, ed. by Donald Preziosi (Oxford: Oxford University Press, 1998), pp.455-472.