{"product_id":"confronting-images-questioning-the-ends-of-a-certain-history-of-art-paperback","title":"Confronting Images: Questioning the Ends of a Certain History of Art - Paperback","description":"\u003cdiv\u003e\u003cp style=\"text-align: right;\"\u003e\u003ca href=\"https:\/\/reportcopyrightinfringement.com\/\" target=\"_blank\" rel=\"nofollow\"\u003e\u003cb\u003eReport copyright infringement\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\u003cp\u003eby \u003cb\u003eGeorges Didi-Huberman\u003c\/b\u003e (Author)\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eWhen the French edition of \u003ci\u003eConfronting Images\u003c\/i\u003e appeared in 1990, it won immediate acclaim because of its far-reaching arguments about the structure of images and the histories ascribed to them by scholars and critics working in the tradition of Vasari and Panofsky. According to Didi-Huberman, visual representation has an \"underside\" in which seemingly intelligible forms lose their clarity and defy rational understanding. Art historians, he goes on to contend, have failed to engage this underside, where images harbor limits and contradictions, because their discipline is based upon the assumption that visual representation is made up of legible signs and lends itself to rational scholarly cognition epitomized in the \"science of iconology.\" \u003c\/p\u003e\u003cp\u003eTo escape from this cul-de-sac, Didi-Huberman suggests that art historians look to Freud's concept of the \"dreamwork,\" not for a code of interpretation, but rather to begin to think of representation as a mobile process that often involves substitution and contradiction. \u003ci\u003eConfronting Images\u003c\/i\u003e also offers brilliant, historically grounded readings of images ranging from the Shroud of Turin to Vermeer's \u003ci\u003eLacemaker\u003c\/i\u003e.\u003c\/p\u003e\u003ch3\u003eAuthor Biography\u003c\/h3\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003eGeorges Didi-Huberman is on the faculty of the École des hautes études en sciences sociales in Paris. His books include\u003ci\u003e Fra Angelico: Dissemblance and Figuration\u003c\/i\u003e (1995), \u003ci\u003eInvention of Hysteria: Charcot and the Photographic Iconography of the Salpêtriére \u003c\/i\u003e(2003), and \u003ci\u003eThe Surviving Image: Phantoms of Time and Time of Phantoms: Aby Warburg's History of Art \u003c\/i\u003e(forthcoming from Penn State Press).\u003c\/p\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003eNumber of Pages:\u003c\/strong\u003e 336\u003c\/div\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 0.9 x 8.4 x 5.5 IN\u003c\/div\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003ePublication Date:\u003c\/strong\u003e October 15, 2009\u003c\/div\u003e\n            ","brand":"BooksCloud","offers":[{"title":"Default Title","offer_id":45314405564551,"sku":"9780271024721","price":77.31,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0601\/2623\/2711\/files\/us_o7yNdjW9780271024721.webp?v=1784807415","url":"https:\/\/booksby.splitshops.com\/products\/confronting-images-questioning-the-ends-of-a-certain-history-of-art-paperback","provider":"Books by splitShops","version":"1.0","type":"link"}