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|b P63 1999
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|a 704.042
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| 100 |
1 |
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|a Pollock, Griselda
|e author.
|9 278229
|
| 245 |
1 |
0 |
|a Differencing the canon :
|b feminist desire and the writing of art's histories /
|c Griselda Pollock.
|
| 264 |
|
1 |
|a London ;
|a New York :
|b Routledge,
|c 1999.
|
| 300 |
|
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|a xviii, 345 pages :
|b illustrations ;
|c 26 cm.
|
| 336 |
|
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|a text
|b txt
|2 rdacontent
|
| 337 |
|
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|a unmediated
|b n
|2 rdamedia
|
| 338 |
|
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|a volume
|b nc
|2 rdacarrier
|
| 490 |
1 |
|
|a Re visions.
|
| 504 |
|
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|a Includes bibliographical references (pages 318-327) and index.
|
| 505 |
0 |
0 |
|t List of illustrations --
|t Preface --
|t Acknowledgements --
|g Pt. I.
|t Firing the canon --
|g 1.
|t About canons and culture wars --
|g 2.
|t Differencing: feminism's encounter with the canon --
|g Pt. II.
|t Reading against the grain: reading for... --
|g 3.
|t The ambivalence of the maternal body: re/drawing Van Gogh --
|g 4.
|t Fathers of modern art: mothers of invention: cocking a leg at Toulouse-Lautrec --
|g Pt. III.
|t Heroines: setting women in the canon --
|g 5.
|t The female hero and the making of a feminist canon: Artemisia Gentileschi's representations of Susanna and Judith --
|g 6.
|t Feminist mythologies and missing mothers: Virginia Woolf, Charlotte Bronte, Artemisia Gentileschi and Cleopatra --
|g 7.
|t Revenge: Lubaina Himid and the making of new narratives for new histories --
|g Pt. IV.
|t Who is the other? --
|g 8.
|t 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 --
|g 9.
|t A tale of three women: seeing in the dark, seeing double, at least, with Manet --
|t Epilogue --
|t Bibliography --
|t Index.
|
| 588 |
|
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|a Machine converted from AACR2 source record.
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| 650 |
|
0 |
|a Feminism and art
|9 317809
|
| 650 |
|
0 |
|a Women art historians
|x Psychology
|9 789352
|
| 650 |
|
0 |
|a Psychoanalysis and feminism
|9 327220
|
| 830 |
|
0 |
|a Re visions (London, England)
|9 240256
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| 907 |
|
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