Pensum/l?ringskrav

Joana Ebenstein, “Ode to an Anatomical Venus,” Women’s Studies Quarterly, vol. 40, no.3/4 (Fall/Winter 2012): 346-352

 

David Mark Mitchell, “Vividness without Vitality: The Specola Venus’s Intersecting Afterlives,” Journal 18, no. 3 http://www.journal18.org/issue3/vividness-without-vitality-the-specola-venuss-intersecting-afterlives/

 

Georges Didi-Huberman, “Wax Flesh, Vicious Circles,” in Encyclopedia Anatomica: a complete collection of anatomical waxes (New York: Taschen, 1999), 64-74

 

Martin Warnke,  “ ?God Is in the Details,? or The Filing Box Answers,” in Grau, Oliver and Veigl, Thomas eds, Imagery in the twenty-first century (Cambridge, Mass.: Cambridge, 2011), 339-348.

 

Christopher D. Johnson, Memory, Metaphor, and Aby Warburg's Atlas of Images (Cornell University Press: Ithaca, New York), 2012, 8-42

 

Sergei Eisenstein, Eisenstein on Disney (Calcutta: Seagull Books, 1986), pp. 7-40

 

Chet A Van Duzer, “Hic sunt dracones: the geography and cartography of monsters,” in The Ashgate research companion to monsters and the monstrous, ed A. S. Mittman og P. J. Dendle (New York: Farnham, 2012), pp. 387-437.

 

Bernard Comment, The Painted Panorama (New York: Harry N. Abrams, 2000), pp. 7-19 & 77-114.

 

David Leatherbarrow, “Introduction: Architecture and Its Horizons,” Uncommon Ground: Architecture, Technology, and Topography (Cambridge, Mass.: The MIT Press, 2000) 2-24.

 

excerpt from Antony Moulis, “Le Corbusier’s Horizon,” Architectural Theory Review, vol. 8, no. 2 (2003): 134-142.

 

Elizabeth Diller and Ricardo Scofidio, Flesh: Architectural Probes (Princeton: Priinceton University Press, 1998), 223-249

 

James Elkins, “An Introduction to the Visual Studies That is Not in this Book,” Theorizing Visual Studies: Writing Through the Discipline (New York: Routledge, 2013), 3-15.

 

Excerpts from “Questionnaire on Visual Culture” in October 77 (Summer 1996): 25-70.

 

Vera Beyer, ?How to Frame the Vera Icon?“, Framing Borders in Literature and Other Media, ed. Werner Wolf, Amsterdam (Rodopi: Amsterdam, New York, 2006) pp. 69-91.  

 

Per Sigurd Styve, “Sub Luce Videantur: The Time of Light in Early Renaissance Painting,” ed. Bjelland Kartzow et al. Bodies, Borders, Believer. Ancient Texts and Present Conversations (Pickwick Publications: Origen, 2015), pp.  68 – 93.

 

Lasse Hodne, “Painting and Pictorial Conception: Preconditions for the Development of Renaissance Perspective”, ACTA ad archaeologiam et artium historiam pertinentia, 1999, pp. 147-200. (DniR, open access).

 

Anne Friedberg, The Virtual Window: From Alberti to Microsoft (Cambridge, MA: MIT Press, 2006), 192-239.

 

Ed Finn, ”House of Cards: The Aesthetics of Absraction” What Alogorithms Want: Imagination in the Age of Computing (2017), 87-112.

 

 John Cheney-Lippold, ”Subjectivity: Who do they think you are?” We Are Data: Algorithms and The Making of Our Digital Selves (New York: New York University Press, 2017), 181-195.

 

Jurgis Baltrusaitis, Anamorphic Art (New York: Harry N, Abrams, 1977), 91-114.

 

Gerhard Wolf , "The Origins of Painting," Res: Anthropology and aesthetics , no. 36 (1999): 60-78. (tilgjengelig p? JSTOR)

 

Alexander Nagel and Christopher S. Wood, “Toward a New Model of Renaissance Anachronism,” The Art Bulletin, No. 3 (2005): 403-415. (tilgjengelig p? JSTOR)

 

 

 

Publisert 16. mai 2018 11:54 - Sist endret 16. mai 2018 11:56