MARC details
| 000 -LEADER |
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| fixed length control field |
03186cam a2200361 a 4500 |
| 001 - CONTROL NUMBER |
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| control field |
ocm39360874 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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| fixed length control field |
000000|||||||||dnc|||||||||||||| ||eng|u |
| 010 ## - LIBRARY OF CONGRESS CONTROL NUMBER |
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| LC control number |
98028921 |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
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| International Standard Book Number |
0415066999 |
| Qualifying information |
(hardback ; |
| -- |
alkaline paper) |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
|---|
| International Standard Book Number |
0415067006 |
| Qualifying information |
(paperback ; |
| -- |
alkaline paper) |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
|---|
| International Standard Book Number |
9780415066990 |
| Qualifying information |
(hardback ; |
| -- |
alkaline paper) |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
|---|
| International Standard Book Number |
9780415067003 |
| Qualifying information |
(paperback ; |
| -- |
alkaline paper) |
| 024 3# - OTHER STANDARD IDENTIFIER |
|---|
| Standard number or code |
9780415067003 |
| 035 ## - SYSTEM CONTROL NUMBER |
|---|
| System control number |
(OCoLC)39360874 |
| Canceled/invalid control number |
(OCoLC)316479201 |
| -- |
(OCoLC)1008133512 |
| -- |
(OCoLC)1022638815 |
| -- |
(OCoLC)1035777049 |
| 040 ## - CATALOGING SOURCE |
|---|
| Original cataloging agency |
MiAIIG |
| Language of cataloging |
eng |
| Transcribing agency |
MiAIIG |
| Modifying agency |
MiTN |
| 050 00 - LIBRARY OF CONGRESS CALL NUMBER |
|---|
| Classification number |
N72 .F45 |
| Item number |
P63 1999 |
| 100 1# - MAIN ENTRY--PERSONAL NAME |
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| Personal name |
Pollock, Griselda. |
| 245 10 - TITLE STATEMENT |
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| Title |
Differencing the canon : |
| Remainder of title |
feminist desire and the writing of art's histories / |
| Statement of responsibility, etc. |
Griselda Pollock. |
| 264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE |
|---|
| Place of production, publication, distribution, manufacture |
London ; |
| -- |
New York : |
| Name of producer, publisher, distributor, manufacturer |
Routledge, |
| Date of production, publication, distribution, manufacture, or copyright notice |
1999. |
| 300 ## - PHYSICAL DESCRIPTION |
|---|
| Extent |
xviii, 345 pages : |
| Other physical details |
illustrations ; |
| Dimensions |
26 cm. |
| 336 ## - CONTENT TYPE |
|---|
| Content type term |
text |
| Content type code |
txt |
| Source |
rdacontent. |
| 337 ## - MEDIA TYPE |
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| Media type term |
unmediated |
| Media type code |
n |
| Source |
rdamedia. |
| 338 ## - CARRIER TYPE |
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| Carrier type term |
volume |
| Carrier type code |
nc |
| Source |
rdacarrier. |
| 490 1# - SERIES STATEMENT |
|---|
| Series statement |
Re visions. |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
|---|
| Bibliography, etc. note |
Includes bibliographical references (pages 318-327) and index. |
| 505 0# - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
About canons and culture wars -- Differencing: feminism's encounter with the canon -- The ambivalence of the maternal body: re/drawing Van Gogh -- Fathers of modern art: mothers of invention: cocking a leg at Toulouse-Lautrec -- The female hero and the making of a feminist canon: Artemisia Gentileschi's representations of Susanna and Judith -- Feminist mythologies and missing mothers: Virginia Woolf, Charlotte Bronte, Artemisia Gentileschi and Cleopatra -- Revenge: Lubaina Himid and the making of new narratives for new histories -- 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 -- A tale of three women: seeing in the dark, seeing double, at least, with Manet. |
| 520 ## - SUMMARY, ETC. |
|---|
| Summary, etc. |
In this book, art historian Griselda Pollock makes a compelling intervention into a debate at the very centre of feminist art history: should the traditional canon of the 'Old Masters' be rejected, replaced or reformed? What 'difference' can feminist 'interventions in art's histories' make? Should we simply reject the all-male succession of 'great artists' in favour of an all-woman litany of artistic heroines? Or should we displace present gender demarcations and allow the ambiguities and complexities of desire to shape our readings of art? |
| 520 8# - SUMMARY, ETC. |
|---|
| Summary, etc. |
Differencing the Canon moves between feminist re-readings of the canonical modern masters - Van Gogh, Toulouse-Lautrec and Manet - and the 'canonical' artists of feminist art history, Artemisia Gentileschi and Mary Cassatt. Pollock avoids both an unnuanced critique of masculine canons and an unquestioning celebration of women artists. She draws on psychoanalysis and deconstruction to examine the project of reading for 'inscriptions in the feminine', and asks what the signs of difference might be in art made by an artist who is 'a woman'. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
Feminism and art. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
Psychoanalysis and feminism. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
Women art historians |
| General subdivision |
Psychology. |
| 830 #0 - SERIES ADDED ENTRY--UNIFORM TITLE |
|---|
| Uniform title |
Re visions (London, England) |