By Camille Paglia
WIth full-color illustrations throughout
From the best-selling writer of Sexual Personae and Break, Blow, Burn and one in all our such a lot acclaimed cultural critics, here's a captivating trip via Western art’s defining moments, from the traditional Egyptian tomb of Queen Nefertari to George Lucas’s volcano planet duel in Revenge of the Sith.
America’s ultimate highbrow provocateur returns to the topic that introduced her repute, the nice topics of Western artwork. Passionately argued, brilliantly written, and jam-packed with Paglia’s trademark audacity, Glittering Images takes us on a travel via greater than dozen seminal pictures, a few recognized and a few vague or unknown—paintings, sculptures, architectural types, functionality items, and electronic paintings that experience outlined and remodeled our visible global. She combines shut research with heritage details that situates each one artist and picture inside its ancient context—from the stone idols of the Cyclades to a sublime French rococo inside to Jackson Pollock’s summary Green Silver to Renée Cox’s bold functionality piece Chillin’ with Liberty. And in a beautiful end, she pronounces that the avant-garde culture is lifeless and that electronic pioneer George Lucas is the world’s maximum dwelling artist. Written with power, erudition, and wit, Glittering Images is destined to alter the way in which we expect approximately our high-tech visible environment.
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Extra info for Glittering Images: A Journey Through Art from Egypt to Star Wars
33). What challenges is an interpretative practice rather than a text, and what is at stake is the refusal to acknowledge the existence of a critical metalanguage different from the language that is analyzed. According to Eco, the core of Derrida’s theory is the notion of the impossibility of a one-to-one relationship between signifier and signified, and the necessity to acknowledge the infinite possibility for both the signifier and the signified to be submitted to a never-ending process aimed at the creation of signification.
This query is immediately connected to a statement Eco makes in his conclusive remarks in response to his critique of â•−Richard Rorty’s reading of Foucault’s Pendulum, and in answer to â•−Christine Brooke-Rose who defended overinterpretation: “I accept the statement that a text can have many senses. I refuse the statement that a text can have every sense” (p. 141). While Eco seems to agree with â•−Jonathan Culler when he supports the notion that even overinterpretation can be fruitful, he argues that while it is “difficult to say whether an interpretation is a good one, or not,” one must “recognize that it is not true that everything goes” (p.
1285–c. 1347), two illustrious Franciscans who taught at Oxford University, presents himself as a bona fide man of science (natural philosophy) as it was understood and practiced in the Middle Ages. Adso, the Benedictine novice in William’s charge, is amazed by the “wondrous machines” his master carries in a bag and occasionally tinkers with during their time together at the abbey. In conversations with Adso, William not only extols the virtues of such instruments as the clock, astrolabe, and magnet, but he also endorses Bacon’s faith in the “science of machines” eventually to include several inventions that would in fact come to mark the modern era: swift ships powered by some source other than sails or oars, “self-propelled wagons,” flying machines with artificial wings, small devices capable of lifting heavy objects, and vehicles capable of traveling on the bottom of the sea (Eco, The Name of the Rose, p.