{"id":13744,"date":"2008-12-14T10:17:23","date_gmt":"2008-12-14T09:17:23","guid":{"rendered":"http:\/\/meonline.hu\/?p=13744"},"modified":"2021-12-30T20:41:25","modified_gmt":"2021-12-30T19:41:25","slug":"a-vizualis-kultura-genealogiaja","status":"publish","type":"post","link":"https:\/\/meonline.hu\/en\/vizualis-kultura\/a-vizualis-kultura-genealogiaja\/","title":{"rendered":"A vizu\u00e1lis kult\u00fara geneal\u00f3gi\u00e1ja"},"content":{"rendered":"

Egy lehets\u00e9ges kronol\u00f3gia<\/strong><\/p>\n

Sz\u00f6veg: Hornyik S\u00e1ndor <\/strong><\/p>\n

A vizu\u00e1lis kult\u00fara akad\u00e9mia diskurzusa valamikor a nyolcvanas \u00e9vek v\u00e9g\u00e9n bontakozott ki. Egyetlen konkr\u00e9t kezd\u0151pontot neh\u00e9z lenne meghat\u00e1rozni. Michael Anne Holly, Norman Bryson, W. J. Thomas Mitchell \u00e9s Martin Jay tev\u00e9kenys\u00e9ge egyk\u00e9nt fontosnak t\u0171nik, de a n\u00e9vsor m\u00e9g tov\u00e1bb b\u0151v\u00edthet\u0151. Ehelyett \u00e1ll\u00edtottam \u00f6ssze az al\u00e1bbi kronol\u00f3gi\u00e1t. Aby Warburggal \u00e9s Walter Benjaminnal kezdem a t\u00f6rt\u00e9netet, de kezdhettem volna Descartes-tal, William Blake-kel vagy \u00e9ppen Charles Baudelaire-rel is. A Mnemosyne \u00e9s a Passagen-Werk azonban olyan, t\u00f6red\u00e9kess\u00e9g\u00fckben \u00e9s befejezetlens\u00e9g\u00fckben is leny\u0171g\u00f6z\u0151 intellektu\u00e1lis v\u00e1llalkoz\u00e1sok, melyek meg\u00e9rdemlik, hogy sz\u00fclet\u00e9s\u00fckkel kezd\u0151dj\u00f6n a kritikai vizu\u00e1lis kult\u00fara-kutat\u00e1s geneal\u00f3gi\u00e1ja. Ut\u00e1nuk Barthes, Lacan, Debord \u00e9s Foucault k\u00f6vetkezik, akik tal\u00e1n a leggyakrabban hivatkozott szerz\u0151k a Visual Culture angol-amerikai diskurzus\u00e1ban. Mindegyik\u00fcket egy-egy (tal\u00e1n a leggyakrabban) hivatkozott m\u0171 k\u00e9pviseli, de ez nem jelenti azt, hogy ne lehetne t\u0151l\u00fck tov\u00e1bbi m\u0171veket bev\u00e1logatni. A v\u00e1logat\u00e1s volumen\u00e9t az\u00e9rt korl\u00e1toztam, mert Warburghoz \u00e9s Benjaminhoz hasonl\u00f3an e francia szerz\u0151k sem \u00edrt\u00e1k le a vizu\u00e1lis kult\u00fara sz\u00f3kapcsolatot. S\u0151t nem tette ezt meg Baxandall sem eml\u00edtett (al\u00e1bb eml\u00edtend\u0151) m\u0171v\u00e9ben. Svetlana Alpers az \u00faj tudom\u00e1ny \u201eatyja\u201d, aki nem mell\u00e9kesen n\u0151, de \u0151 sem abban az \u00e9rtelemben haszn\u00e1lta a kifejez\u00e9st, ahogy a kilencvenes \u00e9vekben tett\u00e9k ezt amerikai koll\u00e9g\u00e1i. M\u00e9g egy m\u0171 hi\u00e1nyzik innen, amely a kronol\u00f3gi\u00e1ba nem ker\u00fclt bele, mivel \u2013 s ez t\u00f6bb szempontb\u00f3l is tanuls\u00e1gos \u2013 egyetlen \u00e1ltalam ismert a vizu\u00e1lis kult\u00far\u00e1val foglalkoz\u00f3 cikkben, k\u00f6nyvben \u00e9s tanulm\u00e1nyk\u00f6tetben sem eml\u00edtik: s ez Bal\u00e1zs B\u00e9la: A l\u00e1that\u00f3 ember c\u00edm\u0171 1924-ben megjelent k\u00f6tete. A sorb\u00f3l ez\u00fattal hi\u00e1nyzik Mikl\u00f3s P\u00e1l, Bogl\u00e1r Lajos \u00e9s Hor\u00e1nyi \u00d6zs\u00e9b is, hiszen itt kifejezetten a Visual Culture \u00e9s a Visual Studies geneal\u00f3gi\u00e1j\u00e1t pr\u00f3b\u00e1ltam felfejteni.<\/p>\n

1920\t<\/strong>
\nWarburg, Aby: Heidnisch-antike Weisagung in Wort und Bild zu Luthers Zeiten. Heidelberger Akademie der Wissenschaften, Heidelberg
\n1927\t<\/strong>
\nPanofsky, Erwin: Die Perspektive als \u2019symbolische Form.\u2019\u201d Vortr\u00e4ge der Bibliothek Warburg 1924-1925. Leipzig \u2013 Berlin, 1927.
\n1936\t<\/strong>
\nBenjamin, Walter: Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit
\n1964\t<\/strong>
\nBarthes, Roland: Rh\u00e9torique de l\u00b4image. Communications, 4, 40-51.
\n1965\t<\/strong>
\nLacan, Jacques: Les quatre concepts fondamentaux de la psychoanalyse. R\u00e9sum\u00e9 du S\u00e9minaire, Livre XI, 1964, Annuaire 1965, \u00c9cole Pratique des Hautes \u00c9tudes.
\n1967\t<\/strong>
\nDebord, Guy: La Societ\u00e9 du Spectacle. Buchet-Castel, Paris
\n1968\t<\/strong>
\nGoodman, Nelson: Languages of Art: An Approach to a Theory of Symbols. Bobbs-Merrill, Indianapolis
\n1972\t<\/strong>
\nBaxandall, Michael: Painting and Experience in Fifteenth Century Italy: A Primer in the Social History of Pictorial Style. Oxford University Press, Oxford
\n1975\t<\/strong>
\nFoucault, Michel: Surveiller et punir, naissance de la prison. Gallimard, Paris
\n \tMulvey, Laura: Visual Pleasure and Narrative Cinema. Screen, 16:3 (Autumn 1975), 6-18.
\n1977\t<\/strong>
\nMetz, Christian: Le signifiant imaginaire. Union G\u00e9n\u00e9rale d\u2019Editions, Paris, 1977.
\n1979\t<\/strong>
\nRorty, Richard: Philosophy and the Mirror of Nature. Princeton University Press, Princeton
\n1981\t<\/strong>
\nBaudrillard, Jean: Simulacres et simulation. Galil\u00e9e, Paris
\n1983\t<\/strong>
\nAlpers, Svetlana: The Art of Describing: Dutch Art in the Seventeenth Century. The University of Chicago Press, Chicago
\n \tBryson, Norman: Vision and Painting. The Logic of the Gaze. Macmillan, London
\n1986\t<\/strong>
\nMitchell, W. J. Thomas: Iconology: Image, Text, Ideology. University of Chicago Press, Chicago
\n \tRose, Jacquline: Sexuality in the Field of Vision. Verso, London
\n1988\t<\/strong>
\nFoster, Hal (ed.): Vision and Visuality. Bay Press, Seattle
\n \tEbben a k\u00f6tetben l\u00e1sd k\u00fcl\u00f6n\u00f6sen:
\n \tJay, Martin: The Scopic Regimes of Modernity.
\n \tBryson, Norman: The Gaze In the Expanded Field.
\n \tPollock, Griselda: Vision and Difference. Femininity, Feminism and Histories of Art. Routledge, London
\n1989\t<\/strong>
\nSilverman, Kaja: Fassbinder and Lacan: A Reconsideration of Gaze, Look, and Image. Camera Obscura, 19, (1989), 54-85.
\n \tPenley, Constance: The Future of an Illusion: Film, Feminism and Psychoanalysis. Routledge, London
\n \tBuck-Morss, Susan: The Dialectics of Seeing: Walter Benjamin and the Arcades Project. MIT Press, Boston (Mass.)
\n1990\t<\/strong>
\nCrary, Jonathan: Techniques of the Observer: On Vision and Modernity in the 19th Century. MIT Press, Cambridge (Mass.)
\n1991\t<\/strong>
\nHaraway, Donna: Simians, Cyborgs, and Women: The Reinvention of Nature. Routledge, London
\n1992\t<\/strong>
\nMitchell, W. J. Thomas: Pictorial Turn. Artforum, 30:7 (March 1992), 89-94.
\n1993\t<\/strong>
\nLevin, David Michael (ed.): Modernity and the Hegemony of Vision. University of California Press, Berkeley
\n \tJay, Martin: Downcast Eyes. The Denigration of Vision in 20th Century French Thought. University of California Press, Berkeley
\n1994\t<\/strong>
\nBryson, Norman \u2013 Holly, Michael Anne \u2013 Moxey, Keith (eds.): Visual Culture. Images and Interpretations. Wesleyan University Press, Hanover and London
\n \tMitchell, W. J. Thomas: Picture Theory. University of Chicago Press, Chicago
\n \tBoehm, Gottfried (Hg.): Was ist ein Bild? W. Fink Verlag, M\u00fcnchen
\n \tVirilio, Paul: The Vision Machine. Bloomington University Press, Indiana
\n1995\t<\/strong>
\nJencks, Chris (ed.): Visual Culture. Routledge, London
\n \tReadings, Bill \u2013 Melville, Stephen: Vision and Textuality. Duke University Press, Durham
\n \tElkins, James: Art History and Images That Are Not Art. The Art Bulletin, 77:4, (December 1995), 553-572.
\n \tCartwright, Lisa: Screening the Body: Tracing Medicine\u2019s Visual Culture. University of Minnesota Press, Minnesota
\n1996\t<\/strong>
\nVisual Culture Questionnaire. October, 77 (Summer 1996), 25-70.
\n \tT\u00f6bbek k\u00f6z\u00f6tt Svetlana Alpers, Susan Buck-Morss, Jonathan Crary, Thomas Crow, Michael Anne Holly, Martin Jay, Thomas DaCosta Kaufmann, Stephen Melville, Keith Moxey \u00e9s Cristopher Wood v\u00e1laszaival.
\n \tMash, Melina \u2013 Robertson, George \u2013 Tickner, Lisa: The Block Reader in Visual Culture. Routledge, London
\n \tStafford, Barbara Maria: Artful Science: Enlightenment Entertainment and the Eclipse of Visual Education. MIT Press, Cambridge (Mass.)
\n1997\t<\/strong>
\nChaplin, Sarah \u2013 Walker, John A.: Visual Culture: An Introduction. Manchester University Press, Manchester
\n \tPenley, Constance: Nasa\/Trek: Popular Science and Sex in America. Verso, London
\n \tGalison, Peter: Image and Logic: A Material Culture of Microphysics. University of Chicago Press, Chicago
\n \tKravagna, Christian: Privileg Blick. Kritik der Visuellen Kultur. ID Verlag, Berlin
\n1998\t<\/strong>
\nMirzoeff, Nicholas: The Visual Culture Reader. Routledge, London
\n \tBarnard, Malcolm: Art, Design and Visual Culture. Palgrave Macmillan, London
\n \tStafford, Barbara Maria: Good Looking. Essays on the Virtue of Images. MIT Press, Cambridge (Mass.)
\n1999\t<\/strong>
\nEvans, Jessica \u2013 Hall, Stuart: Visual Culture: The Reader. Routledge, London
\n \tMirzoeff, Nicholas: An Introduction to Visual Culture. Routledge, London
\n \tElkins, James: The Domain of Images. Cornell University Press, Ithaca and London
\n2001\t<\/strong>
\nCarson, Fiona \u2013 Pajaczkowska, Claire: Feminist Visual Culture. Routledge, London
\n \tHooper-Greenhill, Eilean: Museums and the Interpretation of Visual Culture. Routledge, London
\n \tCartwright, Lisa \u2013 Sturken, Marita: Practices of Looking: An Introduction to Visual Culture. Oxford University Press, Oxford
\n \tBelting, Hans: Bild-Anthropologie: Entw\u00fcrfe f\u00fcr eine Bildwissenschaft. W. Fink, M\u00fcnchen
\n \tBal, Mieke \u2013 Bryson, Norman: Looking in: The Art of Viewing. Routledge, London
\n2002\t<\/strong>
\nHolly, Michael Anne \u2013 Moxey, Keith: Art History, Aesthetics, Visual Studies. Yale University Press, New Haven and London
\n2003\t<\/strong>
\nElkins, James: Visual Culture: A Sceptical Introduction. Routledge, London
\n \tBal, Mieke: Visual Essentialism and The Object of Visual Culture. Journal of Visual Culture, 2:1, 5-32.
\n \tBredekamp, Horst: A Neglected Tradition? Art History as Bildwissenschaft. Critical Inquiry. 29:3, (Spring 2003), 418-428.
\n2004\t<\/strong>
\nMaar, Christa \u2013 Burda, Hubert (Hg.): Iconic Turn. Die neue Macht der Bilder. DuMont, K\u00f6ln <\/p>\n","protected":false},"excerpt":{"rendered":"

Egy lehets\u00e9ges kronol\u00f3gia Sz\u00f6veg: Hornyik S\u00e1ndor A vizu\u00e1lis kult\u00fara akad\u00e9mia diskurzusa valamikor a nyolcvanas \u00e9vek v\u00e9g\u00e9n bontakozott ki. Egyetlen konkr\u00e9t kezd\u0151pontot neh\u00e9z lenne meghat\u00e1rozni. Michael Anne Holly, Norman Bryson, W. J. Thomas Mitchell \u00e9s Martin Jay tev\u00e9kenys\u00e9ge egyk\u00e9nt fontosnak t\u0171nik, de a n\u00e9vsor m\u00e9g tov\u00e1bb b\u0151v\u00edthet\u0151. Ehelyett \u00e1ll\u00edtottam \u00f6ssze az al\u00e1bbi kronol\u00f3gi\u00e1t. Aby Warburggal \u00e9s […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0},"categories":[19],"tags":[],"_links":{"self":[{"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/posts\/13744"}],"collection":[{"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/comments?post=13744"}],"version-history":[{"count":4,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/posts\/13744\/revisions"}],"predecessor-version":[{"id":39661,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/posts\/13744\/revisions\/39661"}],"wp:attachment":[{"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/media?parent=13744"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/categories?post=13744"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/tags?post=13744"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}