CriticalTheoryIIFall09Bib

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I m p ri ntlln de x/Tra c e I lVlarklp h oto g ra p h -lB Critical Theory Seminar Michael Newman Course Description The "t *:l:flg, or imprinting and casrinq fr as been pervasive in mooeln * ]:Hd,;;;;r_l;IJi:,,?:*#lr,:ft:bjects  ndepen den tt ?l .ontroiii"n!"intuntion .g n o opu-n'iJ .n, n." effects, s u ch ': lJiU 1;*3X 'fi,:T# lg"i j:a" a tic im ri ei i "-,1 3 n 0 ra is e q u e srio n s or rh e ., fi iliiil;JJ;i'piinrr'"","H'ti:ll{i;ii?,T;:::?.I#'j,[';,,:?fl jT;,,,, it,,"r6,ri#":i:J,i?;:;:LX"Jfl ,t$:+T,nl"ff ,;l[f lf:.,,:,y;1;:"0. e70s to " ros"^'-!"d; ;;;;tos.raphv. rrr"lir., wir forow-foiri,tiieads: First, a consideration and critique;il:-i1+ ;;;i;::],d,its reration to themark and the trace; r".o:g,, r .;il;;;tion_ot tr-.,u ,.Jut,yonJfutruun ,"r1, ,,g,i ano trace; third, the impricarionl;lrh" #;: ano imprinito i,itj uno dearh, ,rtn", parricurar fi: :ilJ :XT':? .; : iJ[", f, ff]Jg L p',, " ; ; ;il;,"i[u t,,.u co ns io e ieo'a s rra ce Requirements A. The texts are activery in " oi".lllllud.tq"ding fo.r the class. you r e e,rio,^t m;i;l:;,;H:nffim:"., ;r," wiil be expected to participate rne of the readings ;ffiru,t: The Trace in the orisin of Drawins Pliny, Naturat Hi*ry: Books XXX,\fXX.V,-ed.G. p. Gootd, trans. H. Rackham, i::?i'l,l#L:{t=ir*n#^*,n:n"tinrarviro;;;'H','u",. umbers *o.*l: re-rt orirrel}n text). according to the paiagraph ttr *o}; H::txf#";ffi ?: lJi:,,t%,_,72 rh e sta s e or D rawi n g : de Zegher'lqlq"", r* Iruishins and New rjil' gon"o"ov cut'.rin" ,^ _ _??03, pp. g3-10g. vwtrufrrr-r$ and New York: The nrr*ini''C"nt"r, uean Fisher, "on drawing:, in The sfage of Drawing; Gesture and Act, pp.217_

Transcript of CriticalTheoryIIFall09Bib

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I m p ri ntlln de x/Tra c e I lVlarklp h oto g ra p h-lB Critical Theory SeminarMichael Newman

Course DescriptionThe use

"t*:l:flg, or imprinting and casrinq fras been pervasive in mooeln * ]:Hd,;;;;r_l;IJi:,,?:*#lr,:ft:bjects ndepen den tt

?l.ontroiii"n!"intuntion

.gn o opu-n'iJ .n, n." effects, s u ch

':lJiU 1;*3X 'fi,:T# lg"i

j:a" a tic im ri ei i

"-,1 3n 0 ra is e q u e srio n s or rh e

.,

fi iliiil;JJ;i'piinrr'"","H'ti:ll{i;ii?,T;:::?.I#'j,[';,,:?fl jT;,,,,it,,"r6,ri#":i:J,i?;:;:LX"Jfl

,t$:+T,nl"ff ,;l[f lf:.,,:,y;1;:"0.e70s to"

ros"^'-!"d; ;;;;tos.raphv. rrr"lir., wir forow-foiri,tiieads:First,

a consideration and critique;il:-i1+ ;;;i;::],d,its reration to themark andthe trace; r".o:g,, r .;il;;;tion_ot

tr-.,u ,.Jut,yonJfutruun ,"r1, ,,g,i ano trace;third, the impricarionl;lrh" #;: ano imprinito i,itj uno dearh, ,rtn", parricurarfi: :ilJ :XT':? .; : iJ[", f, ff]Jg

L p',,"

; ; ;il;,"i[u t,,.u co ns io e ieo'a s rra ce or

Requirements

A. The texts are

activery in " oi".lllllud.tq"ding fo.r the class. you re e,rio,^t m;i;l:;,;H:nffim:"., ;r,"

wiil be expected to participate

rne of the readings

;ffiru,t:The Trace in the orisin of Drawins

Pliny, Naturat Hi*ry: Books XXX,\fXX.V,-ed.G. p. Gootd, trans. H. Rackham,

i::?i'l,l#L:{t=ir*n#^*,n:n"tinrarviro;;;'H','u",.umbers *o.*l: re-rt orirrel}n text). according to the paiagraphttr icnaffi

*o}; H::txf#";ffi ?: lJi:,,t%,_,72 rh e sta s e or D rawi n g :de Zegher'lqlq"", r* Iruishins and New rjil' gon"o"ov cut'.rin",^ _ _??03, pp. g3-10g. vwtrufrrr-r$ and New York: The nrr*ini''C"nt"r,

uean Fisher, "on drawing:, in The sfage of Drawing; Gestureand Act, pp.217_

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Session 2:The lndex, Stain, and SignReading:Rosalind Krauss, "Notes on the lndex" in The Originality of the Avant-Garde and

otherModernistMyths (cambridge, Mass. and London, Engrand: Mrr,1985), pp.196-219.

Georges Didi-Huberman, "The lndex of the Absent wound (Monograph on a

Stain)," October, Summer 1984, pp.63-81,.

James Elkins, on Pictures and the words That Failrhem (cambridge UK:Cambridge University Press, 1998), Chapter 1: "Marks, Traces, Traits,Contours, Orli, and Splendores", pp. 3-46.

Session 3: The Relic, Life Cast, Death Mask and PhotographReading: -,u

sigmund Freud, "Mourning and Melancholia," standard Edition, vor. 14, pp.243-258.

Andre Bazin, "The ontology of the Photographic lmage", in whatis cinema?(Berkeley: University of California Press, 196Z), pp.g-16

Roland Barthes, camera Lgcida : Reflections on Photography (New york: Hilland Wang, 1981).tfli

Session 4: The Trace of the OtherReading:Emmanuel Levinas, "The Trace of the Other," in Deconstruction in Context, ed.

Mark Taylor (Chicago: University of Chicago press, 1986), pp.345-359.Edward casey, "Levinas on Memory and the Trace", in J.c.sallis, G. Moneta and

J. Taminiaux eds., The collegium Phaenomenologicum (Dordrecht:Kluwer, 1 988), pp.240-255.

Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans.Pascale-Anne Brault and Michael Naas (chicago: The University ofChicago Press, 1993). gUV

Julia Kristeva, "The Semiotic Ciitora Ordering the Drives ," in Revolution in PoeticLanguage, trans. Margaret Waller (New York, Cotumbia University Press,1984), esp. pp.25-6.

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