Efnisyfirlit

• Cover Page
• Half Title page
• Series Title page
• Title Page
• Copyright Page
• Dedication
• Contents
• List of illustrations
• Preface
• List of Contributors
• Acknowledgements
• Part I Firing the Canon
• 1 About Canons and Culture Wars
• Theoretical Models for the Critique of the Canon: Ideology and Myth
• What Is the Canon — Structurally?
• Psycho-Symbolic Investment in the Canon, or, Being Childish about Artists
• Notes
• 2 Differencing Feminism’s encounter with the canon
• Three Positions
• Position one
• Position two
• Position three
• About Difference and Différance
• Thinking about Women . . . Artists
• Notes
• Part II Reading against the Grain: Reading for . . .
• 3 The Ambivalence of the Maternal Body Re/drawing Van Gogh
• A Feminist Reading of Van Gogh?
• Bending Women
• Inside a Studio behind the Vicarage in Nuenen
• Sexuality and Representation
• What Are They Really Talking about?
• Class, Sexuality and Animality
• Freud, Van Gogh and the Wolf Man: Mater and Nanny
• Who’s Seeing Whose Mother? Feminist Desire and the Case of Van Gogh
• Notes
• 4 Fathers of Modern Art: Mothers of Invention Cocking a leg at Toulouse-Lautrec
• Late-Coming and Premature Departure
• Debasement and Desire: Registers of Social and Sexual Difference
• Looking up to Dad
• When Small Is Not Enough
• Whose [Who’s] Missing [The] Phallus? What’s in the Gloves?
• Deconstructing the Derrière: The Physical Other
• Loving Women
• Conclusion
• Notes
• Part III Heroines: Setting Women in the Canon
• 5 The Female Hero and the Making of a Feminist Canon Artemisia Gentileschi’s representations of Susanna and Judith
• Seeing the Artist or Reading the Picture?
• Feminists and Art History: What Women?
• Susanna and the Elders
• Trauma, Memory and the Relief of Representation
• Decapitation or Castration: Judith Slaying Holofernes
• Notes
• 6 Feminist Mythologies and Missing Mothers Virginia Woolf, Charlotte Brontë, Artemisia Gentileschi and Cleopatra
• A Feminist Myth of the Twentieth Century: Murdered Creativity and the Female Body
• Lucy Snowe Meets Cleopatra: The Resistant Feminist Reader and the Female Body
• Missing Mothers: Inscriptions in the Feminine: Cleopatra
• Desiring difference
• Pleasuring the look
• Mourning the mother
• Seeing into the dark core and not lying
• Coda: Rapish Scenes and Lucretia
• Notes
• 7 Revenge Lubaina Himid and the making of new narratives for new histories
• A Post-Colonial Feminist Revenge on the Canon?
• On Some Painting in Revenge
• History Painting
• On Mourning and Melancholia
• Covenant Versus Terrorism
• Notes
• Part IV Who Is the Other?
• 8 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
• Letter I: On the Question of I and Non-I
• Letter II: On the Social Other
• Letter III: On the Jouissance of the Other
• Letter IV: On the Mortality of the Other
• Letter V: On the Exhibition with the Other
• Notes
• 9 A Tale of Three Women Seeing in the dark, seeing double, at least, with Manet
• Introduction: Laure, Jeanne and Berthe
• Berthe
• Jeanne
• Black Venus
• A portrait?
• The painting
• Laure
• The painting
• The nude
• The failed legacy
• Framed
• Conclusion
• Notes
• Epilogue
• Bibliography
• Index