Syndetics cover image
Image from Syndetics

Illustration / J Hillis Miller.

By: Material type: TextTextPublication details: Cambridge, Mass : Harvard University Press, 1992.ISBN:
  • 0674443578
Subject(s): DDC classification:
  • 700/.1 20
LOC classification:
  • NX640 .M55 1992
Contents:
Pt. 1. The Work of Cultural Criticism in the Age of Digital Reproduction. Politicizing Art. What are Cultural Studies? Benjamin. The Technology of Cultural Studies. The Thoreau Prototype. The Aporias of Cultural Studies. Inaugurative Responsibility -- Pt. 2. Word and Image. Images et texte. Ruskin. Heidegger. Ruskin on Holbein. Dickens and Phiz. Turner. Turner's Doublings. Turner as Second Sun. Goethe. Return to Turner. The 'Sun of Venice' Going to Sea. The Critic as Illustrator.
Summary: Positioning himself in the slippery divide between two highly charged critical approaches--deconstruction and cultural studies--J. Hillis Miller explains why the split occurred and offers, for the first time, an eloquent analysis of the goals and methods of cultural studies. Miller's Illustration is an intellectual adventure that transgresses the boundaries of critical theory to reveal the ideological forces at work. The result, art critic Norman Bryson concludes, "is an extraordinary performance." In a positive, constructive way, Miller describes cultural studies as, primarily, a means of contextualizing works of art. Relating the assumptions behind this approach to recent social, political, and technological changes, he shows how cultural studies is itself subject to its context and thus perhaps misguided insofar as it portrays art objects as "mere illustration." In particular, Miller considers new forms of electronic research in the humanities which, with their vast, homogenizing effect on data, can compel a critic to reconfigure information--in fact, to create the context that he or she means simply to identify. To illustrate this phenomenon, Miller investigates one topic of importance for cultural studies: the relation of verbal and visual forms in multimedia works. Drawing examples from Twain, Gorey, Mallarme, James, Ruskin, Heidegger, Dickens, and Turner, he shows how neither word nor image takes priority in such collaborations; nor is either a mere representation of a pre-existing reality. The transformations wrought by cultural artifacts on their contexts, Miller contends, must be identified through detailed and vigilant "rhetorical" readings if the force of a work of art is to be passed on into the current cultural situation. And for the new form these readings take, the reader-critic must in turn assume responsibility.
Holdings
Item type Home library Call number Status Date due Barcode Item holds
Two Week Loan Two Week Loan College Lane Learning Resources Centre Main Shelves 700.1 MIL (Browse shelf(Opens below)) Available 4403801893
Total holds: 0

Enhanced descriptions from Syndetics:

Includes bibliographical references (p. 152-166).

Pt. 1. The Work of Cultural Criticism in the Age of Digital Reproduction. Politicizing Art. What are Cultural Studies? Benjamin. The Technology of Cultural Studies. The Thoreau Prototype. The Aporias of Cultural Studies. Inaugurative Responsibility -- Pt. 2. Word and Image. Images et texte. Ruskin. Heidegger. Ruskin on Holbein. Dickens and Phiz. Turner. Turner's Doublings. Turner as Second Sun. Goethe. Return to Turner. The 'Sun of Venice' Going to Sea. The Critic as Illustrator.

Positioning himself in the slippery divide between two highly charged critical approaches--deconstruction and cultural studies--J. Hillis Miller explains why the split occurred and offers, for the first time, an eloquent analysis of the goals and methods of cultural studies. Miller's Illustration is an intellectual adventure that transgresses the boundaries of critical theory to reveal the ideological forces at work. The result, art critic Norman Bryson concludes, "is an extraordinary performance." In a positive, constructive way, Miller describes cultural studies as, primarily, a means of contextualizing works of art. Relating the assumptions behind this approach to recent social, political, and technological changes, he shows how cultural studies is itself subject to its context and thus perhaps misguided insofar as it portrays art objects as "mere illustration." In particular, Miller considers new forms of electronic research in the humanities which, with their vast, homogenizing effect on data, can compel a critic to reconfigure information--in fact, to create the context that he or she means simply to identify. To illustrate this phenomenon, Miller investigates one topic of importance for cultural studies: the relation of verbal and visual forms in multimedia works. Drawing examples from Twain, Gorey, Mallarme, James, Ruskin, Heidegger, Dickens, and Turner, he shows how neither word nor image takes priority in such collaborations; nor is either a mere representation of a pre-existing reality. The transformations wrought by cultural artifacts on their contexts, Miller contends, must be identified through detailed and vigilant "rhetorical" readings if the force of a work of art is to be passed on into the current cultural situation. And for the new form these readings take, the reader-critic must in turn assume responsibility.