Michaud eric (196 resultados)

Hardback. Condición: Very Good. How the history of art begins with the myth of the barbarian invasion-the romantic fragmentation of classical eternity. The history of art, argues ric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood-and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of "races" and "peoples" rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity. This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups-denouncing or praising certain qualities as "Latin" or "Germanic." Thus the predominance of linear elements was thought to betray a southern origin, and the "painterly" a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works-categorized, for example, as "African American," "Latino," or "Native American"-creates added value. The market displays the same competition among "races" that was present at the foundation of art history as a discipline.…

hardcover. Condición: Fine. LIKE NEW!!! Has a red or black remainder mark on bottom/exterior edge of pages.

Hardback. Condición: Very Good. How the history of art begins with the myth of the barbarian invasion-the romantic fragmentation of classical eternity. The history of art, argues ric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood-and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of "races" and "peoples" rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity. This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups-denouncing or praising certain qualities as "Latin" or "Germanic." Thus the predominance of linear elements was thought to betray a southern origin, and the "painterly" a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works-categorized, for example, as "African American," "Latino," or "Native American"-creates added value. The market displays the same competition among "races" that was present at the foundation of art history as a discipline.…

hardcover. Condición: New.

paperback. Condición: Good. 1st Edition. Grade 2 out 5 points. Used books with this grade may have any of the following: Moderate wear on cover and pages, personalized notes/names, stickers/labels, markings on pages, bends/creases on cover/spine, ex-library markings. May not include extra materials such as dust jackets, access codes, CDs, accessories, etc. All orders ship by next business day! We are a small company and very thankful for your business.…

Paperback. Condición: Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority.

Paperback. Condición: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

hardcover. Condición: Very Good. Very Good Condition - May show some limited signs of wear and may have a remainder mark. Pages and dust cover are intact and not marred by notes or highlighting.

hardcover. Condición: Very Good. May have light to moderate shelf wear and/or a remainder mark. Complete. Clean pages.

hardcover. Condición: Like New. May have light shelf wear and/or a remainder mark. Complete. Clean pages.

Condición: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Cloth. Condición: Very Good. Estado de la sobrecubierta: Very Good Dust Jacket. 270 pp. Tightly bound. Corners not bumped. Text is free of markings. No ownership markings. Remainder mark bottom fore-edge.

French-fold / Sans Cout. Plier. Condición: Fine / État De Neuf. Montreal Books rating system: 1. Fine 2. Near Fine 3. Very Good 4. Good 5. Fair.

Hardcover with dustjacket, 270 pages; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Soft cover. Condición: Good. no jacket. Cover has some dark stains and rub marks, shelf wear and small dents. Inside pages are clean and unmarked. One dog-eared page.

Wraps. Condición: Good. Wide 8vo, 112 pp., illus. Includes articles on Van Gogh, Lacan, Yves Klein, Sontag, etc. Spine sunned, wrappers handled, lightly dustsoiled and edgeworn, corners bumped.

French-fold / Sans Cout. Plier. Condición: Fine / État De Neuf. Montreal Books rating system: 1. Fine 2. Near Fine 3. Very Good 4. Good 5. Fair.

112 pp.; 23 x 17.5 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Issue 49 of the periodical October. Edited by Joan Copjec, Douglas Crimp, Rosalind Krauss, Annette Michelson, and Terri L. Cafaro. Contents include: "Some Functions of Feminist Criticism, or The Scandal of the Mute Body," by Tania Modleski; "Van Gogh, or The Insufficiency of Sacrifice," by Eric Michaud; "French Customs, Literary Borders," by Denis Hollier; "The Orthopsychic Subject: Film Theory and the Reception of Lacan," by Joan Copjec; "Yves Klein, or The Dead Dealer," by Thierry de Duve; "Sontag's Urbanity," by D. A. Miller and "A New History of the Passions," by Allen S. Weiss. Good. Light dusting of covers and edge-wear. Red and black ink underling to pages 3-24 and 73-74. Contents otherwise clean and unmarked.…

Softcover. Condición: Comme neuf. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, As new. Ammareal gives back up to 15% of this item's net price to charity organizations.

Condición: New.

Hardcover. Condición: new. Hardcover. How the history of art begins with the myth of the barbarian invasion-the romantic fragmentation of classical eternity.The history of art, argues ric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood-and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of "races" and "peoples" rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity.This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups-denouncing or praising certain qualities as "Latin" or "Germanic." Thus the predominance of linear elements was thought to betray a southern origin, and the "painterly" a Germanic or northern source. Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works-categorized, for example, as "African American," "Latino," or "Native American"-creates added value. The market displays the same competition among "races" that was present at the foundation of art history as a discipline. How the history of art begins with the myth of the barbarian invasionthe romantic fragmentation of classical eternity. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Softcover. Condición: Very Good with no dust jacket. Square, tight binding. Clean and bright pages. Wrappers have edge rubbing, light shelf and handling wear, light soiling. Contents: Modleski, Some functions of feminist criticism, or the scandal of the mute body. Michaud, Van Gogh, or the insufficiency of sacrifice. Hollier, French customs, literary borders. Copjec, The orthopsychic subject: film theory and the reception of Lacan. de Duv, Yves Klein, or the dead dealer. Miller, Sontag's urbanity. Weiss, A new history of the passions. 9.0" tall; 112 pages.…

Paperback or Softback. Condición: New. The Cult of Art in Nazi Germany. Book.

Hardback. Condición: New.

Softcover. Condición: Très bon. Ancien livre de bibliothèque avec équipements. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Ammareal gives back up to 15% of this item's net price to charity organizations.…

112 pp.; 23 x 17.5 cm.; glue bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed; Issue 49 of the periodical October. Edited by Joan Copjec, Douglas Crimp, Rosalind Krauss, Annette Michelson, and Terri L. Cafaro. Contents include: "Some Functions of Feminist Criticism, or The Scandal of the Mute Body," by Tania Modleski; "Van Gogh, or The Insufficiency of Sacrifice," by Eric Michaud; "French Customs, Literary Borders," by Denis Hollier; "The Orthopsychic Subject: Film Theory and the Reception of Lacan," by Joan Copjec; "Yves Klein, or The Dead Dealer," by Thierry de Duve; "Sontag's Urbanity," by D. A. Miller and "A New History of the Passions," by Allen S. Weiss. Fine. Covers and contents clean and unmarked. Due to large size and weight additional shipping charges will be required for international orders.…

Wrappers. Condición: Very Good. 120 pages many illustrations some in color. Some wear and rubbing to the covers and edge. Published on the occasion of the exhibition from The Institute of Contemporary Art, Boston MA January 29-March 27, 1988. Checklist. Book.

Condición: New.

Softcover. Condición: Très bon. Ancien livre de bibliothèque. Légères traces d'usure sur la couverture. Edition 2014. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Slight signs of wear on the cover. Edition 2014. Ammareal gives back up to 15% of this item's net price to charity organizations.…

Paperback. Condición: Fair. Inscribed by Mikkel Borch-Jacobsen to Neil Hertz on front end page. Softcover. French text. Shelf wear. Water damaged. Front end page excised. Scattered markings. Sold with all faults. *Autographed by author.*. Signed.