Seeing and Consciousness

Women, Class and Representation

Inbunden, Engelska, 1995

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Through its provocative examination of feminist and Marxist approaches to women's art and female representations, this book challenges the widespread belief that Marxism has nothing valuable to contribute to women's studies. The author argues that, from the French Revolution through to the present, gender and class have shaped visual imagery. She shows how Marxist theory can function to question some of the premises of feminist art histories and to provide a more accurate understanding of the meaning(s) of visual imagery.

Produktinformation

Utgivningsdatum1995-04-06
Mått138 x 216 x undefined mm
Vikt650 g
FormatInbunden
SpråkEngelska
Antal sidor266
FörlagTaylor & Francis Ltd
ISBN9780854969609

Tillhör följande kategorier

Konsthistoria inom Kultur
Marxism och kommunism inom Samhalle och politik
Genusvetenskap inom Samhalle och politik

Marxist theory, feminism(s) and women's history; women and the bourgeois revolution of 1789 - artists, mothers and markers of (art) history; gender and class in early modernist painting - a reassessment; women, class and photography - the Paris commune of 1871; Russia and the Soviet Union ca.1880-ca.1940 - patriarchal culture or totalitarian androgeny?; women and Nazi art - Nazi women and art; the postmodern, gender and race.

'Doy bravelly challenges the orthodoxy that feminist theory has a monopoly on explanation. Her contention is that feminist art historians have virtually ignored the important contributions of Marx and Engels to understanding women's oppression and to women's emancipation, particularly Engels' book Origins of the Family (1884). [...] Doy provides an incisive and thoughtful account of class versus gender, economic base versus cultural superstructure debates. [...]Art history students weaned on the new art history will find Doy's revisionist, questioning book worth reading because it will cause them to think again.'Art monthly'(Doy's) text is useful ... for those who want an introduction to critical debates in art history, for she covers an extremely wide range of periods and debates, well supported by a selection of fifty-four illustrative plates'Women: A Critical Review