The Slide Lecture, or the Work of Art "History" in the Age of Mechanical Reproduction
2000; University of Chicago Press; Volume: 26; Issue: 3 Linguagem: Inglês
10.1086/448973
ISSN1539-7858
Autores Tópico(s)Museums and Cultural Heritage
ResumoPrevious articleNext article No AccessThe Slide Lecture, or the Work of Art "History" in the Age of Mechanical ReproductionRobert S. NelsonRobert S. Nelson Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 26, Number 3Spring, 2000 Article DOIhttps://doi.org/10.1086/448973 Views: 80Total views on this site Citations: 48Citations are reported from Crossref Copyright 2000 The University of ChicagoPDF download Crossref reports the following articles citing this article:Kamila Kłudkiewicz Spuścizna niemiecka, kierunek Polski. Zbiór reprodukcji Seminarium Historii Sztuki na Uniwersytecie Poznańskim (1919–1939), Artium Quaestiones , no.3333 (Dec 2022): 135–161.https://doi.org/10.14746/aq.2022.33.6Toby Green The Historical Lecture: Past, Present and Future, Transactions of the Royal Historical Society 11 (Dec 2022): 1–23.https://doi.org/10.1017/S0080440122000172Luke LeFebvre, Meghan Parsons, Charlotte Entwistle, Ryan Boyd, Mike Allen Rethinking PowerPoint Slide Design for Multimedia Learning, Journal of Educational Technology Systems 50, no.44 (Feb 2022): 503–520.https://doi.org/10.1177/00472395221077628Michael Roche The “Rediscovery” of Reginald Ford and his New Zealand Antarctic Lectures, 1905 to 1926, Polar Record 58 (Nov 2022).https://doi.org/10.1017/S0032247422000341Deborah Kaplan “What Does It Matter Where My Body Happens to Be?” A Personal View of Online Art Museum Tours, Journal of Museum Education 46, no.44 (Dec 2021): 531–546.https://doi.org/10.1080/10598650.2021.1987768Elizabeth Kassler-Taub Inconvenient Globalism: Method Making at the Margins of Art History, Modern Philology 119, no.11 (Jul 2021): 33–60.https://doi.org/10.1086/715119Susan Elizabeth Gagliardi, Constantine Petridis Mapping Senufo : Reframing Questions, Reevaluating Sources, and Reimagining a Digital Monograph, History in Africa 48 (Jun 2021): 165–209.https://doi.org/10.1017/hia.2021.5Shira Brisman Image/Vessel/Waste, Grey Room 80 (Aug 2020): 68–97.https://doi.org/10.1162/grey_a_00304Sonia de Laforcade Click, Pulse: Frederico Morais and the Comparative Slide Lecture, Grey Room 73 (Dec 2018): 96–115.https://doi.org/10.1162/grey_a_00259Zeynep Çelik Alexander Introduction to Wölfflin's “On Right and Left in Images”, Grey Room 73 (Dec 2018): 82–87.https://doi.org/10.1162/grey_e_00257Frank KESSLER, Sabine LENK '... no solo para contar, sino también para mostrar, para mostrar mucho ...' La linterna mágica como herramienta de enseñanza en la historia del arte alrededor de 1900, Fonseca, Journal of Communication 0, no.1616 (Jun 2018): 46.https://doi.org/10.14201/fjc2018164659Madeline J. Hallewell, Natasa Lackovic Do pictures ‘tell’ a thousand words in lectures? How lecturers vocalise photographs in their presentations, Higher Education Research & Development 36, no.66 (Mar 2017): 1166–1180.https://doi.org/10.1080/07294360.2017.1303454Roland Betancourt Puddles of Time: Toward an Aquatic Temporality, Exemplaria 29, no.33 (Sep 2017): 254–266.https://doi.org/10.1080/10412573.2017.1346389Sharon Marcus Erich Auerbach’s Mimesis and the Value of Scale, Modern Language Quarterly 77, no.33 (Sep 2016): 297–319.https://doi.org/10.1215/00267929-3570623Katharina Lorenz Art History and Intellectual History, (Oct 2015): 184–200.https://doi.org/10.1002/9781118508091.ch14 Introduction, (Jan 2014): 1–20.https://doi.org/10.1215/9780822376767-001 A Short History of_________, (Jan 2014): 21–52.https://doi.org/10.1215/9780822376767-002 The Typescript Book, (Jan 2014): 53–82.https://doi.org/10.1215/9780822376767-003 Xerographers of the Mind, (Jan 2014): 83–110.https://doi.org/10.1215/9780822376767-004 Near Print and Beyond Paper, (Jan 2014): 111–135.https://doi.org/10.1215/9780822376767-005 Afterword, (Jan 2014): 136–150.https://doi.org/10.1215/9780822376767-006 Notes, (Jan 2014): 151–187.https://doi.org/10.1215/9780822376767-007 Works Cited, (Jan 2014): 189–204.https://doi.org/10.1215/9780822376767-008Michelle Henning With and Without Walls: Photographic Reproduction and the Art Museum, (Dec 2013): 577–602.https://doi.org/10.1002/9781118829059.wbihms996Dominique Poulot, Another history of museums: from the discourse to the museum-piece, Anais do Museu Paulista: História e Cultura Material 21, no.11 (Jun 2013): 27–47.https://doi.org/10.1590/S0101-47142013000100004Michael Fotiadis Naked Presence and Disciplinary Wording, (Oct 2012): 293–313.https://doi.org/10.1007/978-3-642-33071-1_13CORINNE A. KRATZ Rhetorics of Value: Constituting Worth and Meaning through Cultural Display, Visual Anthropology Review 27, no.11 (Jun 2011): 21–48.https://doi.org/10.1111/j.1548-7458.2011.01077.xVeronica della Dora, Hayden Lorimer, Stephen Daniels Denis Cosgrove and Stephen Daniels (eds) (1988) The Iconography of Landscape: Essays on the Symbolic Representation, Design and Use of Past Environments. Cambridge: Cambridge University Press, Progress in Human Geography 35, no.22 (Apr 2011): 264–270.https://doi.org/10.1177/0309132510397462Joy Sperling Reframing the Study of American Visual Culture: From National Studies to Transnational Digital Networks, The Journal of American Culture 34, no.11 (Mar 2011): 26–35.https://doi.org/10.1111/j.1542-734X.2011.00761.xDan Karlholm Developing the Picture: Wölfflin's Performance Art, Photography and Culture 3, no.22 (Apr 2015): 207–215.https://doi.org/10.2752/175145110X12700318320512Teresa Castro Les « Atlas photographiques » : un mécanisme de pensée commun à l’anthropologie et à l’histoire de l’art, Les actes de colloques du musée du quai Branly , no.11 (Jul 2009).https://doi.org/10.4000/actesbranly.290Jonathan Kinkley Art Thief: An Educational Computer Game Model for Art Historical Instruction, Leonardo 42, no.22 (Apr 2009): 133–137.https://doi.org/10.1162/leon.2009.42.2.133Innes M. Keighren Giving voice to geography: Popular lectures and the diffusion of knowledge, Scottish Geographical Journal 124, no.2-32-3 (Jun 2008): 198–203.https://doi.org/10.1080/14702540802411782Thomas Hensel , (Nov 2012): 297–360.https://doi.org/10.1524/9783050061320.297Olga M. Hubard Originals and Reproductions: The Influence of Presentation Format in Adolescents' Responses to a Renaissance Painting, Studies in Art Education 48, no.33 (Dec 2015): 247–264.https://doi.org/10.1080/00393541.2007.11650104 Introduction, (Jan 2006): 1–4.https://doi.org/10.1215/9780822388531-001 A Genealogy of the Subject in the Portrait, (Jan 2006): 5–24.https://doi.org/10.1215/9780822388531-002 The Birth of the Social History of Art, (Jan 2006): 25–56.https://doi.org/10.1215/9780822388531-003 The Subject at Risk, (Jan 2006): 57–82.https://doi.org/10.1215/9780822388531-004 Art Photography, Portraiture, and Modern Subjectivity, (Jan 2006): 83–114.https://doi.org/10.1215/9780822388531-005 Regarding the Subject in Art History, (Jan 2006): 115–122.https://doi.org/10.1215/9780822388531-006 Notes, (Jan 2006): 123–148.https://doi.org/10.1215/9780822388531-007 Bibliography, (Jan 2006): 149–162.https://doi.org/10.1215/9780822388531-008Daniel Adler PAINTERLY POLITICS: WOLFFLIN, FORMALISM AND GERMAN ACADEMIC CULTURE, 1885-1915, Art History 27, no.33 (Jun 2004): 431–456.https://doi.org/10.1111/j.0141-6790.2004.00431.xGillian Rose On the Need to Ask How, Exactly, Is Geography "Visual"?, Antipode 35, no.22 (Mar 2003): 212–221.https://doi.org/10.1111/1467-8330.00317Felix Driver On Geography as a Visual Discipline, Antipode 35, no.22 (Mar 2003): 227–231.https://doi.org/10.1111/1467-8330.00319James R Ryan Who's Afraid of Visual Culture?, Antipode 35, no.22 (Mar 2003): 232–237.https://doi.org/10.1111/1467-8330.00320 Anne Secord Botany on a Plate: Pleasure and the Power of Pictures in Promoting Early Nineteenth‐Century Scientific Knowledge Secord, Isis 93, no.11 (Jul 2015): 28–57.https://doi.org/10.1086/343245
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