Images: Critical and Primary Sources


Images: Critical and Primary Sources is a major multi-volume work of reference that brings together seminal writings on the image. Taking an interdisciplinary approach, the essays range across the domains of philosophy, history, art, aesthetics, literature, science, anthropology, critical theory and cultural studies. The essays reveal a wide set of perspectives, problematics and approaches, helping to frame a rich, encompassing view of what we can broadly term 'image studies'. The four volumes are arranged ...

See more details below
$792.00 price
(Save 20%)$990.00 List Price
Other sellers (Hardcover)
  • All (9) from $595.00   
  • New (4) from $724.87   
  • Used (5) from $595.00   
Sending request ...


Images: Critical and Primary Sources is a major multi-volume work of reference that brings together seminal writings on the image. Taking an interdisciplinary approach, the essays range across the domains of philosophy, history, art, aesthetics, literature, science, anthropology, critical theory and cultural studies. The essays reveal a wide set of perspectives, problematics and approaches, helping to frame a rich, encompassing view of what we can broadly term 'image studies'. The four volumes are arranged thematically, each separately introduced and with the essays structured into specific sections for easy reference.

Volume 1: Understanding Images establishes conceptual, historical, ideological and philosophical framings for understanding and defining the image; followed in Volume 2: The Pictorial Turn with a focus on the most enduring and constitutive question of the image: its relationship to, with and against text and textuality. Volume 3: Image Theory offers representative materials covering key theoretical approaches for analyzing, interpreting and critiquing the image. Finally, Volume 4: Image Cultures examines a wide range of social and cultural contexts of the image, which covers aspects of visual evidence, image and memory, visual methodologies, scientific imaging and the practical engagement of image-makers.

Images: Critical and Primary Sources offers a major scholarly resource for any researchers involved in the study of the image and visual culture.

Read More Show Less

Product Details

  • ISBN-13: 9780857850843
  • Publisher: Bloomsbury Academic
  • Publication date: 3/1/2013
  • Pages: 1
  • Product dimensions: 6.70 (w) x 9.90 (h) x 3.50 (d)

Meet the Author

Sunil Manghani is Reader in Critical and Cultural Theory at York St John University (UK). His publications appear in Theory, Culture & Society, Film International, Parallax, Journal of Visual Art Practice, and Culture, Theory and Critique.  He is the author of Image Critique (2008) and co-editor of Images: A Reader (2006), an anthology of writings on the image from Plato to the present.

Read More Show Less

Table of Contents

Volume One: Understanding Images
Series Preface/Editorial Introduction
Part One: Image Studies
What is an Image? - W.J.T. Mitchell(Source: Mitchell, W.J.T. (1984) 'What is an Image?' New Literary History, 15:3, pp.503-37)
Image, Medium, Body - Hans Belting (Source: Belting, H. (2005). 'Image, Medium, Body: A New Approach to Iconology,' Critical Inquiry 31:2, pp.302-319)
The Domain of Images - James Elkins (Source: Elkins, J. (1995) 'Art History and Images That Are Not Art', Art Bulletin 77:4, pp.554-71)
Bildwissenschaft - Horst Bredekamp (Source: Bredekamp, H. (2003) 'A Neglected Tradition? Art History as Bildwissenschaft,' Critical Inquiry, 29:3, pp.418-428.)Role of the Spectator - Jacques Aumont (Source: Aumont, J. (1997) The Image, trans. by Claire Pajackowsja. London: BFI, pp.53-67)
Images, Not Signs - Régis Debray (Source: Debray, R. (1996) Media Manifestos. Verso Books, pp.133-167)
Part Two: Defining Images
Classical Greek Origins of Western Aesthetic Theory - John T. Kirby (Source: Kirby, J.T. (1996) 'Classical Greek Origins of Western Aesthetic Theory' in B.Allert (ed.) Languages of Visuality: Crossings between Science, Art, Politics and Literature. Wayne State University Press, pp.29-45.)The Philosophical Imaginary - Michèle Le Doeuff (Source: Le Doeuff, M. (1989) The Philosophical Imaginary, tr. Colin Gordon. London: Athlone Press, pp.1-20)
The Simile of the Cave - Plato (Source: Plato (1955) 'Part Seven [Book Seven]' in The Republic, tr. H.D.P. Lee. Penguin, pp.256-64)
The Origins of Imitation - Aristotle (Source: Aristole (1965) 'The Origins and Development of Poetry', from On the Art of Poetry, in Classical Literary Criticism, tr. T.S. Dorsch. Penguin, pp.35)
Optics - René Descartes (Source: Descartes, R. (2001) Discourse on Method, Optics, Geometry, and Meteorology, tr. P.J. Olscamp. Revised Edition. Hackett Publishing Company, pp.91-101)
Of Ideas - John Locke (Source: Locke, J. (1993) 'Of Ideas in General and their Original', in An Essay Concerning Human Understanding, Book II, Chapter 1. Everyman, pp.45-57)
Representation and Imagination - Immanuel Kant(Source: Kant, I. (1929) 'Transcendental Deduction' and 'Schematism' in The Critique of Pure Reason, tr. Norman Kemp Smith. Macmillan Press, pp.132-3, 142-3, 181-3)
Images, Bodies and Consciousness - Henri Bergson(Source: Bergson, H. (1991) 'Of the Selection of Images for Conscious Presentation. What Our Body Means and Does' in Matter and Memory, tr. N.M.Paul and W.S.Palmer. Zone Books, pp. 17-22)Modernizing Vision - Jonathan Crary(Source: Crary, J. (1988) 'Modernizing Vision' in H.Foster (ed.) Vision and Visuality, Bay Press, pp.29-44)Part Three: Image and Ideology
Iconoclash - Bruno Latour(Source: Latour, B (2002) 'What is Iconoclash Or is There a World Beyond the Image Wars?' in B.Latour and P.Weibel (ed.) Iconoclash: Beyond the Image Warsin Science, Religion and Art. MIT Press, pp.14-37)Idolatry and Iconoclasm - David Freedberg(Source: Freedberg, D. (1989) The Power of Images. University of Chicago Press, pp.378-394, 421-428)
Image and Icon - Marie-José Mondzain (Source: Mondzain, M-J. (2005) from Image, Icon, Economy: The Byzantine Origins of the Contemporary Imaginary. Stanford University Press, pp.69-82)
The Precession of Simulacra - Jean Baudrillard (Source: Baudrillard, J. (1994) 'The Precession of Simulacra' in Simulacra and Simulation, tr. S.F.Glaser. University of Michigan Press, pp.1-7)
Ideology, Imagology and Critical Thought - Jon Simons (Source: Simons, J. (2000) 'Ideology, Imagology, and Critical Thought: the Improverishment of Politics', Journal of Political Ideologies,Vol. 5, no.1, pp.81-103)Making Metapictures Political - Sunil Manghani(Source: Manghani, S. (2009) 'Making Metapictures Political: Public Screenings of the fall of the Berlin Wall', Northern Lights, 7, pp.113-131)
What do Pictures Really Want? - W.J.T. Mitchell (Source: Mitchell, W. J. T. 1996. 'What do Pictures Really Want?'. October 77, pp.71- 82) Volume Two: The Pictorial Turn
Editorial Introduction
Part One: Image Philosophy
Thinking as Picturing - Judith Genova (Source: Genova, J. (1995) Wittgenstein: A Way of Seeing. Routledge, pp.64-83)The Pictorial Turn - W.J.T. Mitchell (Source: Mitchell, W.J.T. (1992) 'The Pictorial Turn', Artforum, 30:7, March, pp.89-94)
Pictorial Versus Iconic Turn - Gottfried Boehm and W.J.T. Mitchell (Source: Boehm, G. and Mitchell, W.J.T. (2009) 'Pictorial Versus Iconic Turn: Two Letters'. Culture, Theory and Critique, Vol. 50, no. 2-3, pp.103-121)Do Pictures Really Want to Live? - Jacques Rancière (Source: Rancière, J. (2009) 'Do Pictures Really Want to Live?', Culture, Theory and Critique, Vol. 50, No. 2/3, pp.123-132)Reality Remade - Nelson Goodman (Source: Goodman, N. (1968) The Languages of Art. Oxford University Press, pp.3-43)
The Information Available in Pictures - James J. Gibson (Source: Gibson, J.J. (1971) 'The Information Available in Pictures' Leonardo, 4:1, pp. 27-35)
New Perspective - Nelson Goodman (Source: Goodman, N. (1971) 'On J. J. Gibson's New Perspective' Leonardo, 4:4, pp.359-360)
Misreading with Nelson Goodman - James Elkins (Source: Elkins, J. (1993) 'What Really Happens in Pictures? Misreading with Nelson Goodman' Word and Image, 9:4, pp.349-362)
Part Two: Text & Image
The Images of Pictures and Words Rudolf Armheim (Source: Arnheim, R. (1986) 'The Images of Pictures and Words', Word and Image, 2:4, pp.306-310)
Divide and Narrate: the Icon-Symbol Tension in Seurat - Wendy Steiner (Source: Wendy, S. (1986) 'Divide and Narrate: the Icon-Symbol Tension in Seurat', Word and Image, 2:4, pp.342-347)
Readerly Visuality - Ellen J. Esrock (Source: Esrock, E. J. (1993) 'A Proposal for Integrating Readerly Visuality into Literary Studies: Reflections on Italo Calvino', Word and Image, 9:2, pp.114-121)
Rene Magritte's 'Les mots et les images' - Lisa K. Lipinski (Source: Lipinski, L.K. (1995) '"When the trees of language are shaken by rhizomes" in Rene Magritte's "Les mots et les images"' Word and Image, 11:3, pp.216-224)
The Absent Image - Gary Shapiro (Source: Shapiro, G. (2007) 'The Absent Image: Ekphrasis and the "Infinite Relation" of Translation' Journal of Visual Culture 6:1, pp.13-24)
The Convention of Captioning and W.G. Sebald - Elizabeth Chaplin (Source: Chaplin, E. (2006) 'The Convention of Captioning: W.G. Sebald and the Release of the Captive Image' Visual Studies, 21:1,pp.42-53)
Part Three: Image as Thought
A Plea for Visual Thinking - Rudolf Arnheim (Source: Arnheim, R. (1980) 'A Plea for Visual Thinking'. Critical Inquiry, 6:3, pp.489-497)
Perceptual Metaphor - Donald Brook (Source: Brook, D. (1986) 'Perceptual Metaphor' Word and Image, 2:4, pp.333-341)
Picturing Vision - Joel Snyder (Source: Snyder, J. (1980) 'Picturing Vision'. Critical Inquiry, 6:3, pp.499-526)
How to 'See' With the Whole Body - Joyce Brodsky (Source: Brodsky, J. (2002) 'How to "See" with the Whole Body' Visual Studies, 17:2, 99-112)
Body Images - Antonio Damasio (Source: Damasio, A. (2003) Looking for Spinoza. Harvill Press, pp.194-206)
Thought-Images - Sigrid Weigel(Source: Weigel, S (1996) 'Thought-Images: A re-reading of of the Angel of History'. Body- and Image-Space: Re-reading Walter Benjamin. London: Routledge, pp.49-60)
Volume Three: Image Theory
Part One: Art Theory
The End of Image Theory - Otto Pa¨cht(Source: Pa¨cht, O. 2000. 'The End of the Image Theory'. In Christopher S. Wood (ed), The Vienna School Reader: Politics and Art Historical Method in the 1930s. New York: Zone Books, pp.181- 94)
The Arrested Image and the Moving Eye - E.H. Gombrich (Source: Gombrich, E.H. (1980) 'Standards of Truth: The Arrested Image and the Moving Eye' in W.J.T. Mitchell (ed.) The Language of Images,
University of Chicago Press, pp.181-217)
Crossing Frontiers - Philippe-Alain Michaud (Source: Michaud, P-A. (2004) Aby Warburg and the Image in Motion. Cambridge: MIT Press, pp. 277-291)
Part Two: Beyond Semiotics
The Third Meaning - Roland Barthes (Source: Barthes, R. (1985) 'The Third Meaning', The Responsibility of Forms. Farrar, Straus & Giroux (Hill & Wang), pp. 41-62)
Semiotics and Art History - Mieke Bal and Norman Bryson (Source: Bal, M. and Bryson, N. (1991) 'Semiotics and Art History' Art Bulletin LXXIII:2, pp.174-208)
Nonsemiotic Elements in Pictures - James Elkins (Source: Elkins, J. (1995) 'Marks, Traces, Traits, Contours, Orli, and Splendores: Nonsemiotic Elements in Pictures'. Critical Inquiry 21:4, pp.822-60)
Part Three: Psychoanalysis
The Gaze - Jacques Lacan (Source: Lacan, J. (1998) from The Four Fundamental Concepts of Psycho-Analysis, tr. A. Sheridan. Vintage, pp.82-103)
Woman as Image (Man as Bearer of the Look) - Laura Mulvey (Source: Mulvey, L. (2009) from Visual and Other Pleasures. 2nd Edition.Palgrave Macmillan, pp.14-27)
Cindy Sherman's Untitled Film Stills - Joan Copjec (Source: Copjec, J. (2002) from Imagine There's No Woman: Ethics and Sublimation. MIT Press, pp.67, 73-80)
The Gaze in the Expanded Field - Norman Bryson (Source: Bryson, N. (1988) 'The Gaze in the Expanded Field', in H.Foster (ed.) Vision and Visuality. Bay Press, pp.87-108.)
Part Four: Phenomenology
Eye and Mind - Maurice Merleau-Ponty (Source: Merleau-Ponty, M. (1964) from The Primacy of Perception. Northwestern University Press, pp.162-9)
Imagination - Mikel Dufrenne (Source: Dufrenne M. (1973) from 'Representation and Imagination' in The Phenomenology of Aesthetic Experience, tr. Edward S. Casey. Northwestern University Press, pp. 345-53)
Part Five: Between Mediums
On the Very Idea of a 'Specific' Medium - Diarmuid Costello (Source: Costello, D. (2008) 'On the Very Idea of a "Specific" Medium: Michael Fried and Stanley Cavell on Painting and Photography as Arts'. Critical Inquiry 34:2, pp.274-312)
Visual and audiovisual: From Image to Moving Image - Sean Cubitt (Source: Cubitt, S. (2002) 'Visual and audiovisual: from image to moving image' Journal of Visual Culture, 1:3, pp.359-368)
Leaving the Movie Theater - Roland Barthes(Source: Barthes, R. (1989) 'Leaving the Movie Theater' in The Rustle of Language. University of California Press, pp.345-349)
Site-seeing - Giuliana Bruno (Source: Bruno, G. (1997) 'Site-seeing: Architecture and the Moving Image' Wide Angle 19:4, 1997, pp. 8-24)
The Sequence-Image - Victor Burgin (Source: Burgin, V. (2004) The Remembered Film. Reaktion Books, pp.14-28)
Digital-Facial-Image: Affect as Medium - Mark Hansen (Source: Hansen, M.B.N. (2003) 'Affect as Medium, or the 'Digital-Facial-Image', Journal of Visual Culture 2:2, pp.205-228)
Volume Four: Image Cultures
Part One: Visual Culture
Cultural Relativism and the Visual Turn - Martin Jay (Source: Jay, M. (2002) 'Cultural Relativism and the Visual Turn', Journal of Visual Culture, Vol.1, No.3, pp.267-278)
Symbol, Idol and Murti - Gregory Price Grieve(Source: Grieve, G.P. (2003) 'Symbol, Idol and Murti: Hindu God-Images and the Politics of Mediation', Culture, Theory and Critique, Vol.44, No.1, pp.57-72)
Photo-Sharing - Susan Murray(Source: Murray, S. (2008) 'Digital Images, Photo-sharing, and Our Shifting Notions of Everyday Aesthetics' Journal of Visual Culture 7:2, pp.147-163)
Part Two: Image and Memory
Involuntary Memory - Marcel Proust(Source: Proust, M. (2002) from In Search of Lost Time: Volume 1: The Way By Swann's, tr. L.Davis. London: Penguin, pp.47-50)
Ways of Remembering - John Berger(Source: Berger, J. (1997) from The Camerawork Essays: Context and Meaning in Photography, Jessica Evans (ed.). River Oram Press, pp.42-51)
Notes on Myth, Memory and Technology - Justin Lorentzen(Source: Lorentzen, J. (1993) 'Snapshots: Notes on Myth, Memory and Technology: Short Fictions Concerning the Camera', Chris Jenks (ed.) Cultural Reproduction. Routledge, pp.135-139)
The Image of 'Accidental Napalm' - Robert Hariman and John Louis(Source: Hariman, R. and Louis, J. (2003) 'Public Identity and Collective Memory in U.S. Iconic Photography: The Image of "Accidental Napalm"', Critical Studies in Media Communications, Vol.20, No.11, pp.35-66)
Bearing Personal Witness - Barbie Zelizer(Source: Zelizer, B. (2002) Media, Culture, and Society, 24:5, pp.697-714)
Obama and Image - Susan Buck-Morss(Source: Buck-Morss, S. (2009) 'Obama and Image' Culture, Theory and Critique, Vol. 50, no. 2-3, pp.145-164)
Part Three: Visual Evidence
Visible Materials - Jon Wagner(Source: Wagner, J. (2006) 'Visible Materials, Visualised Theory and Images of Social Research' Visual Studies, 21:1, pp.55-69)
Talking about pictures: a case for photo elicitation - Douglas Harper (Source: Harper, D. (2002) 'Talking about pictures: a case for photo elicitation'. Visual Studies, 17:1, 2002, pp.13-26)
The Prosthetic Eye - Christopher Pinney (Source: Pinney, C. (2008) 'The Prosthetic Eye: Photography as Cure and Poison' in Matthew Engelke (ed.) 'The Objects of Evidence: Anthropological Approaches to the Production of Knowledge' special issue of Journal of the Royal Anthropological Instititute, 14:S1, pp. s-33-46)
Law In the Age of Images - Richard K. Sherwin (Source: Sherwin, R.K. (2008) 'Visual Literacy in Action' in James Elkins (ed.) Visual Literacy. Routledge, pp.179-194).
Part Four: Science Imaging
A History of Scientific Imagery - Alexis Smets and Christoph Lüthy(Source: Smets, A. and Lüthy, C. (2009) 'Words, Lines, Diagrams, Images: Towards a History of Scientific Imagery', Early Science and Medicine, Vol.14, pp.398-439)Visual Abstraction and Anatomy - Tricia Daly and Philip Bell(Source: Daly, Tricia and Bell, Philip 2008 'Visual Abstraction and Anatomy: Pre- and Pos-Modern Imagery' Visual Communication, 7:2, pp.183-198)
Images Scatter into Data, Data Gather into Images - Peter Galison(Source: Galison, P. (2002) 'Images Scatter into Data, Data Gather into Images' in B. Latour and P.Weibel (ed.) Iconoclash: Beyond the Image Wars in Science, Religion and Art. MIT Press, pp.300-23)
Sensible Models in Cognitive Neuroscience - Arthur Piper(Source: Piper, A. (2006) 'Sensible Models in Cognitive Neuroscience', in 'Logos Of Phenomenology And Phenomenology Of The Logos. Book Four', Analecta Husserliana, Vol 91, Section I, pp.105-118)
Thoughts Not Our Own - Barbara Maria Stafford (Source: Stafford, B.M. (2009) 'Thoughts Not Our Own: Whatever Happened to Selective Attention'. Theory, Culture and Society, Vol. 26, No.2-3, pp.275-293)
Scientific Visualism - Don Ihde (Source: Ihde, D. (1998) from Expanding Hermeneutics, Visualism in Science. Northwestern University Press, pp.158-69)The Neurology of the Platonic Ideal - Semir Zeki(Source: Zeki, S. (1999) from Inner Vision. Oxford University Press, pp.37-49)Part Five: Making Images
Writing Hypnagogia - Peter Schwenger (Source: Schwenger, P. (2008) 'Writing Hypnagogia'. Critical Inquiry 34:3, pp.423-439)
Two Kinds of Attention - Anton Ehrenzweig (Source: Ehrensweig, A. (1967) from The Hidden Order of Art. Weidenfeld & Nicolson, a division of The Orion Publishing Group, pp.21-31)Citizen Hamilton - Hal Foster (Source: Foster, H. (2008) 'Citizen Hamilton: The Art of Richard Hamilton', Artforum, 46, no 10, pp.396-403)
Photographic Being - Yve Lomax (Source: Lomax, Y. (2005) Sounding the Event: Escapades in Dialogue and Matters of Art, Nature and Time. I.B.Tauris, pp.30-37)

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star


4 Star


3 Star


2 Star


1 Star


Your Rating:

Your Name: Create a Pen Name or

Barnes & Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation


  • - By submitting a review, you grant to Barnes & and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Terms of Use.
  • - Barnes & reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)