Individuality in Readers of the Work of Art: Works Cited

Undergraduate Academic Essay

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Barthes, Roland.
Camera Lucida. Trans. Richard Howard.
New York: The Noonday Press - Hill and Wang, 1981.
Barthes, Roland.
Image - Music - Text.
Trans. Stephen Heath.
New York: The Noonday Press - Farrar, 1977.
Barthes, Roland.
S/Z. Trans. Richard Miller.
New York: The Noonday Press - Hill and Wang, 1974.
Bellmer, Hans.
Doll (La Poupée), 1934.
Virginia Lust Gallery, New York.
Illus. 49 of Anxious Visions: Surrealist Art. By Sidra Stich.
Berkeley: University Art Museum, and New York: Abbeville Press, 1990.
Bellmer, Hans.
Doll (La Poupée), 1935-36.
Collection of Timothy Baum.
Illus. 50 of Anxious Visions: Surrealist Art. By Sidra Stich.
Bellmer, Hans.
Doll (La Poupée), 1935-36.
Virginia Lust Gallery, New York.
Illus. 53 of Anxious Visions: Surrealist Art. By Sidra Stich.
Browning, Robert.
"My Last Duchess." Mitchell, 17-18.
Caws, Mary Ann.
"Ladies Shot and Painted: Female Embodiment in Surrealist Art."
The Female Body in Western Culture.
Ed. Susan Suleiman.
Cambridge, MA: Harvard University Press, 1986. 268-288.
Eco, Umberto.
The Open Work.
Cambridge, MA: Harvard University Press, 1989.
Eshlemen, Clayton.
"Letter To Herbert Lust with a Response by Herbert Lust."
Sulfur Spring 1990: 34-53.
Iser, Wolfgang.
The Act of Reading: A Theory of Aesthetic Response.
Baltimore: Johns Hopkins University Press, 1978.
Iser, Wolfgang.
Interaction between Text and Reader.
Suleiman and Crosman, 106-121.
Kristeva, Julia.
Desire in Language.
Leon S. Roudiez, ed. Thomas Gora et al, trans.
New York: Columbia University Press, 1941.
Krauss, Rosalind.
Passages in Modern Sculpture.
Cambridge, MA: The MIT Press, 1981.
Lessing, Doris.
"To Room Nineteen,"
The Norton Anthology of English Literature.
Ed. M. H. Abrams. 5th ed. Vol. 2.
New York: Norton, 1986. 2335-2360.
Linker, Kate.
"Representation and Sexuality,"
Art after Modernism: Rethinking Representation.
Eds. Brian Wallis and Marcia Tucker.
New York: The New Museum of Contemporary Art, 1984. 391-415.
Magritte, Rene.
Les Liaisons dangereuses, 1936.
Formerly with the collection of Galerie Octave Negru, Paris.
Illus. 30 of This is Not a Pipe. By Michel Foucault.
Trans. and ed. by James Harkness.
Berkeley: University of Ca. Press, 1983.
Moriarty, Micheal.
Roland Barthes.
Stanford: Stanford University Press, 1991.
Mitchell, W. J. T.
"Representation" in Critical Terms for Literary Study.
Eds. Frank Lentricchia and Thomas McLaughlin.
Chicago: The University of Chicago Press, 1990. 11-21.
Plath, Sylvia.
"Lady Lazarus."
Ed. David Kalstone.
The Norton Anthology of American Literature: Second Edition.
Eds. Nina Baym, et al.
New York: W. W. Norton & Co., 1986. 2597-9.
Rubin, William S.
Dada, Surrealism, and Their Heritage.
New York: The Museum of Modern Art, 1968.
Sherman, Cindy.
Untitled #96 (1981). Museum Boymans-van Beuningen, Rotterdam.
Illus. 60 of Cindy Sherman. By Peter Schjeldahl.
Munchen: Schirmer/Mosel, 1987.
Stich, Sidra.
Anxious Visions: Surrealist Art.
Berkeley: University Art Museum, and New York: Abbeville Press Inc., 1990.
Suleiman, Susan Rubin and Crosman, Inge.
The Reader in the Text: Essays on Audience and Interpretation.
Princeton: Princeton University Press, 1980.
Suleiman, Susan Rubin.
"A Double Margin: Women Writers and the Avante-Garde in France."
Subversive Intent: Gender, Politics and the Avante-Garde.
Cambridge, MA: Harvard University Press, 1990.
Vendler, Helen.
The Music of What Happens: Poems, Poets, Critics.
Cambridge, MA: Harvard University Press, 1986.


[footnote]
In the words of William S. Rubin, "Automatism (the draftsmanly counterpart of verbal free association) led to the 'abstract' Surrealism of Miró and Masson . . . The 'fixing' of dream-inspired images influenced the more academic illusionism of Magritte, Tanguy, and Dali. We tend to think of Miró and Masson primarily as painters (peintres), in the sense that the modernist tradition has defined painting we think of the latter artists more as image-makers (imagiers)"(64).