Index by author
Special Issue: FALLACIES
Vol. 140 No. 1, Fall 2017
A
Altieri, Charles
- The Fallacy of “Fallacy” and Its Implications for Contemporary Literary TheoryCharles AltieriRepresentations Nov 2017, 140 (1) 175-193; DOI: 10.1525/rep.2017.140.1.175
Arsić, Branka
- Materialist Vitalism or Pathetic FallacyBranka ArsićRepresentations Nov 2017, 140 (1) 121-136; DOI: 10.1525/rep.2017.140.1.121
C
Chow, Rey
- The Hitchcockian Nudge; or, An Aesthetics of DeceptionRey Chow, Markos HadjioannouRepresentations Nov 2017, 140 (1) 159-174; DOI: 10.1525/rep.2017.140.1.159
Cole, Andrew
- How to Think a Figure; or, Hegel’s CirclesAndrew ColeRepresentations Nov 2017, 140 (1) 44-66; DOI: 10.1525/rep.2017.140.1.44
F
Flatley, Jonathan
- Reading for MoodJonathan FlatleyRepresentations Nov 2017, 140 (1) 137-158; DOI: 10.1525/rep.2017.140.1.137
H
Hadjioannou, Markos
- The Hitchcockian Nudge; or, An Aesthetics of DeceptionRey Chow, Markos HadjioannouRepresentations Nov 2017, 140 (1) 159-174; DOI: 10.1525/rep.2017.140.1.159
K
Kramnick, Jonathan
- The Interdisciplinary FallacyJonathan KramnickRepresentations Nov 2017, 140 (1) 67-83; DOI: 10.1525/rep.2017.140.1.67
M
McLane, Maureen N.
- CompositionismMaureen N. McLaneRepresentations Nov 2017, 140 (1) 101-120; DOI: 10.1525/rep.2017.140.1.101
N
Nemerov, Alexander
- The Destruction of Hood’s Ordnance TrainAlexander NemerovRepresentations Nov 2017, 140 (1) 84-100; DOI: 10.1525/rep.2017.140.1.84
P
Peters, John Durham
- “You Mean My Whole Fallacy Is Wrong”John Durham PetersRepresentations Nov 2017, 140 (1) 10-26; DOI: 10.1525/rep.2017.140.1.10
S
Smith, D. Vance
T
Tamarkin, Elisa
In this issue
A Short History of the Picture as Box
(Representations 141)
Art historian Amy Knight Powell details the genealogy of the box as a frame, a window, and a container in art. She writes:
In “The Crisis of the Easel Picture” (1948), Clement Greenberg compares the easel picture, disparagingly, to a box-like cavity cut into the wall. In this essay, I argue that late medieval panel paintings—which indeed often took the form of boxes—show Greenberg to be justified in making this comparison, if not in doing so disparagingly. But what Greenberg failed to fully acknowledge is that the easel picture had already long tried to escape this condition through the opening of the metaphor of the window. Failing to recognize this earlier effort to escape the material conditions of the box, many modernists and postmodernists, like Greenberg, attempting to move beyond the easel picture in the name of an art undivided from life, have unintentionally upheld the easel picture’s own escapist ideology.