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    <subfield code="a">A companion to art theory /</subfield>
    <subfield code="c">edited by Paul Smith and Carolyn Wilde.</subfield>
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    <subfield code="a">Blackwell companions in cultural studies ;</subfield>
    <subfield code="v">5</subfield>
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    <subfield code="a">Includes bibliographical references and index.</subfield>
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  <datafield tag="505" ind1="0" ind2="0">
    <subfield code="g">Part. 1.</subfield>
    <subfield code="t">Tradition and the academy.</subfield>
    <subfield code="t">Introduction: Alberti and the formation of modern art theory /</subfield>
    <subfield code="r">Carolyn Wilde --</subfield>
    <subfield code="t">Classical concept of minesis /</subfield>
    <subfield code="r">G&#xF6;ran S&#xF6;rbom ;</subfield>
    <subfield code="t">Medieval art theory /</subfield>
    <subfield code="r">Hugh Bredin ;</subfield>
    <subfield code="t">Neoplatonist aesthetics /</subfield>
    <subfield code="r">Suzanne Stern-Gillet ;</subfield>
    <subfield code="t">Renaissance art theories /</subfield>
    <subfield code="r">Francois Quiviger ;</subfield>
    <subfield code="t">Touch, tactility, and the reception of sculpture in early modern Italy /</subfield>
    <subfield code="r">Geraldine A. Johnson ;</subfield>
    <subfield code="t">Spiritual exercises of Leonardo da Vinci /</subfield>
    <subfield code="r">Robert Williams ;</subfield>
    <subfield code="t">Academic theory,1550-1800 /</subfield>
    <subfield code="r">Paul Duro ;</subfield>
    <subfield code="t">Rhetorical categories in the academy /</subfield>
    <subfield code="r">Caroline van Eck ;</subfield>
    <subfield code="t">Picturesque and its development /</subfield>
    <subfield code="r">Andrew Ballantyne --</subfield>
    <subfield code="g">pt. 2.</subfield>
    <subfield code="t">Around modernism.</subfield>
    <subfield code="t">Aesthetics of Kant and Hegel /</subfield>
    <subfield code="r">Jason Gaiger ;</subfield>
    <subfield code="t">E.H. Gombrich and the tradition of Hegel /</subfield>
    <subfield code="r">David Summers ;</subfield>
    <subfield code="t">German romanticism and French aesthetic theory /</subfield>
    <subfield code="r">Wendy S. Mercer ;</subfield>
    <subfield code="t">Expression : natural, personal, pictorial /</subfield>
    <subfield code="r">Richard Shiff ;</subfield>
    <subfield code="t">Reading artists' words /</subfield>
    <subfield code="r">Richard Hobbs ;</subfield>
    <subfield code="t">Nietzsche and the artist /</subfield>
    <subfield code="r">Michael White ;</subfield>
    <subfield code="t">Wittgenstein, description, and Adrian Stokes (on C&#xE9;zanne) /</subfield>
    <subfield code="r">Paul Smith ;</subfield>
    <subfield code="t">Modernism and the idea of the avant-garde /</subfield>
    <subfield code="r">Paul Wood ;</subfield>
    <subfield code="t">On the intention of modern(ist) art /</subfield>
    <subfield code="r">Fred Orton ;</subfield>
    <subfield code="t">Anti-art and the concept of art /</subfield>
    <subfield code="r">Paul N. Humble ;</subfield>
    <subfield code="t">Marcel Duchamp's readymades and anti-aesthetic reflex /</subfield>
    <subfield code="r">David Hopkins --</subfield>
    <subfield code="g">pt. 3.</subfield>
    <subfield code="t">Critical theory and postmodernism.</subfield>
    <subfield code="t">Marxism and critical art history /</subfield>
    <subfield code="r">David Craven ;</subfield>
    <subfield code="t">Walter Benjamin and art theory /</subfield>
    <subfield code="r">Howard Caygill ;</subfield>
    <subfield code="t">Bakhtin and the visual arts /</subfield>
    <subfield code="r">Deborah J. Haynes ;</subfield>
    <subfield code="t">Peirce's visuality and the semiotics of art /</subfield>
    <subfield code="r">Michael Leja ;</subfield>
    <subfield code="t">Conceptual art /</subfield>
    <subfield code="r">Charles Harrison ;</subfield>
    <subfield code="t">Barthes on art /</subfield>
    <subfield code="r">Margaret Iversen ;</subfield>
    <subfield code="t">Foucault and art /</subfield>
    <subfield code="r">Roy Boyne ;</subfield>
    <subfield code="t">Derrida and the Parergon /</subfield>
    <subfield code="r">Robin Marriner ;</subfield>
    <subfield code="t">What consciousness forgets : Lyotard's concept of the sublime /</subfield>
    <subfield code="r">Ren&#xE9;e van de Vall ;</subfield>
    <subfield code="t">Deleuze on Francis Bacon /</subfield>
    <subfield code="r">Ian Heywood ;</subfield>
    <subfield code="t">Feminisms and art theory /</subfield>
    <subfield code="r">Marsha Meskimmon ;</subfield>
    <subfield code="t">Psycho-phallus (qu'est-ce que c'est?) /</subfield>
    <subfield code="r">Mignon Nixon --</subfield>
    <subfield code="g">pt. 4.</subfield>
    <subfield code="t">Interpretation and the institution of art.</subfield>
    <subfield code="t">Rules of representation /</subfield>
    <subfield code="r">John Willats ;</subfield>
    <subfield code="t">Gombrich and psychology /</subfield>
    <subfield code="r">Richard Woodfield ;</subfield>
    <subfield code="t">Hermeneutics and art theory /</subfield>
    <subfield code="r">Nicholas Davey ;</subfield>
    <subfield code="t">Reciprocity and reception theory /</subfield>
    <subfield code="r">Michael Ann Holly ;</subfield>
    <subfield code="t">Paradox of creative interpretation in art /</subfield>
    <subfield code="r">Carl Hausman ;</subfield>
    <subfield code="t">Interdisciplinarity and visual culture /</subfield>
    <subfield code="r">Charlotte Klonk ;</subfield>
    <subfield code="t">Against curatorial imperialism : Merleau-Ponty and the historicity of art /</subfield>
    <subfield code="r">Paul Crowther ;</subfield>
    <subfield code="t">Institutional theory of art : theory and antitheory /</subfield>
    <subfield code="r">Garry L. Hagberg.</subfield>
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    <subfield code="a">Aesthetics.</subfield>
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