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| Introduction How to use this book | |
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| Thinking about theory | |
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| What makes theory "theory"? | |
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| Is theory pure, universal, and impartial? | |
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| Positivism, or the theory of anti-theoretical positions | |
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| Thinking through theory | |
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| Conclusion | |
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| Jargon | |
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| What's the difference between theory and methodology? | |
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| A place to start | |
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| The analysis of form, symbol, and sign | |
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| Formalism in art history | |
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| Iconography and iconology | |
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| Panofsky's iconography and iconology | |
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| Iconography and iconology since Panofsky | |
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| Practicing iconography and iconology | |
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| Semiotics | |
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| The founding semioticians: Saussure and Peirce | |
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| Systems and codes | |
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| Interpreting codes and signs | |
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| Semiotics and art history | |
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| Practicing semiotic art history | |
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| The object of art history | |
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| Word and image | |
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| Conclusion | |
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| Are works of art puzzles? Are art historians detectives? | |
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| Do we "read" works of art? | |
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| A place to start | |
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| Airs contexts | |
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| The history of ideas | |
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| Marxist and materialist perspectives on art | |
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| The critique of capitalism and historical materialism | |
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| Ideology and cultural hegemony | |
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| Marxism and art | |
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| Materialist and Marxist art history | |
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| Practicing Marxist art history | |
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| Feminisms | |
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| A brief history of the women's movement | |
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| The beginnings of feminist art history | |
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| Current issues in feminist art history | |
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| Essentialism and feminist art history | |
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| Practicing feminist art history | |
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| Sexualities, LGBTI Studies, and queer theory | |
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| LGBTI Studies | |
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| Queer theory | |
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| Gender performativity, a key queer idea | |
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| LGBTI/queer art history | |
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| Practicing LGBU/queer art history | |
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| Cultural Studies and post-colonial theory | |
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| Race and post-colonial theory | |
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| Subaltern Studies | |
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| Globalization and transnationalism | |
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| Practicing art history informed by globalization and transnationalism | |
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| Art history, Cultural Studies, and Visual Culture Studies | |
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| Practicing art history informed by Cultural Studies/post-colonialism | |
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| Conclusion | |
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| So what's normal-or normative? | |
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| A place to start | |
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| Psychology and perception in art | |
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| Art history and psychoanalysis | |
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| Basic Freud | |
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| Freud on art | |
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| Freud's critics | |
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| Basic Lacan | |
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| Lacan on art | |
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| Lacan's critics | |
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| Psychoanalysis and contemporary art history | |
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| The gaze | |
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| Reception theory I: the psychology of art | |
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| Reception theory II: reader-response theory and the aesthetics of reception | |
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| Practicing reception theory/psychoanalytic art history Conclusion | |
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| Jungian archetypes | |
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| Object relations theory and the nature of creativity | |
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| The anxiety of influence | |
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| A place to start | |
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| Taking a stance toward knowledge | |
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| Hermeneutics | |
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| The hermeneutic trio | |
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| The hermeneutic circle | |
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| Hermeneutics and art history | |
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| Practicing hermeneutic art history | |
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| Structuralism and post-structuralism | |
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| Culture as structure | |
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| Binary oppositions | |
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| Intertextuality and the death of the author | |
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| Post-structuralism | |
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| Foucault's history: knowledge is power | |
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| Structuralism, post-structuralism, and art history | |
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| Practicing structuralist and post-structuralist art history | |
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| Deconstruction | |
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| Art history and deconstruction | |
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| Practicing deconstructive art history | |
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| Postmodernism as condition and practice | |
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| Defining modernism(s) | |
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| Adding the "post" to modernism | |
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| Challenging master narratives | |
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| Fragmentation, pastiche, and the simulacrum | |
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| Modernism, postmodernism, and art history | |
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| Practicing postmodernist art history | |
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| Conclusion | |
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| A place to start | |
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| writing with theory | |
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| The kind of paper you're probably writing now | |
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| Learning how to write with theory | |
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| The place of theory in research | |
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| Which comes first? | |
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| How do you know which theory (or theories) to use? | |
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| Writing the paper | |
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| Crafting a theoretically driven argument | |
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| Integrating theory | |
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| Supporting your points/providing evidence | |
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| Creativity, imagination, and truth | |
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| A place to start | |
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| Notes | |
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| Acknowledgments | |
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| Index | |
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| Photo credits | |