MARC Record from marc_columbia

LEADER: 02950mam a2200373 a 4500
001 3143968
005 20221019232613.0
008 010424s2001 caua b 001 0 eng
010 $a 2001032248
020 $a0804741506 (alk. paper)
020 $a0804741514 (pbk. : alk. paper)
035 $a(OCoLC)ocm46872299
035 $9ATY0547CU
035 $a3143968
040 $aDLC$cDLC$dOrLoB-B
041 1 $aeng$hfre
050 00 $aP99$b.M35513 2001
082 00 $a401/.41$221
100 1 $aMarin, Louis,$d1931-$0http://id.loc.gov/authorities/names/n50040843
240 10 $aDe la reprʹesentation.$lEnglish$0http://id.loc.gov/authorities/names/n2001025391
245 10 $aOn representation /$cLouis Marin ; translated by Catherine Porter.
260 $aStanford, Calif. :$bStanford University Press,$c2001.
300 $ax, 449 pages :$billustrations ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
490 1 $aMeridian
504 $aIncludes bibliographical references (p. 431-449) and index.
505 00 $gPt. I.$tSemiology and Social Science.$g1.$tThe Dissolution of Man in the Human Sciences: The Linguistic Model and the Signifying Subject.$g2.$tTheoretical Field and Symbolic Practice.$g3.$tEstablishing a Signification for Social Space: Demonstration, Cortege, Parade, Procession.$g4.$tThe Concept of Figurability, or the Encounter Between Art History and Psychoanalysis.$g5.$tMimesis and Description: From Curiosity to Method, from the Age of Montaigne to the Age of Descartes --$gPt. II.$tNarratives.$g6.$tUtopian Discourse and Narrative of Origins from More's Utopia to Cassiodorus-Jordanes's Scandza.$g7.$tFrom Body to Text: Metaphysical Propositions on the Origin of Narrative.$g8.$tCritical Remarks on Enunciation: The Question of the Present in Discourse.$g9.$tOn the Religious.$g10.$tThe Pleasures of Narration --$gPt. III.$tVisibility.$g11.$tThe Ends of Interpretation, or the Itineraries of a Gaze in the Sublimity of a Storm.$g12.$tThe City in Its Map and Portrait.
505 80 $g13.$tHistory Made Visible and Readable: On Drawings of Trajan's Column.$g14.$tIn Praise of Appearance.$g15.$tMimesis and Description.$g16.$tThe Tomb of the Subject in Painting.$g17.$tDepositing Time in Painted Representations --$gPt. IV.$tThe Limits of Painting.$g18.$tRepresentation and Simulacrum.$g19.$tFigures of Reception in Modern Representation in Painting.$g20.$tOn the Margins of Painting: Seeing Voices.$g21.$tThe Frame of Representation and Some of Its Figures.$g22.$tRuptures, Interruptions, Syncopes in Representation in Painting.
650 0 $aSemiotics.$0http://id.loc.gov/authorities/subjects/sh85119950
650 0 $aDiscourse analysis, Narrative.$0http://id.loc.gov/authorities/subjects/sh85038364
650 0 $aArt.$0http://id.loc.gov/authorities/subjects/sh85007461
830 0 $aMeridian (Stanford, Calif.)$0http://id.loc.gov/authorities/names/n92116959
852 00 $bglx$hP99$i.M35513 2001