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Tables of Contents for The Self-Aware Image
Chapter/Section Title
Page #
Page Count
Illustrations
IX
8
Introduction
XVII
PART ONE: THE SURPRISED EYE
1
64
CHAPTER ONE EMBRASURES
3
14
The Split Painting: Text and Outside-the-Text
3
7
Velazquez's Bodegones and the Intertextual Threshold
10
7
CHAPTER TWO THE BIRTH OF STILL-LIFE AS AN INTERTEXTUAL PROCESS
17
13
Parergon
17
6
The Para- as Ergon
23
7
CHAPTER THREE MARGINS
30
35
Niches
30
4
Windows
34
10
Doors
44
9
Frames
53
12
PART TWO: THE INQUIRING EYE
65
84
CHAPTER FOUR ASSEMBLAGE: HOW TO MAKE A NEW PAINTING FROM AN OLD IMAGE
67
22
Splitting, Embedding, Insetting
67
2
The Recalcitrant Graft: The Avatars of the Madonna de Vallicella
69
7
Assembling and Collecting: The Madonna in a Garland of Flowers in Cabinets of Curiosity
76
13
CHAPTER FIVE THE TURNING POINT OF PAINTING
89
14
The White Wall
89
4
Sacraments and Rhetoric
93
2
The End of "Painting" and the End of "Art"
95
8
CHAPTER SIX THE INTERTEXTUAL MACHINE
103
46
Catalogues Paintings
103
8
Walls of Paintings
111
3
Memory and Oblivion in the "Cabinets of Curiosity"
114
13
Rhetoric and Collection
127
7
History of Art and System of Images
134
15
PART THREE: THE METHODICAL EYE
149
132
CHAPTER SEVEN PAINTINGS, MAPS, AND MIRRORS
151
47
The Blank Canvas
151
6
Paintings
157
16
Maps
173
11
Mirrors
184
14
CHAPTER EIGHT TWO IMAGES: THE PAINTER THE ACT OF PAINTING
198
70
The Author's Image
198
2
The Contextual Self-Projection
200
7
The Self-Portrait
207
8
Mirror and Authorial Insertion
215
11
The Act of Painting Revealed
226
21
The Poietic Scenario as an Aporetic Scenario
247
21
CHAPTER NINE THE REVERSED PAINTING
268
13
"Something Is Rotten in the State of Denmark"
269
3
Paradox Lost
272
4
"Much Ado About Nothing"
276
5
Notes
281
36
Selected Bibliography
317
16
Index
333