“Realism,” Embodied Subjects, Projection of Empathy
This publication is protected by copyright. Check the terms of use in the publication description.
This publication is protected by copyright. Check the terms of use in the publication description.

Title: “Realism,” Embodied Subjects, Projection of Empathy


Vol. 2 (2015) - Special Issue - English Edition



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21 cm ; Pol. text, eng. summary


1. Ch. Baudelaire, “The Universal Exhibition of 1855,” in Baudelaire. Selected Writings on Art & Artists, trans. P. E. Charvet (Cambridge: University of Cambridge Press, 1972). ; 2. B. Buchloh; see his “From Faktura to Factography,” October 30 (1984, Autumn): 102-106. ; 3. W. Benjamin, The Arcades Project, trans. H. Eiland and K. McLaughlin (Cambridge, MA–London: Belknap Press). ; 4. S. Cavell, The Claim of Reason: Wittgenstein, Skepticism, Morality, and Tragedy, (New York–Oxford: Oxford University Press, 1999). ; 5. S. Cavell, “A Matter of Meaning It,” in Must We Mean What We Say? (Cambridge: Cambridge University Press, 1976). ; 6. S. Cavell, The World Viewed. Reflections on the Ontology of Film, (Cambridge, MA–London, 1979). ; 7. T. J. Clark, Farewell to an Idea: Episodes from a History of Modernism (New Haven–London: Yale University Press, 1999). ; 8. T. J. Clark, Image of the People. Gustave Courbet and the 1848 Revolution (Berkeley–Los Angeles: University of California Press, 1999). ; 9. G. Courbet, Exhibition and Sale of Forty Paintings and Four Drawings by Gustave Courbet (“The Realist Manifesto”), Paris 1855, quoted at http://www.musee-orsay.fr/en/collections/courbet-dossier/courbet-speaks.html, accessed August 30, 2015. ; 10. J. Crary, Suspensions of Perception: Attention, Spectacle, and Modern Culture (Cambridge, MA: MIT Press, 2001). ; 11. J. Crary, Techniques of the Observer. On Vision and Modernity in the 19th Century (Cambridge, MA–London: MIT Press, 1990). ; 12. Critical Realism in Contemporary Art. Around Allan Sekula’s Photography, ed. H. van Gelder and J. Baetens (Leuven: Leuven University Press, 2006). ; 13. M. Fried, Courbet’s Realism (Chicago–London: University of Chicago Press, 1992). ; 14. M. Fried, Four Honest Outlaws: Sala, Ray, Marioni, Gordon (New Haven: Yale University Press, 2011). ; 16. M. Fried, Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (New Haven–London: Yale University Press, 2002). ; 17. M. Fried, Realism. Writing, and Disfiguration. On Thomas Eakins and Stephen Crane (Chicago/London: University of Chicago Press, 1987). ; 18. M. Fried, “Thoughts on Caravaggio,” Critical Inquiry 24, (1997): 13-56. ; 19. C. Greenberg, Modernist Painting, in Greenberg, The Collected Essays and Criticim. Volume 4. Modernism With a Vengeance - 1957-1969, ed. J. O’Brian (University of Chicago Press, 1993). ; 20. S. Guilbaut, How New York Stole the Idea of Modern Art, trans. A. Goldhammer (Chicago: University of Chicago Press, 1985). ; 21. Gustave Flaubert – George Sand Correspondence (Paris: Flammarion, 1981). ; 22. I. Kurz, “Między szokiem a rozproszeniem. Przygody obserwatora w nowoczesnym świecie,” in Zawieszenia percepcji (afterword in the Polish edition of Suspensions of Perception; Warszawa: Wydawnictwo Uniwersytetu Warszawskiego, 2009). ; 23. D. LaCapra, Madame Bovary on Trial (Ithaca–London: Cornell University Press, 1982). ; 24. K. Marx, Early Writings, trans. R. Livingstone and G. Benton (London: Penguin Books, 1975). ; 25. K. Marx, Grundrisse: Foundations of the Critique of Political Economy, trans. M. Nicolaus (New York: Vintage Books, 1973). ; 26. Michael Fried in Conversation with Stephen Shore, in Stephen Shore (London: Phaidon, 2007). ; 27. K. Pijarski, (Po)nowoczesne losy obrazów. Sekula / Struth (Łódz: Wydawnictwo PWSFTviT, 2013). ; 28. J. Rancière, “From Politics to Aesthetics?,” Paragraph 28, 1 (2005): 13-25. ; 29. J. Rancière, “Notes on the Photographic Image,” Radical Philosophy 156 (2009): 8-15. ; 30. Ch. Rosen, H. Zerner, Romanticism and Realism: The Mythology of Nineteenth-Century Art (New York: Viking, 1984). ; 31. S. Wilson, “‘La Beauté Révolutionnaire’? Réalisme Socialiste and French Painting 1935-1954,” Oxford Art Journal 3 (2) (2008): 61-69.


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oai:rcin.org.pl:62217 ; oai:rcin.org.pl:62217 ; 0867-0633 ; 10.18318/td.2015.en.2.10


IBL PAN, call no. P.I.2524 ; click here to follow the link



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