Abstract

This review is necessarily fragmentary, considering the tremendous publishing output associated with the label ``visual studies,'' the continuing re-definition of this field, and the fact that I am writing from a doubly external vantage point, since my own research is in the history of images and since I am writing in the French context, where visual studies remains a shadowy presence at best. I am indebted to James Elkins's introductory remarks to his recently edited volume, Theorizing Visual ...

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