Vision and Difference

Critical Looks: An Analysis of Body Dysmorphic Disorder

“…Current representations of the body deny physical diversity. Writing of the negative workings of difference, art historian Griselda Pollock () observed that: ‘The peculiarities of anatomical structure only matter within a cultural order which makes variety signify difference “a” and “not a”.’…”

“…Current representations of the body deny physical diversity. Writing of the negative workings of difference, art historian Griselda Pollock (1988) observed that: 'The peculiarities of anatomical structure only matter within a cultural order which makes variety signify difference "a" and "not a". ' We are surrounded by airbrushed and computer-enhanced images as the technical capacity to visually homogenize and symmetricize the body grows.…”

Just Do It! Corpos e imaxes de mulleres na nova división do traballo

“…Estoume referindo a non aplicar a simple fórmula da adición, senón á necesidade de desenvolver unha auténtica deconstrución da historia económica, os seus marcos de elaboración e os seus procesos, dunha forma similar á que Griselda Pollock e outras estudosas da representación propugnaron desde os anos 80 para a historia da arte tras un período, durante os anos 70, de historiografía feminista meramente "paralela" (Pollock 1994):…”

Olivetti and the Missing Third: Fashion, Working Women and Images of the Mechanical-flâneusein the 1920s and 1930s

“…As already stated, the initial discussion of flânerie in this paper purposefully relies on a definition of its performance outlined by Fournel ([1858Fournel ([ ] 1993, while recognizing that visual art and fashion history (Pollock [1988] 2008; Groom 2013) tends to focus on an alternative definition of flânerie based on the writings by Fournel's contemporary Charles Baudelaire (1821Baudelaire ( -1867. Baudelaire was a poet and critic prominent in mid-nineteenth century Parisian culture.…”

“…But Baudelaire ([1846Baudelaire ([ ] 1984Baudelaire ([ , 1859Baudelaire ([ -1863 and Benjamin ([1927Benjamin ([ -1940 2003) did not in any direct manner address the identity of the flâneuse. Nevertheless, Baudelaire and Benjamin's examination of themes in Baudelaire's work have become touchstones to the critical examination of flânerie, the flâneur and whether or not the nineteenth century flâneuse is identifiable (Wolff 1985;Buck-Morss 1986;Pollock [1988Pollock [ ] 2008Friedberg 1991;Tester 1994;Wilson 1992;Gleber 1999;Moulton 2001;Shaya 2004).…”