1 1
2 1 3 4 1955 3 2 1979 3 1992 1511-1517 4 1986 8 2 11 5 5 1915-1936 2456 6 1989 5-7 1995 29-47 7 No.81992 9 57-98 8 1993 6 469-610 2
3 9 No.71989 3 55-73 10 12 1989 11 V 1992 12 No.111993 27-35 3
4 13 Keith Jenkins Re-thing History 199687-88 14 1996 23 4
5 15 8-9 16 87 17 Michel Foucalt 98-99 18 68-69 19 20 65 21 135-136 5
6 6
7 ambivalence Homi Bhabha colonial discourse mimic mockery mimicry 22 Bhabha replicas mimicry mimic Bhabha 22 Bill Ashcroft, Gareth Griffiths and Helen Tiffin, Key Concepts in Post-colonial Studies(London: Routledge, 1998),pp.12-14. 23 Homi k. Bhabha, Of Mimicry and Man, The Location of Culture(London: Routledge, 1994), p.90. 7
8 modernity modern modernus 1500 24 pre-modern colonial discourse social institutions ratioanilty civilized behaviour imperialism colonialism Michael Doyle 24 Jürgen Habermas, Modernity versus postmodernity, New German Critique, 22, 1981, p.9. 8
9 25 25 Edward W. Said 2000 41-42 Culture and Imperialism(New York: Alfred A. Knopf, 1993), p.9. 9
10 1871-1945 4 20 26 26 12 1989 10
11 27 1992 34-35 28 1747-1818 1794 29 1920 6 1993 24-25 30 Westernization 11
12 12 1977 148 1991 31 19 20 ( 1994) 16-35 32 1920 1-7
13 13 33 I( 1988) 11-32 ( 1987) 911 34 I 105-127 35 131-146
14 37 36 244-257 37 1990 304-305 38 1920 24-25 39 1991 155-156 14
15 40 1728-79 1752 41 1749-80 1773 1774 42 143-144 43 I 207 15
16 46 (1811) 44 207-209 (Jaques Lacan) 45 57-59 46 223-237 47 64 16
17 48 49 48 59-70 49 68-69 50 27 1971 158-165 51 244-245 17
18 52 Antonio Fontanesi (Barbizon School 1878 Fontanesi 53 Gustave Courbet,1819-77 54 160 55 3 ( 1993) 5 56 ( 1990) 5 18
19 ambivalence appropriation hybridity mimicry Fenollosa 57 I 241-252 58 Fenollosa ( 1978) 59 1853 7 8 ( ) 19
20 ()( 1990) 198-231 Fenollosa 189-224 60 1920 215 61 50-53 62 189-224 63 I 255-276 20
21 890-1898 68 64 15 1977 52 65 66 Fenollosa 67 215-216 68 Antonio Fontanesi1818-1882 14 19 Fontanesi 1850-1865 21
22 1855 1865 1876 1 211-218 69 246-259 70 71 22
23 23 72 1 260-271 73 74 77-115 1983 121-141 75
24 76 3 31 77 1920 61 78 7 79 111 80 1920 62 81 252-254 82 24
25 83 1906 24 1920 78 84 85 1902 5 3 123-128 25
26 86 379-380 87 2 ( 1977) 1-13 88 1920 81 89 82 26
27 90 2 ( 1993) 16-28 91 I 5-9 253-276 92 (1833-1905) 27
28 28 ü 202-227 93 94 95 ( 1981) 11-32 96 ( )
29 29 2 156-169 I 240-276 97 98 214-224 99
30 100 101 71 102 ( ) ( ( ) 1920 91-93 2 80-90 30
31 103 ( 1971) 170-177 2 278-288 104 1937 288 105 278-288 31
32 32
33 106 107 1896 108 106 3 1993 16 107 108 1882-1956 No.3081930 1989 75-76 33
34 109 1870-1911 110 1893 1901 34 111 112 1862-1922 114 109 1983 8 5-10 110 3 129-144 111 1990 287 112 289 143 113 139-140 1901 114 142 289 34
35 115 116 117 1905 38 7 1874-1954 1863-1942 1882-1958 118 1911 44 10 1906 119 1911 1913 120 1915 4 36 1903 37 1882-1956 38 39 40 115 1923 2 116 292 117 118 1906 119 293 120 294 35
36 42 121 122 123 27 1894 1863 124 125 126 121 78-79 122 281 123 1907 124 1990 155-254 125 sublime 177 126 181 36
37 127 40 1907 Wordsworth 37 128 129 Mitchell pastoral (tailor-made) 130 127 182 128 283-286 129 253-254 130W. J. T. Mitchell, Imperial Landscape in his(ed.) Landscape and PowerThe University of Chicago 37
38 Press, 1994, p21 38
39 4 1871 131 21 1888 1852-1934 William Benjamin Mason 1852-1923 24 1891 132 133 25 1892 34 1901 11 4 1852-1934 1864-1943 1865-1929 41 1908 1912 134 1913 135 131 1992 8-17 1988 55-73 2-101925 10 103 132 133 1909 9 134 1913 4 6 1934 135 12 1989 39
40 1. 2. 3. 136 1912 137 1852-1923 138 136 3-161904 4 1914 1914 1932 1936 137 1912 138 24 1891 8 40
41 22 139 140 141 142 143 38 1905 144 145 30 1897 Alfred East 1849-1913 146 East 22 1889 139 140 141 2324 33 142 No.761922 1 73-76 143 144 1852-1934 1868 1870 1881 14 209 5-11919 1 40-43 145 5-11919 1 43-46 146Alfred East 1907 1914 1913 Studio 41
42 147 East 1912 1914 148 38 1905 149 150 33 1900 5 1916 151 1915 3 6-11 147 4 1892 3 1989 74 148 149 1915 7 43-44 150 33 1900 1904 1905 1914 3 21-22 No.21912 5 3-5 151 1921 6 94-99 42
43 152 153 154 155 156 157 158 152 1934 8 64-68 153 154 1934 1 74-78 155 156 1926 4 166-173 157 1916 10 86-87 158 43
44 159 160 162 163 164 165 159 160 161 1929 7 50-55 2001 138 162 163 164 1923 6 161-164 165 44
45 168 169 170 1915 171 172 173 174 175 176 177 178 179 166 1907 6 7-8 167 1918 1 6-8 168 1914 11 22 169 1915 4 21-22 170 1915 2 23 171 1916 1 27-29 172 86-87 173 1914 2 1914 2 6 174 1916 1 14 3 19 1916 12 13 29-30 175 1916 1 7 1915 1 5 176 1916 2 7 177 1914 2 12-13 178 1916 2 7 46 179 41 45
46 180 181 1909 1879-1936 182 1911 1873-1912 183 184 185 33 1900 186 180 1 1913 2 2 1914 1 28 1914 4 13 44 181 1913-1916 29 182 1909 5 30 183 1911 11 26 184 1908 5 3 1908 4 23 1916 185 1911 1 11 12 1912 1 30 1913 1 5 186 256 46
47 187 47
48 188 1982 196 189 19 1802 1818 1829 Claude Lorraine1600-82 17 Gainsborough Thomas Gainsborough1728-88 181-82325-326 190 No.3341930 5 70-71 191 Sam Hunter & John Jacobus, Modern Art: Painting/ Sculpture/ ArchitectureNew York: Harry N. Abrams, 1985 Clement Greenberg Modernist Painting in Francis Frascina & Charles Harrison with the assistance of Deirdre Paul ed. Modern Art and Modernism: A Critical AnthologyNew York: Harper & Row, Publishers, 1982 pp. 5-10. 192 48
49 193 9 1876 15 No.3451931 4 77 194 195 No.3281929 10 77-84 49
50 196 143-152 No.3471931 6 124 197 198 199 200 1-6 201 78 202 203 50
51 204 1414 677 205 58-63 206 79 207 80 208 22 80 209 81 210 1797 Jacques Louis David1748-1825 417-419 211 1832 Byron 231-233 212 1789 1799 1802 51
52 27 1796 1819 857-860 213 1850 Rousseau The Sower1850-51 568-569 214 81-82 215 Dejeuner sur L herbe1863 24 520-522 216 82 217 1860 1870 581-84 218 83-84 219 52
53 53 220 221
54 222 1941 12 10 4 223 1912 224 225 1914 226 2 1936 54
55 227 2 1-2 228 4 229 No.341908 3 5-6 230 55
56 231 232 1819 1. John Ruskin1819-1900 2. Edmund Burke sublime smoothness 3. William Gilpin roughness 4. Ralph Cohen ed., Studies in Eighteenth-Century British Art and Aesthetics, university of California Press, 1985 Jushua C. Taylor ed., Nineteenth-Century Theories of Art, University of California Press, 1987 233 1928 1 69 234 1930 173-180 235 : 1932 56
57 57 236 237 No.332 3343363401932 35711 73-8465-7173-80103-111
58 58
59 59
60 2. 5. 60
61 61
62 62
63 259 Mary Louise Pratt Imperial Eyes: Travel Writing and Transculturation, New York: Routledge, 1992. 63
64 262 260 137 261 Homi K. Bhabha, Articulating the Archaic: Notes on Colonial Nonsense. Eds. Peter and Hilga Geyer-Tyan. Literary Theory Today. (Ithaca: Cormell Up, 1990), pp.203-218. 315(1998 8 )82-96 262 1926 3 34-35 64
65 263 263 264 265 266 267 65
66 268 1927 12 87-92 1929 1 1929 2 82-85 93-97 1935 6 52-55 1936 4 57-58 1918 7 27-29 64-68 269 66
67 270 271 62 272 273 1928 4 1 1991 149-175 67
68 274 1990 1990 445-449 68
69 69
70 275 East 1889 275 1932 8 546 70
71 1892 1907 1905 276 1988 Fontanesi1818-1882 277 Fontanesi Fontanesi Fontanesi Fontanesi 278 276 277 Antonio Fontanesi1818-1882 14 19 Fontanesi 1850-1865 1855 1865 1876 211-218 278 71
72 Alfred East East East East East East East 1889 279 East East 279 1911 1 14-16 72
73 280 1501 18 1930 East ( 280 1907 6 7-8 1908 2 3-4 1918 1 7-8 1926 9 71-74 73
74 281 282 283 281 282 283 1924 53 1907 1924 1916 74
75 75 1905 32.347.5 284 285 284 138 285
76 1910 48.028.5 286 19071916 37.044.0 286 No.651910 8 76
77 77 19181921 25.028.6
78 287 288 1926 23.030.5 289 287 288 289 1 6 1996 30 78
79 79 46.732.3 192632 23.738.7 290 290
80 19261932 33.125.0 1906-1915 1917 8 9 19-2123-26 1989 97-105 40 1928 1928 7 57-62 80
81 81 291 1930 38.045.0 292 293 ISHIKAWAKIN 291 292 293 19955
82 294 295 296 297 1930 48.058.0 298 294 295 296 no12519157. 297 298 1994 4 82
83 83 1940 52.063.0 299 1943 33.224.2 299 19955
84 84
85 301 imperialism 300 W.J.T. Mitchell, Imperial Landscape, in W.J.T. Mitchell ed., Landscape and power, The University of Chicago Press,1994.p.5. 301 Sunday painting The Oxford Companion to Art 85
86 Mitchell 302 Mitchell illuminate 303 Mitchell 304 302 Mitchell 1. Landscape is not a genre of art but a medium. 2. Landscape is a medium of exchange between the human and the natural, the self and the other. As such, It is like money: good for nothing in itself, but expressive of a potentially limitless reserve of value. 3. Like money, landscape is a social hieroglyph that conceals the actual basis of its value. It does so by naturalizing its conventions and conventionalizing its nature. 4. Landscape is a natural scene mediated by culture. It is both a represented and presented space, both a signifier and a signified, both a frame and what a frame contains, both a real place and its simulacrum, both a package and the commodity inside the package. 5. Landscape is a medium found in all cultures. 6. Landscape is a particular historical formation associated with European imperialism. 7. Theses 5 and 6 do not contradict one another. 8. Landscape is an exhausted medium, no longer viable as a mode of artistic expression. Like life, landscape is boring; we must not say so. 9. The Landscape referred to in Thesis 8 is the same as that of Thesis 6., Imperial Landscape, p.5. 303 Walter Benjamin, Illuminations(New York: Schocken Books, 1968). 304 landscape and Power Mitchell 86
87 Ernst H. Gombrich Kenneth Clark spiritual activity 305 Mitchell (Francesco Petrarch, 1304-1374) (fears the landscape as a secular, sensuous temptation) (John Milton, 1608-1674) (as the voyeuristic object for a gaze that wavers between aesthetic delight and malicious intent) 306 Mitchell Mitchell Mitchell (John Ruskin, 1819-1900) (Edmund Burke) sublime smoothness (William Gilpin) (picturesque) roughness John Constable, 1776-1837 307 (formulaic) (conventional) (stylized) (re-present) (scopophilia) voyeurism (to see without being seen) code 308 Jay Appleton 309 (formulaic) (conventional) (stylized) (imperial eyes) 310 prospect 305 Kenneth Clark, Landscape into Art (1st published 1949; repr., Boston, MA: Beacon Press, 1963),viii, Mitchell, Ibid., pp.7-8. 306 Mitchell, Ibid., p12. 307 Ralph Cohen ed., Studies in Eighteenth-Century British Art and Aesthetics, University of California Press, 1985; Jushua C. Taylor ed., Nineteenth-Century Theories of Art, University of California Press, 1987. 308 Mitchell, Landscape and Power, p.16. 309 Jay Appleton, The Experience of Landscape (London, 1975), Mitchell, Ibid., p.16. 310 Mary Louise Pratt Imperial Eyes: Travel Writing and Transculturation, New York: Routledge, 1992. 87
88 (William Blake, 1757-1827) a green & pleasant land an emblem of national and imperial identity (a state of nature) 311 Mitchell the gaze (Discipline and Punish) The Panopticon is a machine for dissociating the see/being seen dyad: in the peripheric ring, one is totally seen, without ever seeing; in the central tower, one sees everything without ever being seen. It is an important mechanism, for it automatizes and disindividualizes power. Power has its principle not so much in a person as in a certain concerted distribution of bodies, surfaces, lights, gazes; in an arrangement whose internal mechanisms produce the relation in which individuals are caught up.a real subjection is born mechanically form a fictitious relatio n. 312 Mary Louise Pratt Both are authorized by the global project of natural history: one produces land as landscape and territory, scanning for prospects; the other produces the indigenous inhabitants as bodyscapes, scanned also for prospects. 313 311 Mitchell, Landscape and Power, p.16. 312 Michel Foucault, Discipline and Punish: The Birth of the Prison, translated by Alan Sheridan, New York: Pantheon Books, 1977, pp.201-202. 313 Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation, p.64. 88
89 Mary Louise Pratt James Turner landscape description as composite to express the character of a region, or a general idea of the good land. 314 Pratt The initial ethnographic gesture is the one that homogenizes the people to be subjected, that is, produced as subjects, into a collective they, which distills down even further into an iconic he (=the standard adult male specimen ) 315 Mithell 314 45-48 315 63-64 89
90 90
91 316 1994 317 1996 9 1314 1907 1907 2 26 14 1939 1995 40 19072 26 5 279 280 318 13 91
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93 19071027 19356 1907117 191689 88 1924130 1317 19324 9 6 4 No.111993 29 No.3619085 19124192223 No.8919127 6-11 No.36 1909 3 No.48 19085 3 423 326 1909 1910 10 1914 6 11 327 1918 1993 6 494-496 93
94 1902 330 1910 328 1913 2 8 329 330 586 1-5 94
95 6-9 19-22 No.2511923 4 62-65 No.24819231 1923 4 1921104 19245 2 20 21 24 28 29 69 95
96 19241 125 1924 1931. 341 96
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98 1921 147-148 153-154 157-162 19241307 348 1929 62 98
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104 359 1929 1929 360 1924 1929 361 1925 362 1927 5 363 364 365 359 365 113-123 360 1924 1 30 7 361 362 1925 9 26 3 363 1927 5 18 3 364 36 1903 1929 4 66-70 365 1928 9 12 8 104
105 366 1927-19361932 367 1927 11 20 48 132 16 31 3 4 3 3 1 6 368 369 370 371 366 1926 9 1 12-13 367 1932 2 2731 1935 126-127 368 1927 11 22 5 369 1975 120 1975 370 1929 5 1922 365 118 371 1926 1938 6-11 124-127 1932 1932 6 8 1933 1933 3 2 23 1936 3 105
106 1929-1933 1929 8 372 1933 373 374 375 376 1905-1931 372 1927 9 1-3 8 20 69 373 1929 8 31 9 9 374 19954 138-141 375 17 376 1928 9 12 3 106
107 (1925 2 1933 1928 1928 377 1927 10 28 11 6 378 379 377 1929 9 5 6 378 1927 10 18 379 1907 1922 107
108 1928 1932 382 383 380 1932 11 25-29 381 3 168-169 382 383 108
109 384 384 1929 7 1 365 1929 6 12 2 7 12 2 109
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111 386 387 388 389 390 385 1935 2 3 2 99 386 1992 370-371 387 360 388 389 1985 12 390 111
112 391 392 (art of government) 393 394 27 1894 395 396 397 391 no.42(2001 6 ) 119-182 392 128-129 393 Michel Foucault, Governmentality, in The Essential Works 3, p.201-222. 394 150 395 1995 396 181 397 182 112
113 398 399 (local color) 398 1994 253-254 399 W. J. T. Mitchell Imperial Landscape Landscape and Power, pp.5-34 113
114 Mitchell Pratt Subject and Power 401 This form of power applies itself to immediate everyday life which categorizes the individual, marks him by his own individuality, attaches him to his own identity, imposes a law of truth on him which he must recognize and which others have to recognize in him. It is a form of power which makes individuals subjects. There are two meanings of the word subject : subject to someone else by control and dependence; and tied to his own identity by a conscience or self-knowledge. Both meanings suggest a form of power which subjugates and makes subject to. 402 Perhaps the equivocal nature of the term conduct is one of the best aids for coming to terms 400 1927 10 558-560 401 Michel Foucault, The Subject and Power, in The Essential Works 3,pp326-348. also in Brian Wallis ed. Art After Modernism: Rethinking Representation, New York: The New Museum of Contemporary Art, 1984, pp.417-432.. 402 Ibid.,p.420. 114
115 with the specificity of power relations. To conduct is at the same time to lead others (according to mechanisms of coercion that are, to varying degrees, strict) and a way of behaving within a more or less open field of possibilities. The exercise of power is a conduct of conducts and a management of possibilities. 403 Maybe the target nowadays is not to discover what we are but to refuse what we are. 404 405 406 Mitchell Like imperialism itself, landscape is an object of nostalgia in a postcolonial and postmodern era, reflecting a time when metropolitan cultures could imagine their destiny in an unbounded prospect of endless appropriation and conquest. state nationalism Benedict Anderson limited 407 Taiwan-ness 403 Michel Foucault, The Subject and Power, p.427. 404Michel Foucault, The Subject and Power, p.424. 405 (1993 6 ) 469-610 406 1992 407 Benedict Anderson, Imagined 115
116 408 409 411 collective consciousness Communities: Reflections on the Origin and Spread of Nationalism, 19911999 10 408 (1929 7 ) 134-138 409 (1926 3 ) 32-35 410 (1932 7 ) 49-53 411 2000 9 179-206 2000 5 43-74 116
117 117
118 Mimicry reveals something in so far as it is distinct from what might be called an itself that is behind. The effect of mimicry is camouflage, in the strictly technical sense. It is not a question of harmonizing with the background but, against a mottled background, of becoming mottled-exactly like the technique of camouflage practised in human warfare. 412 Jacques Lacan neither the one nor the other 412 Jacques Lacan, The Four Fundamental Concepts of Psycho-Analysis(W. W. Norton & Company,1973), Jacques-Alain Miller ed., Alan Sheridan Trans., p.99. 413 O O 10 414 O 1928 415 416 Homi K. Bhabha, The Location of Culture(Routledge, 1994), p.25. 417 118
119 18941943 420 421 422 1926 1926 1925 2 423 1929 1920 418 Lacan 419 420 421 1908 4 1910 10 1913 422 423 119
120 424 1914 1926 1927 1929 1928 1929 4 1932 1939 1992 415-421 1946 1951 1954 1958 1979 425 1995 138-141 426 1932 4 9 10 120
121 121 427 1930 428 14 1993
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123 1929 7 434 1930 1920 1926 1929 1924 13 432 433 12 1993 434 1929 7 1 365 120 123
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126 3 4 1955 3 16-64 1996 12-13 1996 1996 no.42(2001 6 ) 119-182 1945-1947 1996 315(1998 8 ) 82-96 O O 1996 14 1993 1996 2000 5 43-74 1996 12 1993 1989 5-7 1995 29-47 1990 1990 445-449 1992 1511-1517 1993 6 469-610 1996 17-28 2000 9 179-206 126
127 3 1993 5-16 1992 18-25 1994 253-254 1939 1995 1927 10 2001 558-560 3-161904 4 1907 6 7-8 1908 2 3-4 No.341908 3 5-6 1911 1 14-16 No.21912 5 3-5 1914 3 21-22 1914 11 22 1915 2 23 1915 3 6-11 1915 4 21-22 1915 7 43-44 1916 10 86-87 1917 8 9 19-2123-26 1918 1 6-8 5-11919 1 43-46 1918 7 27-29 1921 6 94-99 No.761922 1 73-76 1923 6 161-164 1925 9 26 3 1926 3 34-35 1926 4 166-173 1926 9 71-74 1927 5 18 3 127
128 1927 12 87-92 1928 1 69 1928 9 12 8 1928 7 57-62 1929 1 1929 2 82-85 93-97 1929 4 66-70 1929 9 5 6 1929 7 50-55 2001 138 1930 173-180 No.3321930 3 73-84 No.3341930 5 65-71 No.3361930 7 73-80 No.3401930 11 103-111 No.3451931 4 76-82 No.3471931 6 116-124 1932 8 546 1934 1 74-78 1934 8 64-68 1935 6 52-55 1936 4 57-58 1941 12 10 4 No.7(1989 3 ) 55-73 No.11(1993 ) 27-35 No.24819231 5-11919 1 40-43 27 128
129 1971 No.2511923 4 62-65 1928 9 12 3 365 1996 1932 11 25-29 1994 1935 2 3 2 2001 Bhabha, Homi K. Articulating the Archaic: Notes on Colonial Nonsense. Eds. Peter and Hilga Geyer-Tyan. Literary Theory Today. (Ithaca: Cormell Up, 1990), pp.203-218. Foucault, Michel, The Subject and Power, in The Essential Works 3,pp326-348. also in Brian Wallis ed. Art After Modernism: Rethinking Representation, New York: The New Museum of Contemporary Art, 1984, pp.417-432. Greenberg, Clement, Modernist Painting, in Francis Frascina & Charles Harrison with the assistance of Deirdre Paul ed. Modern Art and Modernism: A Critical Anthology, New York: Harper & Row, Publishers, 1982pp. 5-10. Habermas, Jürgen, Modernity versus Postmodernity, New German Critique, 22, 1981, p.9. 1992 1996 1991 1992 1991 1975 1977 1994 1989 1998 2001 1979 1993 1979 129
130 1985 1990 Keith Jenkins Re-thinking History1996 Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism, 19911999 1924 1931 1971 1989 1978 1913 3 1909 1912 1914 8 1921 1932 1932 ( 2) 1932 2 1936 3 1936 1987 1990 1991 1983 12 1989 1923 1894 1995 130
131 I 1988 1, 2 1977 3 1993 1994 1990 1920 1993 1981 1990 1992 1977 1935 Ashcroft, B., Griffiths, G. and Tiffin, H., Key Concepts in Post-colonial Studies, London: Routledge, 1998. Benjamin, Walter, Illuminations, New York: Schocken Books, 1968. Bhabha, Homi K., The Location of Culture, London: Routledge, 1994. Clark, Kenneth, Landscape into Art, 1st published 1949; repr., Boston, MA: Beacon Press, 1963. Cohen, Ralph, ed., Studies in Eighteenth-Century British Art and Aesthetics, university of California Press, 1985. Foucault, Michel, Discipline and Punish: The Birth of the Prison, translated by Alan Sheridan, New York: Pantheon Books, 1977. Hunter, Sam & Jacobus, John,Modern Art: Painting/ Sculpture/ Architecture,New York: Harry N. Abrams, 1985. Lacan, Jacques, The Four Fundamental Concepts of Psycho-Analysis, Jacques-Alain Miller ed., Alan Sheridan Trans.W. W. Norton & Company,1973,. Mitchell, W. J. T.,(ed.), Landscape and Power, The University of Chicago Press, 1994. Pratt, Mary Louise, Imperial Eyes: Travel Writing and Transculturation, New York: Routledge, 1992. Taylor, Jushua C., ed., Nineteenth-Century Theories of Art, University of California Press, 1987. Said, Eward W., Culture and Imperialism, New York: Alfred A. Knopf, 1993. 131
132 132