Images: Critical and Primary Sources

Volume 3: Image Theory

Edited by Sunil Manghani Images: Critical and Primary Sources is a major multi-volume reference work that brings together seminal writings on the image. Taking an interdisciplinary approach, the essays range across the domains of philosophy, history, art, aesthetics, literature, science, anthropology, critical theory and cultural studies. The essays reveal a wide set of perspectives, problematics and approaches, helping to frame a rich, encompassing view of what we can broadly term ‘image studies’. The four volumes are arranged thematically, each separately introduced and with the essays structured into specific sections for easy reference. Vol.1: Understanding Images establishes conceptual, historical, ideological and philosophical

framings for understanding and defining the image. Vol. 2: The Pictorial Turn focuses on the most enduring and constitutive question of the image: its relationship to, with and against text and textuality. Vol. 3: Image Theory offers representative materials covering key theoretical approaches for analyzing, interpreting and critiquing the image. Vol. 4: Image Cultures examines a wide range of social and cultural contexts of the image, which covers aspects of visual evidence, image and memory, visual methodologies, scientific imaging and the practical engagement of image-makers. Sunil Manghani is Reader in Critical and Cultural Theory at York St John University.

Volume 1: Understanding Images

Part 2: Defining Images 7. Classical Greek Origins of Western Aesthetic Theory, John T. Kirby (Source: Kirby, J.T. (1996) ‘Classical Greek Origins of Western Aesthetic Theory’ in B.Allert (ed.) Languages of Visuality: Crossings between Science, Art, Politics and Literature. Wayne State University Press, pp.29-45.) 8. The Philosophical Imaginary, Michèle Le Doeuff (Source: Le Doeuff, M. (1989) The Philosophical Imaginary, tr. Colin Gordon. London: Athlone Press, pp.1-20) 9. The Simile of the Cave, Plato (Source: Plato (1955) ‘Part Seven [Book Seven]’ in The Republic, tr. H.D.P. Lee. Penguin, pp.256-64)

10. The Origins of Imitation, Aristotle (Source: Aristole (1965) ‘The Origins and Development of Poetry’, from On the Art of Poetry, in Classical Literary Criticism, tr. T.S. Dorsch. Penguin, pp.35) 11. About the Things We May Doubt, René Descartes (Source: Descartes, R. (2001) Discourse on Method and the Meditations, trans. F.E. Sutcliffe. London: Penguin Classics, pp.95-101) 12. Optics, René Descartes (Source: Descartes, R. (2001) Discourse on Method, Optics, Geometry, and Meteorology, tr. P.J. Olscamp. Revised Edition. Hackett Publishing Company, pp.91-101) 13. Of Ideas, John Locke (Source: Locke, J. (1993) ‘Of Ideas in General and their Original’, in An Essay Concerning Human Understanding, Book II, Chapter 1. Everyman, pp.45-57) 14. Representation and Imagination, Immanuel Kant (Source: Kant, I. (1929) ‘Transcendental Deduction’ and ‘Schematism’ in The Critique of Pure Reason, tr. Norman Kemp Smith. Macmillan Press, pp.132-3, 142-3, 181-3) 15. Images, Bodies and Consciousness, Henri Bergson (Source: Bergson, H. (1991) ‘Of the Selection of Images for Conscious Presentation. What Our Body Means and Does’ in Matter and Memory, tr. N.M.Paul and W.S.Palmer. Zone Books, pp. 17-22) 16. Modernizing Vision, Jonathan Crary (Source: Crary, J. (1988) ‘Modernizing Vision’ in H.Foster (ed.) Vision and Visuality, Bay Press, pp.29-44)

18. 19.

20. 21.

22.

23.

24.

(ed.) Iconoclash: Beyond the Image Wars in Science, Religion and Art. MIT Press, pp.14-37) Idolatry and Iconoclasm, David Freedberg (Source: Freedberg, D. (1989) The Power of Images. University of Chicago Press, pp.378-394, 421-428) Image and Icon, Marie-José Mondzain (Source: Mondzain, M-J. (2005) from Image, Icon, Economy: The Byzantine Origins of the Contemporary Imaginary. Stanford University Press, pp.69-82) Scopic Regimes of Modernity, Martin Jay (Source: Jay, M. (1988) ‘Scopic Regimes of Modernity’ in H.Foster (ed.) Vision and Visuality. Bay Press, pp.3-23) The Precession of Simulacra, Jean Baudrillard (Source: Baudrillard, J. (1994) ‘The Precession of Simulacra’ in Simulacra and Simulation, tr. S.F.Glaser. University of Michigan Press, pp.1-7) Simulacrum: An Aesthetization or An-Aesthetization, Huimin Jin (Source: Jin, Huimin 2008. ‘Simulacrum: An Aesthetization or An-Aesthetization’. Theory, Culture and Society, 25:6, pp.141-149) Ideology, Imagology and Critical Thought, Jon Simons (Source: Simons, J. (2000) ‘Ideology, Imagology, and Critical Thought: the Improverishment of Politics’, Journal of Political Ideologies, Vol. 5, no.1, pp.81-103) Making Metapictures Political, Sunil Manghani (Source: Manghani, S. (2009) ‘Making Metapictures Political: Public Screenings of the fall of the Berlin Wall’, Northern Lights, 7, pp.113-131) What do Pictures Really Want?, W.J.T. Mitchell (Source: Mitchell, W. J. T. 1996. ‘What do Pictures Really Want?’. October 77, pp.71– 82)

Part 3: Image and Ideology 17. Iconoclash, Bruno Latour (Source: Latour, B (2002) ‘What is Iconoclash Or is There a World Beyond the Image Wars?’ in B.Latour and P.Weibel

25.

Ground of the Image, trans. by Jeff Fort. Fordham University Press, pp.1-14) 12. What Makes an Image Singular Plural?, Hagi Kenaan (Source: Kenaan, H. (2010) ‘What makes an Image Singular Plural? Questions to Jean-Luc Nancy’ Journal of Visual Culture, 9:1, pp.63-76)

21. The Convention of Captioning and W.G. Sebald, Elizabeth Chaplin (Source: Chaplin, E. (2006) ‘The Convention of Captioning: W.G. Sebald and the Release of the Captive Image’ Visual Studies, 21:1, pp.42-53)

Volume 2: The Pictorial Turn Editorial Introduction Part 1: Image Philosophy 1. Picture Theory, Ludwig Wittgenstein (Source: Wittgenstein, L. (1922) Tractatus LogicoPhilosophicus, 1-4.06. Routledge, pp.31-71) 2. ‘Eine Vorstellung ist kein Bild’, Alan R. White (Source: White, A.R. (1988) ‘Discussion: “Eine Vorstellung ist kein Bild”, Philosophical Investigations, Vol. 11, no.2, pp.151-155) 3. Thinking as Picturing, Judith Genova (Source: Genova, J. (1995) Wittgenstein: A Way of Seeing. Routledge, pp.64-83) 4. The Pictorial Turn, W.J.T. Mitchell (Source: Mitchell, W.J.T. (1992) ‘The Pictorial Turn’, Artforum, 30:7, March, pp.89-94) 5. Pictorial Versus Iconic Turn, Gottfried Boehm and W.J.T. Mitchell (Source: Boehm, G. and Mitchell, W.J.T. (2009) ‘Pictorial Versus Iconic Turn: Two Letters’. Culture, Theory and Critique, Vol. 50, no. 2-3, pp.103-121) 6. Do Pictures Really Want to Live?, Jacques Rancière (Source: Rancière, J. (2009) ‘Do Pictures Really Want to Live?’, Culture, Theory and Critique, Vol. 50, No. 2/3, pp.123-132) 7. Reality Remade, Nelson Goodman (Source: Goodman, N. (1968) The Languages of Art. Oxford University Press, pp.3-43) 8. The Information Available in Pictures, James J. Gibson (Source: Gibson, J.J. (1971) ‘The Information Available in Pictures’ Leonardo, 4:1, pp. 27-35) 9. New Perspective, Nelson Goodman (Source: Goodman, N. (1971) ‘On J. J. Gibson’s New Perspective’ Leonardo, 4:4, pp.359-360) 10. Misreading with Nelson Goodman, James Elkins (Source: Elkins, J. (1993) ‘What Really Happens in Pictures? Misreading with Nelson Goodman’ Word and Image, 9:4, pp.349-362) 11. The Image – The Distinct, Jean-Luc Nancy (Source: Nancy, J-L. (2005) ‘The Image – the Distinct’. The

Part 2: Beyond Semiotics 6. The Third Meaning, Roland Barthes (Source: Barthes, R. (1985) ‘The Third Meaning’, The Responsibility of Forms. Farrar, Straus & Giroux (Hill & Wang), pp. 41-62) 7. Semiotics and Art History, Mieke Bal and Norman Bryson (Source: Bal, M. and Bryson, N. (1991) ‘Semiotics and Art History’ Art Bulletin LXXIII:2, pp.174–208) 8. Nonsemiotic Elements in Pictures, James Elkins

(Source: Elkins, J. (1995) ‘Marks, Traces, Traits, Contours, Orli, and Splendores: Nonsemiotic Elements in Pictures’. Critical Inquiry 21:4, pp.822–60) Part 3: Psychoanalysis 9. The Gaze, Jacques Lacan (Source: Lacan, J. (1998) from The Four Fundamental Concepts of Psycho-Analysis, tr. A. Sheridan. Vintage, pp.82-103) 10. Woman as Image (Man as Bearer of the Look), Laura Mulvey (Source: Mulvey, L. (2009) from Visual and Other Pleasures. 2nd Edition. Palgrave Macmillan, pp.14-27) 11. Cindy Sherman’s Untitled Film Stills, Joan Copjec (Source: Copjec, J. (2002) from Imagine There’s No Woman: Ethics and Sublimation. MIT Press, pp.67, 73-80) 12. The Gaze in the Expanded Field, Norman Bryson (Source: Bryson, N. (1988) ‘The Gaze in the Expanded Field’, in H.Foster (ed.) Vision and Visuality. Bay Press, pp.87-108.) Part 4: Phenomenology 13. Thing and Work, Martin Heidegger (Source: Heidegger, M. (1993) from ‘The Origin of the Work of Art’ in Basic Writing: Revised and Expanded Edition. Routledge, pp.146-165) 14. Eye and Mind, Maurice Merleau-Ponty (Source: Merleau-Ponty, M. (1964) from The Primacy of Perception. Northwestern University Press, pp.162-9) 15. Image Description, Jean-Paul Sartre (Source: Sartre, J-P. (1995) The Psychology of the Imagination. London: Routledge, pp.1-16)

16. Imagination, Mikel Dufrenne (Source: Dufrenne, M. (1973) from ‘Representation and Imagination’ in The Phenomenology of Aesthetic Experience, tr. Edward S. Casey. Northwestern University Press, pp. 345-53) 17. Living (with) Technical Time, Mark B.N. Hansen (Source: Hansen, M.B.N. (2009) ‘Living (with) Technical Time: From Media Surrogacy to Distributed Cognition’. Theory, Culture and Society, Vol. 26, No.2-3, pp.294-315) Part 5: Between Mediums 18. On the Very Idea of a ‘Specific’ Medium, Diarmuid Costello (Source: Costello, D. (2008) ‘On the Very Idea of a “Specific” Medium: Michael Fried and Stanley Cavell on Painting and Photography as Arts’. Critical Inquiry 34:2, pp.274-312) 19. Visual and Audiovisual: From Image to Moving Image, Sean Cubitt (Source: Cubitt, S. (2002) ‘Visual and audiovisual: from image to moving image’ Journal of Visual Culture, 1:3, pp.359-368) 20. Leaving the Movie Theater, Roland Barthes (Source: Barthes, R. (1989) ‘Leaving the Movie Theater’ in The Rustle of Language. University of California Press, pp.345-349) 21. Site-seeing, Giuliana Bruno (Source: Bruno, G. (1997) ‘Site-seeing: Architecture and the Moving Image’ Wide Angle 19:4, 1997, pp. 8-24) 22. The Sequence-Image, Victor Burgin (Source: Burgin, V. (2004) The Remembered Film. Reaktion Books, pp.14-28) 23. Digital-Facial-Image: Affect as Medium, Mark Hansen (Source: Hansen, M.B.N. (2003) ‘Affect as Medium, or the ‘Digital-Facial-Image’, Journal of Visual Culture 2:2, pp.205-228)

Volume 4: Image Cultures

Series Preface Editorial Introduction Part 1: Image Studies 1. What is an Image?, W.J.T. Mitchell (Source: Mitchell, W.J.T. (1984) ‘What is an Image?’ New Literary History, 15:3, pp.503-37) 2. Image, Medium, Body, Hans Belting (Source: Belting, H. (2005). ‘Image, Medium, Body: A New Approach to Iconology,’ Critical Inquiry 31:2, pp.302-319) 3. The Domain of Images, James Elkins (Source: Elkins, J. (1995) ‘Art History and Images That Are Not Art’, Art Bulletin 77:4, pp.554-71) 4. Bildwissenschaft, Horst Bredekamp (Source: Bredekamp, H. (2003) ‘A Neglected Tradition? Art History as Bildwissenschaft,’ Critical Inquiry, 29:3, pp.418-428.) 5. Role of the Spectator, Jacques Aumont (Source: Aumont, J. (1997) The Image, trans. by Claire Pajackowsja. London: BFI, pp.53-67) 6. Images, Not Signs, Régis Debray (Source: Debray, R. (1996) Media Manifestos. Verso Books, pp.133-167)

Part 1: Art Theory 1. The End of Image Theory, Otto Pächt (Source: Pächt, O. 2000. ‘The End of the Image Theory’. In Christopher S. Wood (ed), The Vienna School Reader: Politics and Art Historical Method in the 1930s. New York: Zone Books, pp.181– 94) 2. The Arrested Image and the Moving Eye, E.H. Gombrich (Source: Gombrich, E.H. (1980) ‘Standards of Truth: The Arrested Image and the Moving Eye’ in W.J.T. Mitchell (ed.) The Language of Images, University of Chicago Press, pp.181-217) 3. Crossing Frontiers, Philippe-Alain Michaud (Source: Michaud, P-A. (2004) Aby Warburg and the Image in Motion. Cambridge: MIT Press, pp. 277-291) 4. Sculpture in the Expanded Field, Rosalind Krauss (Source: Krauss, R (1979) ‘Sculpture in the Expanded Field’, October, 8 (Spring), pp.30-44) 5. The Object of Post-Criticism, Gregory L. Ulmer (Source: Ulmer, G. L. 1990 (1983) ‘The Object of PostCriticism’. In Hal Foster (ed), Postmodern Culture. London: Pluto Press, pp.83–110)

Part 2: Text and Image 13. The Images of Pictures and Words, Rudolf Armheim (Source: Arnheim, R. (1986) ‘The Images of Pictures and Words’, Word and Image, 2:4, pp.306-310) 14. Divide and Narrate: the Icon-Symbol Tension in Seurat, Wendy Steiner (Source: Wendy, S. (1986) ‘Divide and Narrate: the IconSymbol Tension in Seurat’, Word and Image, 2:4, pp.342-347) 15. The Sign in Klee, Albert Cook (Source: Cook, A. (1986) ‘the Sign in Klee’ Word and Image, 2:4, pp.363-381) 16. Image and Word, E.H. Gombrich (Source: Gombrich, E.H. (1985) ‘Image and Word in Twentieth-Century Art’, Word and Image, 1:3, pp.213-241) 17. Literal Visions, Nicolas Wade (Source: Wade, N. (2010) ‘Literal Visions’ International Journal of Arts and Technology, 3:2/3, pp.251-274) 18. Readerly Visuality, Ellen J. Esrock (Source: Esrock, E. J. (1993) ‘A Proposal for Integrating Readerly Visuality into Literary Studies: Reflections on Italo Calvino’, Word and Image, 9:2, pp.114-121) 19. Rene Magritte’s ‘Les mots et les images’, Lisa K. Lipinski (Source: Lipinski, L.K. (1995) ‘”When the trees of language are shaken by rhizomes” in Rene Magritte’s “Les mots et les images”’ Word and Image, 11:3, pp.216-224) 20. The Absent Image, Gary Shapiro (Source: Shapiro, G. (2007) ‘The Absent Image: Ekphrasis and the “Infinite Relation” of Translation’ Journal of Visual Culture 6:1, pp.13-24)

Part 3: Image as Thought 22. A Plea for Visual Thinking, Rudolf Arnheim (Source: Arnheim, R. (1980) ‘A Plea for Visual Thinking’. Critical Inquiry, 6:3, pp.489-497) 23. Perceptual Metaphor, Donald Brook (Source: Brook, D. (1986) ‘Perceptual Metaphor’ Word and Image, 2:4, pp.333-341) 24. Picturing Vision, Joel Snyder (Source: Snyder, J. (1980) ‘Picturing Vision’. Critical Inquiry, 6:3, pp.499-526) 25. Showing Seeing, W.J.T. Mitchell (Source: Mitchell, W. J. T. (2002) ‘Showing seeing: a critique of visual culture’. Journal of Visual Culture 1:2, pp.165–81) 26. How to ‘See’ With the Whole Body, Joyce Brodsky (Source: Brodsky, J. (2002) ‘How to “See” with the Whole Body’ Visual Studies, 17:2, 99-112) 27. Body Images, Antonio Damasio (Source: Damasio, A. (2003) Looking for Spinoza. Harvill Press, pp.194-206) 28. Picturing Irony, Biljana Scott (Source: Scott, B. (2004) ‘Picturing Irony: the Subversive Power of Photography’ Visual Communication, 3:1, pp.31-59) 29. Is this Philosophy?, Susan Buck-Morss (Source: Buck-Morss, S. (1989) The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, pp.216-227; 240-252) 30. Thought-Images, Sigrid Weigel (Source: Weigel, S (1996) ‘Thought-Images: A re-reading of of the Angel of History’. Body- and Image-Space: Re-reading Walter Benjamin. London: Routledge, pp.49-60)

Part 1: Visual Culture 1. Cultural Relativism and the Visual Turn, Martin Jay (Source: Jay, M. (2002) ‘Cultural Relativism and the Visual Turn’, Journal of Visual Culture, Vol.1, No.3, pp.267-278) 2. Ghostwriting: Working Out Visual Culture, Nicholas Mirzoeff (Source: Mirozeff, N. (2002) ‘Ghostwriting: Working Out Visual Culture’. Journal of Visual Culture, Vol. 1, no.2, pp. 239-254) 3. Visual Essentialism, Mieke Bal (Source: Bal, M. (2003) ‘Visual Essentialism and the Object of Visual Culture’ Journal of Visual Culture 2:1, 5-32) 4. Symbol, Idol and Murti, Gregory Price Grieve (Source: Grieve, G.P. (2003) ‘Symbol, Idol and Murti: Hindu God-Images and the Politics of Mediation’, Culture, Theory and Critique, Vol.44, No.1, pp.57-72) 5. Photo-Sharing, Susan Murray (Source: Murray, S. (2008) ‘Digital Images, Photo-sharing, and Our Shifting Notions of Everyday Aesthetics’ Journal of Visual Culture 7:2, pp.147-163) Part 2: Image and Memory 6. Involuntary Memory, Marcel Proust (Source: Proust, M. (2002) from In Search of Lost Time: Volume 1: The Way By Swann’s, tr. L.Davis. London: Penguin, pp.47-50) 7. Ways of Remembering, John Berger (Source: Berger, J. (1997) from The Camerawork Essays: Context and Meaning in Photography, Jessica Evans (ed.). River Oram Press, pp.42-51) 8. Notes on Myth, Memory and Technology, Justin Lorentzen (Source: Lorentzen, J. (1993) ‘Snapshots: Notes on Myth, Memory and Technology: Short Fictions Concerning the Camera’, Chris Jenks (ed.) Cultural Reproduction. Routledge, pp.135-139) 9. The Image of ‘Accidental Napalm’, Robert Hariman and John Louis (Source: Hariman, R. and Louis, J. (2003) ‘Public Identity and Collective Memory in U.S. Iconic Photography: The Image of “Accidental Napalm”’, Critical Studies in Media

Communications, Vol.20, No.11, pp.35-66) 10. Bearing Personal Witness, Barbie Zelizer (Source: Zelizer, B. (2002) Media, Culture, and Society, 24:5, pp.697-714) 11. Obama and Image, Susan Buck-Morss (Source: Buck-Morss, S. (2009) ‘Obama and Image’ Culture, Theory and Critique, Vol. 50, no. 2-3, pp.145-164) Part 3: Visual Evidence 12. Visible Materials, Jon Wagner (Source: Wagner, J. (2006) ‘Visible Materials, Visualised Theory and Images of Social Research’ Visual Studies, 21:1, pp.55-69) 13. Talking about Pictures: A Case for Photo Elicitation, Douglas Harper (Source: Harper, D. (2002) ‘Talking about pictures: a case for photo elicitation’. Visual Studies, 17:1, 2002, pp.13-26) 14. The Prosthetic Eye, Christopher Pinney (Source: Pinney, C. (2008) ‘The Prosthetic Eye: Photography as Cure and Poison’ in Matthew Engelke (ed.) ‘The Objects of Evidence: Anthropological Approaches to the Production of Knowledge’ special issue of Journal of the Royal Anthropological Instititute, 14:S1, pp. s-33-46) 15. Law In the Age of Images, Richard K. Sherwin (Source: Sherwin, R.K. (2008) ‘Visual Literacy in Action’ in James Elkins (ed.) Visual Literacy. Routledge, pp.179-194). Part 4: Science Imaging 16. A History of Scientific Imagery, Alexis Smets and Christoph Lüthy (Source: Smets, A. and Lüthy, C. (2009) ‘Words, Lines, Diagrams, Images: Towards a History of Scientific Imagery’, Early Science and Medicine, Vol.14, pp.398-439) 17. Visual Abstraction and Anatomy, Tricia Daly and Philip Bell (Source: Daly, Tricia and Bell, Philip 2008 ‘Visual Abstraction and Anatomy: Pre- and Post-Modern Imagery’ Visual Communication, 7:2, pp.183-198)

18. Images Scatter into Data, Data Gather into Images, Peter Galison (Source: Galison, P. (2002) ‘Images Scatter into Data, Data Gather into Images’ in B. Latour and P.Weibel (ed.) Iconoclash: Beyond the Image Wars in Science, Religion and Art. MIT Press, pp.300-23) 19. Sensible Models in Cognitive Neuroscience, Arthur Piper (Source: Piper, A. (2006) ‘Sensible Models in Cognitive Neuroscience’, in ‘Logos Of Phenomenology And Phenomenology Of The Logos. Book Four’, Analecta Husserliana, Vol 91, Section I, pp.105-118) 20. Thoughts Not Our Own, Barbara Maria Stafford (Source: Stafford, B.M. (2009) ‘Thoughts Not Our Own: Whatever Happened to Selective Attention’. Theory, Culture and Society, Vol. 26, No.2-3, pp.275-293) 21. Scientific Visualism, Don Ihde (Source: Ihde, D. (1998) from Expanding Hermeneutics, Visualism in Science. Northwestern University Press, pp.158-69) 22. The Neurology of the Platonic Ideal, Semir Zeki (Source: Zeki, S. (1999) from Inner Vision. Oxford University Press, pp.37-49) Part 5: Making Images 23. Writing Hypnagogia, Peter Schwenger (Source: Schwenger, P. (2008) ‘Writing Hypnagogia’. Critical Inquiry 34:3, pp.423-439) 24. Two Kinds of Attention, Anton Ehrenzweig (Source: Ehrensweig, A. (1967) from The Hidden Order of Art. Weidenfeld & Nicolson, a division of The Orion Publishing Group, pp.21-31) 25. Citizen Hamilton, Hal Foster (Source: Foster, H. (2008) ‘Citizen Hamilton: The Art of Richard Hamilton’, Artforum, 46, no 10, pp.396-403) 26. Photographic Being, Yve Lomax (Source: Lomax, Y. (2005) Sounding the Event: Escapades in Dialogue and Matters of Art, Nature and Time. I.B.Tauris, pp.30-37)

The Handbook of Visual Culture Edited by Ian Heywood and Barry Sandywell Consultant Editors: Michael Gardiner, Gunalan Nadarajan and Catherine Soussloff •

The only comprehensive overview of research in this rapidly expanding field

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Responds to the cross-disciplinary nature of many key questions regarding digitization, globalization, cyberculture, surveillance, spectacle and the role of art

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Prestigious range of international scholars

Bringing together leading international scholars to assess all aspects of visual culture, the Handbook embraces the extraordinary range of disciplines which now engage in the study of the visual – film and photography, television, fashion, visual arts, digital media, geography, philosophy, architecture, material culture, sociology, cultural studies and art history. Ian Heywood is Visiting Research Fellow at the Lancaster Centre for Contemporary Arts, Lancaster University. Barry Sandywell is Honorary Research Fellow in Social Theory in the Department of Sociology, University of York. January 2012 • 704pp • 50 bw illus • 244x172mm HB 978 1 84788 573 9 £80.00

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Critical and Primary Sources

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