Reading art from a semiotic perspective, this book offers a new interpretation of the development of Chinese landscape painting and outlines a new framework for contemporary semiotics and critical theory. It will appeal to those interested in visual art, Chinese studies, critical theory, semiotics, and other relevant fields, and will allow the reader to learn how to put theory into the practice of studying art, how to give new life to an important theory, and how to acquire a new point of view in appreciating and enjoying art with a certain critical theory.

This anthology is a guide to understanding art history through critical reading of the field's most innovative and influential texts, focusing on the past two centuries.

The End of Diversity in Art Historical Writing is the most globally informed book on world art history, drawing on research in 76 countries. In addition some chapters have been crowd sourced: posted on the internet for comments, which have been incorporated into the text. It covers the principal accounts of Eurocentrism, center and margins, circulations and atlases of art, decolonial theory, incommensurate cultures, the origins and dissemination of the "October" model, problems of access to resources, models of multiple modernisms, and the emergence of English as the de facto lingua franca of art writing.

This undergraduate text covers the standard (old and new) methodological approaches to art history, in a clear, direct and understandable way.

This is a book about how to read visual images: from fine art to photography, film, television and new media. It explores how meaning is communicated by the wide variety of texts that inhabit our increasingly visual world. But, rather than simply providing set meanings to individual images, Visual Culture teaches readers how to interpret visual texts with their own eyes. While the first part of the book takes readers through differing theoretical approaches to visual analysis, the second part shifts to a medium-based analysis, connected by an underlying theme about the complex relationship between visual culture and reality. Howells and Negreiros draw together seemingly diverse methodologies, while ultimately arguing for a polysemic approach to visual analysis. The third edition of this popular book contains over fifty illustrations, for the first time in colour. Included in the revised text is a new section on images of power, fear and seduction, a new segment on video games, as well as fresh material on taste and judgement. This timely edition also offers a glossary and suggestions for further reading. Written in a clear, lively and engaging style, Visual Culture continues to be an ideal introduction for students taking courses in visual culture and communications in a range of disciplines, including media and cultural studies, sociology, and art and design.

“The influence of [Kazimierz] Twardowski on modern philosophy in Poland is all-pervasive. Twardowski instilled in his students a passion for clarity [...] and seriousness. He taught them to regard philosophy as a collaborative effort, a matter of disciplined discussion and argument, and he encouraged them to train themselves thoroughly in at least one extra-philosophical discipline and to work together with scientists from other fields, both inside Poland and internationally. This led above all [...] to collaborations with mathematicians, so that the Lvov school of philosophy would gradually evolve into the Warsaw school of logic [...]. Twardowski taught his students, too, to respect and to pursue serious research in the history of philosophy, an aspect of the tradition of philosophy on Polish territory which is illustrated in such disparate works as [Jan] Łukasiewicz’s ground-breaking monograph on the law of non-contradiction in Aristotle and [Władysław] Tatarkiewicz’s highly influential multi-volume histories of philosophy and aesthetics [...] The term ‘Polish philosophy’ is a misnomer [...] for Polish philosophy is philosophy per se; it is part and parcel of the mainstream of world philosophy – simply because [...] it meets international standards of training, rigour, professionalism and specialization.” – Barry Smith (from: “Why Polish Philosophy does Not Exist”)