Untitled - Wydawnictwo Uniwersytetu Jagiellońskiego

Przypisy2Raphael Samuel, The Eye of History, [w:] tegoż, Theatres of Memory, tom I (London1994), s. 315–336.3David C. Douglas, G.W. Greenaway (red.), English Historical Documents, 1042–1189(London 1953), s. 247.4Francis Haskell, History and its Images (New Haven 1993), s. 123–124, 138–144; krytykten został przywołany w: Léon Lagrange, Les Vernet et la peinture au 18e siècle (wyd.drugie, Paris 1864), s. 77.5Haskell, History, s. 9, 309, 335–346, 475, 482–494; Burckhardt cyt. w: Lionel Gossman,Basel in the Age of Burckhardt (Chicago 2000), s. 361–362; na temat Huizingi por. ChristophStrupp, Johan Huizinga: Geschichtswissenschaft als Kulturgeschichte (Göttingen 1999), szczególnies. 67–74, 116, 226.6Frances A. Yates, Shakespeare’s Last Plays (London 1975), s. 4; por. tenże, Ideas andIdeals in the North European Renaissance (London 1984), s. 312–315, 321.7Robert M. Levine, Images of History: 19 th and Early 20 th Century Latin American Photographsas Documents (Durham, NC 1989).8Philippe Ariès, Un historien de dimanche (Paris 1980), s. 122; por. Michel Vovelle (red.),Iconographie et histoire des mentalités (Aix 1979); Maurice Agulhon, Marianne into Battle: RepublicanImagery and Symbolism in France, 1789–1880 (1979: tłumaczenie ang. Cambridge1981).9William J.T. Mitchell (red.), Art and the Public Sphere (Chicago 1992), wprowadzenie.10Robert I. Rotberg, Theodore K. Rabb (red.), Art and History: Images and their Meanings(Cambridge 1988).11Gustaaf J. Renier, History, its Purpose and Method (London 1950).12Haskell, History, s. 7; Stephen Bann, Face-to-Face with History, „New Literary History”,XXIX (1998), s. 235–246.13John Tagg, The Burden of Representation: Essays on Photographies and Histories(Amherst 1988), s. 66–102; Alan Trachtenberg, Reading American Photographs: Images asHistory, Mathew Brady to Walker Evans (New York 1989), s. 28–29.14Erwin Panofsky, Early Netherlandish Painting (2 tomy, Cambridge, MA 1953); por.Linda Seidel, Jan van Eyck’s Arnolfini Portrait: Stories of an Icon (Cambridge 1993); ErnstH. Gombrich, The Image and the Eye (London 1982), s. 253.15Patricia F. Brown, Venetian Narrative Painting in the Age of Carpaccio (New Haven1988), s. 5, 125.16Na temat tekstów zob. Marshall McLuhan, The Gutenberg Galaxy (Toronto 1962); por.Elizabeth Eisenstein, The Printing Press as an Agent of Change (2 tomy, Cambridge 1979).Odnośnie do obrazów wizualnych zob. William H. Ivins, Jr, Prints and Visual Communication(Cambridge, MA 1953); por. David Landau, Peter Parshall, The Renaissance Print 1470–1550(New Haven 1994), s. 239.17Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction (1936: tłumaczenieang. w: Illuminations [London 1968], s. 219–244; por. Michael Camille, The TrèsRiches Heures: An Illuminated Manuscript in the Age of Mechanical Reproduction, „CriticalInquiry”, XVII (1990–1991), s. 72–107.18Edward H. Carr, What is History? (Cambridge 1961), s. 17. Wyd. pol.: Historia – czymjest? Wykłady im. George’a Macaulaya Trevelyana wygłoszone na uniwersytecie w Cambridgestyczeń–marzec 1961, tłum. Piotr Kuś, Poznań 1999.1. Fotografie i portrety1Francis, cyt. w: James Borchert, Alley Life in Washington: Family, Community, Religionand Folklife in an American City (Urbana 1980), s. 271; Roland Barthes, The Reality Effect(1968: tłumaczenie ang. w: The Rustle of Language, Oxford 1986, s. 141–148).219