Диссертация (1144958), страница 75
Текст из файла (страница 75)
332 p.136.Kozberg A. The past and future of curatorial discourse // Discourse. 2013. V. 35.№ 1. Р. 120-123.137.Krauss R. Originality of the Avante-Garde and Other Modernist Myths.Cambridge, Massachusetts: MIT Press, 1986. 357 p.138.Leder H., Belke B., Oeberst A., Augustin D. A model of aesthetic appreciationand aesthetic judgments // British journal of psychology. 2004.
№ 95(4). P. 489-508.139.Levinas E. Totalité et Infini: essai sur l'extériorité. The Hague and Boston:Martinus Nijhoff, 1961. 260 p.140.LeWitt S. Paragraphs on Conceptual Art // Artforum. 1967. V. 5. № 10. P. 79-83.141.Limberg F. Was tun? Neue Impulse für die Kunstvermittlung durch diedocumenta 12.
URL: http://www.dr.com.tr/ekitap/was-tun-neue-impulse-fur-diekunstvermittlung-durch-die-documenta- 12.142.Lippard L., Chandler J. The Dematerialization of Art // Alberro A., Stimson B.(eds). Conceptual Art: a Critical Anthology. Cambridge, Massachusetts: The MIT Press, 1999.P. 46-58.143.Lyotard J.-F. La condition postmoderne. Rapport sur le savoir. Paris: Minuit,1979. 298 p.144.Lockard R.A. Outside the Boundaries: Contemporary Art and Global Biennials //Art Documentation: Journal of the Art Libraries Society of North America. 2013. V.
3. № 1. P.102-111.145.Lüddemann S. Kunstkritik als Kommunikation: vom Richteramt zurEvaluationsagentur. Berlin: Springer-Verlag, 2004. 356 p.146.Macdonald S., Basu P. (ed). Exhibition experiments. London: John Wiley &Sons, 2008. 272 p.263147.Malraux A. Le musée imaginaire. Paris: Éditions du Seuil, 1965. 307 р.148.Marsh J., Showalter А. Cultivating curatorial habits of mind throughstudentcreated exhibitions // Visual Inquiry. 2017. № 6.1.
P. 107-117.149.Martinon J.-P. (ed). The curatorial: A philosophy of curating. New-York, NY:A&C Black, 2013. 403 p.150.Maeseneer de Y. Un Ange Passe… A Conversation between Theology andAesthetics: The Case of Jan Fabre // Literature and Theology.
2003. V. 17. № 4. Р. 374-387.151.Mateas, M., Sengers, Ph. (eds). Narrative Intelligence. Amsterdam: J. BenjaminsPublishing, 2003. 198 p.152.McClellan A. (ed). Art and its publics: museum studies at the millennium.London: John Wiley & Sons, 2003. 236 p.153.McKay A.
Affective communication: towards the personalisation of a museumexhibition // CoDesign. 2007. № 3(1). P. 163-173.154.McLean K. Exhibition Review of The Museum as Muse: Artists Reflect //Curator. 1999. 42. № 3. Р. 253- 255.155.McLean K. Museum exhibitions and the dynamics of dialogue // Daedalus 128.1999. № 3. Р. 83-107.156.McLean K. Planning for People in Museum Exhibitions. Washington, DC:Association of Science-Technology Centers, 1993. 134 р.157.McLuhan M.
Fiore Q. The Medium is the Massage: An Inventory ofEffects. N.Y.: Random House, 1967. 268 p.158.McLuhan M. Understanding Media: The Extensions of Man. N.Y.: McGrawHill, 1964. 290 p.159.McShine K. The museum as muse: artists reflect. New-York: The Museum ofModern Art, 1999. 240 р.160.Melberg A. Theories of mimesis. Cambridge: Cambridge University Press, 1995.161.Mirzoeff N. (ed). The visual culture reader. New York, NY: Psychology Press,267 p.2002.
326 p.162.Mitchell M. Hidden mutualities: Faustian themes from gnostic origins to thepostcolonial. London: Rodopi, 2006. 369 p.163.Moses M.V. “The Lost Steps”: The Faustian Artist in the New World // LatinAmerican Literary Review. 1984. P. 7-21.164.Nairne S. Exhibitions of contemporary art // Contemporary cultures of display. Yale:Yale university press, 1999. P. 105-126.264165.Neiva E.
Redefining the image: Mimesis, convention, and semiotics //Communication theory. 1999. V. 9. №. 1. P. 75-91.166.Norton‐Westbrook H. The Pendulum Swing: Curatorial Theory Past and Present// The International Handbooks of Museum Studies. 2015. V.
3. № 15. Р. 341-356.167.Nunes C. Francis Bacon and the body beyond the representation // GeographicalImaginations. Book of Proceedings IV International Meeting in Cultural Geography,Geographical Imaginations 27-28 September 2012. Guimarães, Portugal, 2013. Р. 77 -85.168.Obrist H.U., Rehrberg V., Boeri S. Moving Interventions: Curating at Large //The Journal of Visual Culture. 2003. V.
12. № 2. Р. 147-160.169.O’Neill P. The Culture of Curating and the Curating of Culture (s). New-York:MIT Press, 2012. 200 p.170.O’Neill P. The curatorial turn: from practice to discourse // Issues in curatingcontemporary art and performance. 2007. P. 13-28.171.O'Neill P., Wilson M. (eds) Curating and the Educational Turn.London/Amsterdam: Open Editions/De Appel, 2010.
342 p.172.Osborne P. Anywhere or not at all: Philosophy of contemporary art. London:Verso, 2013. 288 p.173.Osborne P. Art beyond aesthetics: philosophical criticism, art history andcontemporary art. Art History // Journal of the Association of Art Historians. 2004. № 27 (4). P.651-670.174.Osborne P. Contemporary art is post-conceptual art. Public Lecture.
FondazioneAntonio Ratti, Villa Sucota, Como. 2010. URL: http://www.fondazioneratti.org/175.Papastergiadis N. Hybridity and ambivalence places and flows in contemporaryart and Culture // Theory, culture & society. 2005. V. 22. №. 4. С. 39-64.176.Papies H.J. Von Abstrakt zu Pop und Op // Bildende Kunst. 1973. № 9. P. 454 –177.Parsons M.
Aesthetic experience and the construction of meanings // Journal of456.Aesthetic Education. 2002. № 36(2). P. 24-37.178.Phan P.C. The Wisdom of Holy Fools in Postmodernity // Theological Studies.2001. V. 62. Р. 32-44.179.Phillips A. Education aesthetics // O'Neill P., Wilson M. (eds) Curating and theEducational Turn. London/Amsterdam: Open Editions/De Apple, 2010. P. 83-96.180.Pier J.
Diegesis // T.A. Sebeok et al. (eds.) Encyclopedic Dictionary ofSemiotics. Berlin: Mouton de Gruyter, 2009. P. 217–219.181.Pineau E.L. Teaching is performance: Reconceptualizing a problematic265metaphor // American Educational Research Journal. 1994. 31. № 1. Р. 3-25.182.Prendergast M.
Teacher as performer: Unpacking a metaphor in performancetheory and critical performative pedagogy // International Journal of Education & the Arts.2008. V. 9. № 2. Р. 19-31.183.Puffert R. Die Kunst und ihre Folgen: Zur Genealogie der Kunstvermittlung.Bielefeld: Transcript Verlag, 2014.
290 S.184.Rancière J. Aesthtics, inaesthetics, anti-aesthetics // Think again: Alain Badiouand the future of philosophy / ed. by P. Hallward. London New York: Continuum, 2004. Р.218–231.185.RancièreJ.The Ignorant Schoolmaster: Five Lessons in Intellectual Emancipation. Stanford: Stanford University Press, 1991. 316 p.186.Rand S., Kouris H. (ed.). Cautionary Tales: Critical Curating N.Y.: Apexart,2007. 125 p.187.Ranta M. Mimesis as the Representation of Types: The Historical andPsychological Basis of an Aesthetic Idea. Stockholm: Stockholm University, 2000. 368 p.188.Reese E.B.
Art takes me there: Engaging the narratives of community membersthrough interpretative exhibition processes and programming // Art Education. 2003. V. 56, №1. P. 33-39.189.Rhoades M., Daiello V. Introducing dramatic inquiry as visual art education //Journal of Curriculum and Pedagogy. 2016. № 13(3). P. 206-226.190.Rice D., Yenawine P. Conversation on Object‐Centered Learning in ArtMuseums // Curator: The Museum Journal. 2002.
№ 45(4). Р. 289-301.191.Richmond S. Art’s Educational Value // The Journal of Aesthetic Education.2009. Vol. 43. № 1. P. 92-105.192.Roberts D. The total work of art in European modernism. Ithaca, NY: CornellUniversity Press, 2011. 360 p.193.Robertson J., McDaniel C. Themes of contemporary art: Visual art after 1980.Oxford: Oxford University Press, 2012. 416 p.194.Rogoff I.
Turning // E-Flux Journal. 2008. № 10. URL: www.eflux.com/journal/view/18.195.Rotman B. Signifying Nothing. The Semiotics of Zero. Stanford: StanfordUniversity Press, 1993. 390 p.196.Rugg J., Sedgwick М. Issues in curating contemporary art and performance.Intellect Books, 2007. 289 p.197.Said E. Orientalism. New York: Routledge, 1978.
324 p.266198.Sartre J.-P. Critique de la raison dialectique. Paris: Gallimard, 1960. 360 p.199.Sartre J.-P. Being and Nothingness: An Essay in Phenomenological Ontology.Citadel Press, 2001. 553 p.200.Sartre J.-P. L'être et le néant. Essay d'ontologie phénoménologique. Paris,Gallimard, 1943. 398 p.201.Sawyer R. Creative teaching: Collaborative discussion as disciplinedimprovisation // Educational Researcher. 2004.