Chapters in this book

1. Frontmatter i
2. Contents vii
3. List of Figures ix
4. PART I. SEMIOLOGY AND SOCIAL SCIENCE
5. 1 The Dissolution of Man in the Human Sciences: The Linguistic Model and the Signifying Subject 1
6. 2 Theoretical Field and Symbolic Practice 14
7. 3 Establishing a Signification for Social Space: Demonstration, Cortege, Parade, Procession 38
8. 4 The Concept of Figurability, or the Encounter Between Art History and Psychoanalysis 54
9. 5 Mimesis and Description: From Curiosity to Method, from the Age of Montaigne to the Age of Descartes 64
10. PART II. NARRATIVES
11. 6 Utopian Discourse and Narrative of Origins from More's Utopia to Cassiodorus-Jordanes's Scandza 87
12. 7 From Body to Text: Metaphysical Propositions on the Origin of Narrative 115
13. 8 Critical Remarks on Enunciation: The Question of the Present in Discourse 130
14. 9 On the Religious 143
15. 10 The Pleasures of Narration 153
16. PART III. VISIBILITY
17. 11 The Ends of Interpretation, or the Itineraries of a Gaze in the Sublimity of a Storm 173
18. 12 The City in Its Map and Portrait 202
19. 13 History Made Visible and Readable: On Drawings of Trajan's Column 219
20. 14 In Praise of Appearance 236
21. 15 Mimesis and Description 252
22. 16 The Tomb of the Subject in Painting 269
23. 17 Depositing Time in Painted Representations 285
24. PART IV. THE LIMITS OF PAINTING
25. 18 Representation and Simulacrum 309
26. 19 Figures of Reception in Modern Representation in Painting 320
27. 20 On the Margins of Painting: Seeing Voices 337
28. 21 The Frame of Representation and Some of Its Figures 352
29. 22 Ruptures, Interruptions, Syncopes in Representation in Painting 373
30. Notes 391
31. Works Cited 431
32. Index 450