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Absorption and Theatricality. Painting and Beholder in the Age of Diderot.
0 references·16 citing·40 second hop
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Cited by

  • 2010Hegel on the Modern Arts103 cited
  • 2006COLLAPSE OF DISTANCE: EPISTEMIC STRATEGIES OF SCIENCE AND TECHNOSCIENCE89 cited
  • 2008Theory of Mind and Fictions of Embodied Transparency72 cited
  • 1997The Scottish Enlightenment42 cited
  • 1997The institution of criticism in the eighteenth century40 cited
  • 2012Elegy, Art and the Viewer39 cited
  • 1997Ancients and Moderns36 cited
  • 2000Sentimental and Anti-Sentimental in "Le nozze di Figaro"28 cited
  • 2000Face, Figure, Physiognomics: Mary Shelley's "Frankenstein" and the Moving Image27 cited
  • 2004‘The Concept ofKunstwollen’, neo-Kantianism, and Erwin Panofsky's early art theoretical essays24 cited
  • 2009Creole Europe: The Reflection of a Reflection23 cited
  • 1999Effortless Art: The Sketch in Nineteenth-Century Painting and Literature21 cited
  • 2007review essay: The Cinema of Attractions20 cited
  • 1997Medieval revival and the Gothic17 cited
  • 2012The operatic event: opera houses and opera audiences13 cited
  • 2003

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Painted Readers, Narrative Regress
8 cited