How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever.
"Seeing comes before words. The child looks and recognizes before it can speak."
"But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the s...
How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever.
"Seeing comes before words. The child looks and recognizes before it can speak."
"But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but word can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled."
John Berger's Ways of Seeing is one of the most stimulating and influential books on art in any language. First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings... he will almost certainly change the way you look at pictures." By now he has.
John Berger was born in London in 1926. He is well known for his novels and stories as well as for his works of nonfiction, including several volumes of art criticism. His first novel, A Painter of Our Time, was published in 1958, and since then his books have included the novel G., which won the Booker Prize in 1972. In 1962 he left Britain permanently, and he lives in a small...
John Berger was born in London in 1926. He is well known for his novels and stories as well as for his works of nonfiction, including several volumes of art criticism. His first novel, A Painter of Our Time, was published in 1958, and since then his books have included the novel G., which won the Booker Prize in 1972. In 1962 he left Britain permanently, and he lives in a small village in the French Alps.
看什么、看成什么、在哪里看、怎么看，伯格企图揭示观看背后的社会关系、特别是权力关系。1.复制品对原作在观看方式上的颠覆，2.女性（身体）的surveyor和surveyed，nakedness和nude之间的差别，被绘画/审视客体化的女性，女性始终以暗含的男性目光审视自己，甚至无意识地取悦男性（想想正义联盟中神奇女侠的超短裙）。3.西方文明的油画传统，从物到风景都成为财产、占有权的宣示，即便对自然...看什么、看成什么、在哪里看、怎么看，伯格企图揭示观看背后的社会关系、特别是权力关系。1.复制品对原作在观看方式上的颠覆，2.女性（身体）的surveyor和surveyed，nakedness和nude之间的差别，被绘画/审视客体化的女性，女性始终以暗含的男性目光审视自己，甚至无意识地取悦男性（想想正义联盟中神奇女侠的超短裙）。3.西方文明的油画传统，从物到风景都成为财产、占有权的宣示，即便对自然的沉醉或者神话题材也是装饰性的，substantiality and emptiness，4.广告transform our lives by buying something more，envy诱导的快乐形成了glamour，对未来的白日梦式的允诺，补偿了现代社会中人对自己无能与渴望能之间的鸿沟。(展开)
![[英国] 约翰·伯格](https://img1.doubanio.com/img/author/medium/public/1495613056.19.jpg)
约翰·伯格 作者
恩恩
广西师范大学出版社2015版
不断康复的病人
广西师范大学出版社2007版
灰土豆
广西师范大学出版社2007版
明天小镇
广西师范大学出版社2007版
sophie
广西师范大学出版社2007版
瑜生
Penguin1990版
魏小河
广西师范大学出版社2007版
melonking
商务印书馆1994版
1 有用 云吐月 2020-07-08 09:31:37
在新自由主义者眼中这是一本反动的书，在社会主义者眼中这本书流于表面。
2 有用 静之禅 2012-06-15 22:03:29
John Berger. Ways of seeing (London: BBC and Penguim Books, 1972).
2 有用 censored dump 2018-06-16 15:24:04
看什么、看成什么、在哪里看、怎么看，伯格企图揭示观看背后的社会关系、特别是权力关系。1.复制品对原作在观看方式上的颠覆，2.女性（身体）的surveyor和surveyed，nakedness和nude之间的差别，被绘画/审视客体化的女性，女性始终以暗含的男性目光审视自己，甚至无意识地取悦男性（想想正义联盟中神奇女侠的超短裙）。3.西方文明的油画传统，从物到风景都成为财产、占有权的宣示，即便对自然... 看什么、看成什么、在哪里看、怎么看，伯格企图揭示观看背后的社会关系、特别是权力关系。1.复制品对原作在观看方式上的颠覆，2.女性（身体）的surveyor和surveyed，nakedness和nude之间的差别，被绘画/审视客体化的女性，女性始终以暗含的男性目光审视自己，甚至无意识地取悦男性（想想正义联盟中神奇女侠的超短裙）。3.西方文明的油画传统，从物到风景都成为财产、占有权的宣示，即便对自然的沉醉或者神话题材也是装饰性的，substantiality and emptiness，4.广告transform our lives by buying something more，envy诱导的快乐形成了glamour，对未来的白日梦式的允诺，补偿了现代社会中人对自己无能与渴望能之间的鸿沟。 (展开)
1 有用 CrazyAlpaca 2024-03-20 00:55:21 福建
全书以mystification这一概念为始，逐步揭开了oil painting背后的观看之道。这是在西欧资产阶级发展的背景下产生的特定的way of seeing。作者分析了油画背后的性别不平等（sight，gaze，与nakedness相对的nudity）和阶级属性（average work和exceptional work的区分；油画因其逼真属性而成为展示购买力和财产占有、美化个人形象的手段... 全书以mystification这一概念为始，逐步揭开了oil painting背后的观看之道。这是在西欧资产阶级发展的背景下产生的特定的way of seeing。作者分析了油画背后的性别不平等（sight，gaze，与nakedness相对的nudity）和阶级属性（average work和exceptional work的区分；油画因其逼真属性而成为展示购买力和财产占有、美化个人形象的手段），并对这一艺术传统的遗绪publicity做了批判（创造envy的对象——glamour；以过去的元素，渲染endlessly deferred future；在虚假的民主自由中激发平庸工人的glamorous daydreams；eventless）。祛魅fine arts，反思观看之道与民主。 (展开)
2 有用 黄雷蕾Linali 2015-02-03 19:29:23
作者相当愤青，可以改名为《邪恶的国家机器、父权社会和资本主义与艺术不得不说的故事》。和杰克·凯鲁亚克一起看，相当和谐。