Teoretisk kjernestoff (ca. 400 sider)
1. Bourdieu, Pierre og Alain Darbel: "The Love of Art", Frascina, Francis og Jonathan Harris (red): Art in Modern Culture: An Anthology of critical texts, The Open University, 1992, s. 174- 180 (7 s)
2. Bronfen, Elisabeth: "Det 'mest' poetiske emnet", Iversen, Irene (red): Feministisk litteraturteori, Oslo 2002, s. 85-104 (19 s)
3. Brooks, Peter: Body Work. Objects of Desire in Modern Narrative, Ch. 1."Narrative and the Body", Cambridge, Mass, 1993, s. 1-27 + noter s. 289-293 (31 s)
4. Bürger, Peter: "On the Problem of the Autonomy of Art in Bourgeois Society", Frascina, Francis og Jonathan Harris (red): op.cit, s. 51- 63 (12 s)
5. Chadwick, Whitney: "Introduction: Art History and the woman artist" i Women, Art, and Society, London (3. utgave) 2002 s. 17-43 (27 s)
6. Chicago, Judy: “from The Dinner Party (1996)” i Steve Edwards (red.) Arts and its Histories. A Reader, The Open University, New Haven 1999 s. 143-146 (3 s)
7. Davis, Whitney, “from ‘Founding the Closet: Sexuality and the Creation of Art History’ (1992)” i Steve Edwards (red.) Arts and its Histories. A Reader, The Open University, New Haven 1999 s. 178-186 (7 s)
8. Felman, Shoshana: "Kvinner og galskap. Det kritiske feilgrepet (Balzac: 'Adj?')", Iversen, Irene (red): op.cit, s. 104-119 (16 s)
9. Garb, Tamar, “Gender and Representation” i Modernity and Modernism. French Painting in the Nineteenth Century. The Open University 1994, s.219-290. (71s)
10. Haweis, Mrs. H.R.: “On the Beauty of Freedom, from The Art of Decoration (1881)” i Steve Edwards (red.) Arts and its Histories. A Reader, The Open University, New Haven 1999 s. 142-143 (2 s)
11. Homans, Margaret: "Representation, Reproduction, and Women's Place in Language" (utdrag fra Bearing the Word), Rivkin, Julie og Michael Ryan (red): Literary Theory: An Anthology, Oxford, 1998 s. 650-655 (6 s)
12. Johnson, Barbara: “The Critical Difference: Barthes/BalZac” i The Critical Difference. Essays in the Contemporary Rhetoric of Reading. The John Hopkins University Press 1987 s 3-12 (10 s)
13. Jones, Amelia: “The Sexual Politics of The Dinner Party: A Critical Context (1996)” i Steve Edwards (red.) Arts and its Histories. A Reader, The Open University, New Haven 1999 s. 146-152 (7 s)
14. Klinger, Cornelia: "Aesthetics", Jaggar, Alison M. og Iris Marion Young (red): A Companion to Feminist Philosophy, Malden Mass., 1998, s.343-352 (10 s) + litteraturliste
15. Lindberg, Anna Lena: ”Innledning", Lindberg, Anna Lena (red): Den maskulina mystiken. Konst, k?n och modernitet. Lund (Studentlitteratur) 2001, s. 7-23 (16 s)
16. Mattick Jr, Paul: "Beautiful and Sublime: Gender Totemism in the Constitution of Art", The Journal of Aesthetics and Art Criticism, Vol. 48, number 4: "Feminism and Traditional Aesthetics", Edmonton, Alberta, 1990, s. 293-303 (10s)
17. Moi, Toril. "? tilegne seg Bourdieu", Iversen, Irene (red): op.cit., s. 252- 280 (28 s)
18. Mulvey, Laura: “Fears, Fantasies and the Male Unconscious or ‘You Don’t Know What is Happening, Do You, Mr Jones?’ (1972)” i Steve Edwards (red.) Arts and its Histories. A Reader, The Open University, New Haven 1999 s.173-178 (5 s)
19. Mulvey, Laura: “Visuell nytelse og narrativ film”, Fossheim, Hallvard (red): Filmteori: en antologi, Oslo 1999, s. 169-182 (13 s
20. Nochlin, Linda: ”Hvorfor har det ikke v?rt noen store kvinnelige kunstnere?”, Hvorfor har det ikke v?rt noen store kvinnelige kunstnere? Oslo (Pax) 2003, s. 7-64
21. Perry, Gill: “Introduction: gender and art history”, Perry, Gill (red.), Gender and Art (The Open University, 1999), s. 8-28 (20 s)
22. Pollock, Griselda: “Differencing, Feminism and the Canon, from Differencing the Canon: Feminist Desire and the Writing of Art’s Histories (1999)” i Steve Edwards (red.) Arts and its Histories. A Reader, The Open University, New Haven 1999 s. 161-166 (5 s)
23. Rose, Jacqueline: “Sexuality in the Field of Vision, from Sexuality in the Field of Vision (1986)” i Steve Edwards (red.) Arts and its Histories. A Reader, The Open University, New Haven 1999 s. 167-173 (7 s)
24. Salomon, Nanette: “The Art Historical Canon: Sins of Omission”, Preziosi, Donald (red.), The Art of Art History: A Critical Anthology. Oxford (Oxford University Press) 1998, s.344-355 + noter s. 551-553 (13 s)
Fordypningspensum v?ren 2006
Teori
Judith Butler, ”Bodies that Matter”, 27 – 55 og noter s. 249 – 257. I Judith Butler, Bodies that Matter: On the Discursive Limits of ”Sex”, New York og London: Routledge, 1993. (29 s)
Judith Butler, ””Women” as the Subject of Feminism”, s. 3 – 9 og noter s. 193 – 194. I Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, New York og London: Routledge, 1999, [f?rst utgitt 1990]. (7 s)
Amelia Jones, ”Postfeminism, Feminist Pleasures, and Embodied Theories of Art”, s. 383 – 395 og noter s. 555 – 557. I The Art of Art History: A Critical Anthology, redigert av Donald Preziosi, i serien: Oxford History of Art, Oxford, New York: Oxford University Press, 1998. (12 s)
Friedrich Nietzsche: Tragediens f?dsel, oversatt av Arild Haaland, s. 37–142 Oslo: Pax 1969/1993. (105 s)
Craig Owens, ”The Discourse of Others: Feminists and Postmodernism”, s. 486 – 502. I The Expanding Discourse: Feminism and Art History, redigert av Norma Broude og Mary D. Garrard, Boulder, CO: Westview Press, 1992. (12 s)
Camille Paglia: Sexual Personae. Art and Decadence from Nefertiti to Emily Dickinson, s. 1–140, New York: Vintage Books Edition 1991, opprinnelig utgitt p? Yale University 1990. (140 s)
Griselda Pollock, “Revenge: Lubaina Himid and the Making of New Narratives for New Histories” s. 168 – 198. Kapittel 7 i Griselda Pollock, Differencing the Canon: Feminist Desire and the Writing of Art’s Histories, London og New York: Routledge, 1999. (22 s)
Lisa Tickner, ”Sexuality and/in Representation: Five British Artists” I The Art of Art History: A Critical Anthology, s. 356 – 369, redigert av Donald Preziosi, i serien: Oxford History of Art, Oxford, New York: Oxford University Press, 1998. (14 s)
Monique Wittig, ”The Straight Mind” s. 130 – 135. I The Feminism and Visual Culture Reader, redigert av Amelia Jones, London og New York: Routledge, 2003. (5 s)
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Norma Broude, ”Miriam Schapiro and ”Femmage”: Reflections on the Conflict Between Decoration and Abstraction in Twentieth-Century Art”, s. 314 – 329. I Feminism and Art History: Questioning the Litany, redigert av Norma Broude og Mary D. Garrard, New York: Harper & Row, 1982. [f?rst utgitt 1980]. (6 s)
Whitney Chadwick, ”Worlds Together, Worlds Apart”, s. 423 – 466. Kapittel 14 i Whitney Chadwick, Women, Art and Society, London: Thames and Hudson, 2002. (29 s)
Anna C. Chave, ”Minimalism and Biography”, 384 – 407. I Reclaiming Female Agency: Feminist Art History after Postmodernism, redigert av Norma Broude og Mary D. Garrard, Berkeley, Los Angeles, London: University of California Press, 2005 [basert p? artikkel utgitt i 2000]. (13 s)
Jennifer González, ”The Appended Subject: Race and Identity as Digital Assemblage” s. 534 – 545. I The Feminism and Visual Culture Reader, redigert av Amelia Jones, London og New York: Routledge, 2003. (9 s)
The Guerrilla Girls, ”Introduction and Conclusion to The Guerrilla Girls’ Bedside Companion to the History of Western Art” s. 349 – 353. I The Feminism and Visual Culture Reader, redigert av Amelia Jones, London og New York: Routledge, 2003. (5 s)
Amelia Jones, “The “Sexual Politics” of The Dinner Party: A Critical Context”, s. 408 – 433. I Reclaiming Female Agency: Feminist Art History after Postmodernism, redigert av Norma Broude og Mary D. Garrard, Berkeley, Los Angeles, London: University of California Press, 2005 [f?rst utgitt 1996]. (16 s)
Lucy R. Lippard, ”The Pink Glass Swan: Upward and Downward Mobility in the Art World”, s. 117 – 127 og noter. I Lucy R. Lippard, _The Pink Glass Swan: Selected Essays on Feminist Art:, New York: The New Press, 1995 [f?rst utgitt 1977]. (10 s)
Kobena Mercer, ”Reading Racial Fetishism: The Photographs of Robert Mapplethorpe”, s. 171 – 219 og noter s. 319 – 321. I Kobena Mercer, Welcome to the Jungle: New Positions in Black Cultural Studies, New York and London: Routledge, 1994. (40 s)
John B. Ravenal, “Shirin Neshat: Double Vision”, s. 446 – 458. I Reclaiming Female Agency: Feminist Art History after Postmodernism, redigert av Norma Broude og Mary D. Garrard, Berkeley, Los Angeles, London: University of California Press, 2005 [basert p? artikkel utgitt i 2002]. (7 s)
Hanne Beate Ueland, ”F?lelsen av ? g? opp en trapp: (Vibeke tandbergs kunst i lys av collageteknikk, humor og det konseptuelle fotografiet)” s. 9 – 16 og bilder s. 17 – 39 og verksliste s. 51. I Vibeke Tandberg, utstillingskatalog, redigert av Marit Woltmann, kurert av Hanne Beate Ueland, Oslo: Astrup Fearnley Museet for Moderne Kunst, 2003. (7 s)
Litter?re verk
Dag Solstad: Genanse og verdighet, Oslo: Oktober 1994.
Dag Solstad: T. Singer, Oslo: Oktober 1999.
Vigdis Hjorth: Om bare, Oslo: Cappelen 2001.
Erlend Loe: Doppler, Oslo: 2004.
F?lgende b?ker skaffes (kj?pes eller l?nes p? biblioteket):
Chadwick, Whitney: Woman, Art and Society, London, 2002, 3. utgave
Iversen, Irene (red): Feministisk litteraturteori, Oslo 2002
Nochlin, Linda: Hvorfor har det ikke v?rt noen store kvinnelige kunstnere? Oslo, 2003
Camille Paglia: Sexual Personae. Art and Decadence from Nefertiti to Emily Dickinson, Vintage Books Edition 1991
Friedrich Nietzsche: Tragediens f?dsel, oversatt av Arild Haaland, s. 37–142, Oslo: Pax 1969/1993.
Dag Solstad: Genanse og verdighet, Oslo: Oktober 1994.
Dag Solstad: T. Singer, Oslo: Oktober 1999.
Vigdis Hjorth: Om bare, Oslo: Cappelen 2001.
Erlend Loe: Doppler, Oslo: 2004.
Resten av artiklene kopieres i kompendier (LIT3461/LIT3462: Teoretisk kjernepensum , LIT3462: teoretisk kjernepensum (tillegg) og LIT3461/3462: Fordypningspensum: Kj?nnsstrategier i samtidskunsten