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  <title><![CDATA[About Looking]]></title>
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  <description><![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]></description>
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        <name><![CDATA[John Berger]]></name>
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    <![CDATA[About Looking]]>
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    <![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]>
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    <body><![CDATA[Hit-or-miss collection of essays.  Berger's a really good writer, but there's a heavy Marxist slant to his thinking that makes a lot of this book seem dated and difficult to understand.  That said, his essay &quot;Why Look at Animals?&quot; is terrific, one of the best I've read.]]></body>
    
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      <review>
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    <name><![CDATA[Ronny]]></name>
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    <![CDATA[About Looking]]>
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    <![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]>
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  <date_added>Fri Apr 10 02:56:17 -0700 2009</date_added>
  <date_updated>Fri Apr 10 02:56:17 -0700 2009</date_updated>
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    <body><![CDATA[esai2nya asyik sih, tapi tertutup dg kedahsyatan <a href="http://www.goodreads.com/book/show/2784.Ways_of_Seeing" title="Ways of Seeing by John Berger">Ways of Seeing</a>]]></body>
    
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      <review>
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    <name><![CDATA[Smoothw]]></name>
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    <![CDATA[About Looking]]>
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    <![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]>
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    <rating>3</rating>
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  <read_at>Sat Nov 01 00:00:00 -0700 2008</read_at>
  <date_added>Sun Nov 02 11:59:53 -0800 2008</date_added>
  <date_updated>Sun Nov 02 12:09:33 -0800 2008</date_updated>
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    <body><![CDATA[An interesting enough collection of essays, although I would say that only the first and last in the collection are really essential. The rest read exactly as they are, newspaper or magazine columms with one or two interesting ideas not greatly developed,  with a certaim ephemeral quality that comes...<a href="http://www.goodreads.com/review/show/36760237">more...</a>]]></body>
    
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</review>
      <review>
  <id>23472644</id>
    <user>
    <id>1187633</id>
    <name><![CDATA[Sil]]></name>
    <location><![CDATA[Madrid, Spain]]></location>
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  <title>
    <![CDATA[Mirar]]>
  </title>
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  <link>http://www.goodreads.com/book/show/1392911.Mirar</link>
  <average_rating>5.00</average_rating>
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  <description>
    <![CDATA[As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.]]>
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  <date_added>Sun Jun 01 18:06:08 -0700 2008</date_added>
  <date_updated>Sun Jun 01 18:09:24 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[Descubrí a Berger gracias a mi amiga Rosario. Me había contado una vez, hablando de las experiencias de mirar animales en Africa, que este libro tenía artículo sobre los animales en el zoológico. Coincidíamos en que mirar un animal en su &quot;entorno supuestamente natural&quot;, te cambia muc...<a href="http://www.goodreads.com/review/show/23472644">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/23472644]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/23472644]]></link>
</review>
      <review>
  <id>41168443</id>
    <user>
    <id>154266</id>
    <name><![CDATA[Rick]]></name>
    <location><![CDATA[New York, NY]]></location>
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    <![CDATA[About Looking]]>
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    <![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]>
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    <rating>3</rating>
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  <date_updated>Mon Dec 29 07:18:48 -0800 2008</date_updated>
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    <body><![CDATA[Return to my old intro to Art Theory; 'old' being the key word here... mindblowing thoughts from the late 1970s. ]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/41168443]]></url>
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      <review>
  <id>55049452</id>
    <user>
    <id>848441</id>
    <name><![CDATA[Erdem]]></name>
    <location><![CDATA[Vancouver, Canada]]></location>
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    <![CDATA[About Looking]]>
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    <![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]>
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  <read_at>Wed May 06 00:00:00 -0700 2009</read_at>
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    <body><![CDATA[Tell me something I don't know Berger, tell me something I don't know... Visual culture fully dumbed down.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/55049452]]></url>
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      <review>
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    <![CDATA[About Looking]]>
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    <![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]>
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  <read_at>Fri Jan 01 00:00:00 -0800 1999</read_at>
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  <date_updated>Sat Jan 24 03:43:13 -0800 2009</date_updated>
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    <body><![CDATA[Great essays. My favourite is a description of a field in the last essay. I will never forget it.]]></body>
    
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    <![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]>
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  <read_at>Sun Apr 27 00:00:00 -0700 2008</read_at>
  <date_added>Tue Apr 29 07:30:07 -0700 2008</date_added>
  <date_updated>Tue Apr 29 07:33:13 -0700 2008</date_updated>
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    <body><![CDATA[Well I bought this book for the photo essays, I loved it for all the essays. Very insightful and well-written, it, as good criticism does, made me feel my ignorance of that which I didn't know - which was a lot - and made me want to learn more. I should have read it before traveling Paris and Floren...<a href="http://www.goodreads.com/review/show/21240731">more...</a>]]></body>
    
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    <![CDATA[About Looking]]>
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    <![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]>
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  <read_at>Mon Jan 01 00:00:00 -0800 2007</read_at>
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    <body><![CDATA[Berger's insights can be profound, but too often they seem to get bogged down in Marxist rhetoric and theory. I'd go so far to say that he's overrated, but at least he has a point of view and a well-argued one. I'd stick with his beguiling fiction instead.]]></body>
    
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    <![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]>
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    <body><![CDATA[the essay &quot;looking at animals&quot; is really fascinating. chances are you'll have some problems with what Berger has to say about looking (at women in particular), but if you are interested in visual culture and spectacle, you'll get much from reading this book. ]]></body>
    
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    <![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]>
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    <body><![CDATA[Berger.  Need more be said?]]></body>
    
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    <![CDATA[here is great stillness in Berger's prose. But after a few pages, his statements start to sing and go on singing.&quot; -- New Republic<p>As a novelist, art critic, and cultural historian, John Berger is a writer of dazzling eloquence and arresting insight whose work amounts to a subtle, powerful critique of the canons of our civilization. In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti? In asking these and other questions, Berger quietly -- but fundamentally -- alters the vision of anyone who reads his work.<p>&quot;Instant readability ... [Berger] makes one see [paintings] as statements or questions in a living language.&quot; -- New Statesman</p></p>]]>
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