壹、西文部分
一、肖像與自我肖像
Aubenas, Sylvie & Anne Biroleau, Portraits/ Visages 1853-2003 (Paris: Bibliothèque nationale de France/ Gallimard, 2003).
Auslander, Philip, Liveness: Performance in a Mediatized Culture (London and New York: Routledge, 1999).
Bajac, Quentin, Tableaux vivants: Fantasies photographiques victoriennes, 1840-1880 (Paris: RMN, 1999).
Bajac,Quentin, Denis Canguilhem et Sylvie Aubenas, eds., Le photographe photographié: L’autoportrait en France, 1850-1914 (Paris- Musées: Maison Européenne de la Photographie, 2004).
Barrows, Susanne, Distorting Mirrors: Visions of the Crowd in Late Nineteenth- Century France (New Haven: Yale University Press, 1981).
Beaujour, Michel, Poetics of the Literary Self-Portrait, trans. by Yara Milos (New York: New York University Press, 1991).
Benjamin, A., “Interpreting Reflections: Painting Mirrors,” in Art, Mimesis and the Avant-garde: Aspects of a Philosophy of Difference (London: Routledge, 1991), pp. 7-41.
Berger, John, “The Changing View of Man in the Portrait,” The Look of Things (New York: Viking, 1974), pp. 35-41.
Beyer, Andreas, Portraits: A History (New York: Harry N. Abrams, 2003).
Billeter, Erika, ed., Self-Portrait in the Age of Photography (Lausanne: Intl Center of Photography, 1985).
Bonnafoux, Pascal, Les Peintres et L’Autoportrait (Genève: Skira, 1984).
──, Moi: Autoportraits du XXe siècle (Paris: Skira/ musée du Luxembourg, 2004).
Bougnoux, Daniel, ed., Les Cahiers de médiologie 15. faire Face (Paris: Gallimard, 2002).
Brilliant, Richard, Portraiture (Cambridge, Mass.: Harvard University Press, 1991).
Brooke, Xanthe, Face to Face: Three Centuries of Artist’s Self-Portraiture (Liverpool: National Museums & Galleries on Merseyside, 1994).
Calabresse, Omar, trans. by Marguerite Shore, Artists’ Self-Portraits (New York: Abbeville Press, 2006).
Chevrier, Jean-François and Jean Sagne, “L'autoportrait comme mise en scène,” Photographies, n. 4, ( avril 1984), pp. 44-82.
Clarke, Graham, ed., The Portrait in Photography (Seattle, Washington: University of Washington Press, 1992; London: Reaktion Books, 1997).
Courtine, Jean-Jacques and Claudine Haroche, Histoire du visage: Exprimer et taire ses emotions, XVIe – début XIXe siècle (Paris: Editions Rivages, 1988).
Derrida, Jacques, Memoirs of the Blind: The Self-Portrait and Other Ruins, trans. by Pascale-Anne Brault & Michael Naas (Chicago & London: The University of Chicago Press, 1993).
Ewing, William A., Face: The New Photographic Portrait (London: Thames & Hudson, 2006).
Face à face: Portraits d’artistes dans les collections publiques d’Île-de-France (Paris: Somogy Édition d’art, 1998).
Gombrich, E. H., “The Mask and the Face: The Perception of Physiognomic Likeness in Life and Art,” Art, Perception, and Reality (Baltimore: Johns Hopkins University Press, 1972), pp. 1-46.
Hartley, Lucy, Physiognomy and the Meaning of Expression in Nineteenth-Century Culture (Cambridge: Cambridge University Press, 2001).
Heilbrun, Françoise, ed., Figures and Portraits: Photography at the Musée d’Orsay (Paris: Musée d’Orsay, 2006).
Heppner, Irene, Bibliography on Portraiture: Selected Writing on Portraiture as an Art Form and as Documentation (Boston, MA: G. K. Hall, 1990).
Jordanova, Ludmilla, Defining Features: Scientific and Medical Portrait 1600-2000 (London: Reaktion, 2000).
Kelly, Sean & Edward Lucie-Smith, eds., The Self-Portrait: A Modern View (London: Sarema Press Publishing Limited, 1987).
Kemp, Cornelia & Susanne Witzgall, Das Zweite Gesicht. The Other Face: Metamorphoses of the Photographic Portrait (New York: Prestal Publishing Ltd., 2002).
Kozloff, Max, The Theatre of the Face: Portrait Photography since 1900 (N. Y. : Phaidon, 2007).
Lassam, Robert, ed., Portrait and the Camera (London: Studio Edition, 1989).
Levine, Steven Z., “The Crisis of Resemblance: Portraits and Paintings during the Second Empire,” Arts Magazine 53 (Dec. 1978), pp. 90-93.
Lingwood, James, Staging the Self: Self-Portrait Photography, 1840-1980 (London: National Portrait Gallery, 1986).
Maddow, Ben, Faces: A Narrative History of the Portrait in Photography (Boston: New York Graphic Society, 1977).
Man, Paul de, “Autobiography as De-Facement,” The Rhetoric of Romanticism (New York: Columbia University Press, 1984), pp. 67-81.
Masclet, Daniel, Le portrait en photographie (Paris: Publications Photo-Revue, 1971).
Mauner, George, “Self-portrait Without Mirror,” in Kathlenn Collins, eds., Shadow and Substance: Essays on the History of Photography in Honor of Heinz K. Henisch (New Mexico: The Amorphous Institute Press, 1990).
McPherson, Heather, The Modern Portrait in Nineteenth-Century France (Cambridge: Cambridge University Press, 2001).
Meaux, Danièle and Jean-Bernard Vray, Traces photographiques, traces autobiographiques ( Saint-Étienne: Publications de l'université de Saint-Étienne, 2004).
Nairne, Sandy and Sarah Howgate, The Portrait Now (London: National Portrait Gallery; New Haven: Yale University Press, 2006).
Pommier, Édouard, Théories du portrait de la Renaissance aux Lumières (Paris: Gallimard, 1998).
Roche, Denis et Alain Sayag, Autoportraits photographiques, 1898-1981 (Paris: Centre Georges-Pompidou/ Éditions Herscher, 1981).
Roquencourt, Jacques & André Gunthert, “Notes sur le portrait de M. Huet, ”Études photographiques, no. 6 ( 1999), pp. 139-142.
Sagne, Jean, “L’exotisme dans le portrait photographique au XIXe,” Revue de la Bibliothèque nationale, n. 1 (sept. 1981), pp. 27-36.
Schaeffer, Jean-Marie, “Du portrait photographique,” in Portraits, singulier, plurier 1980-1990. Le photograph et son modèle (Paris: Bibliothèque nationale de France, 1997), pp. 9-25.
Schneider, Norbert, The Art of the Portrait (Cologne: Benedikt Taschen Verlag GmbH, 1992).
Sobieszek, Robert A., The Camera I, Photographic Self-Portraits from the Collection of Audrey and Sidney Irmas (L. A. & N. Y.: Los Angeles County Musuem & Abrams, 1994).
Steiner, Wendy, “The Semiotics of a Genre: Portraiture in Literature and Painting,” Semiotica, 21 (1977), pp. 111-119.
Töpffer, Rodolphe, Essai de physiognomonie (Cahors: Edition Kargo, 2003).
Wechsler, Judith, A Human Comedy: Physiognomy and Caricature in 19th Century Paris (London: Thames and Hudson, 1982).
──, ed., Daumier (Paris: Flammarion, 1999).
Weisberg, Gabriel, “The Cult of Personal Portraiture,” The Art of the July Monarchy (Columbia: University of Missouri Press, 1990), pp. 131-47.
Welchmen, John, “Face(t)s: Notes on Faciality,” Art Forum 27, no. 3 (Nov. 1988), pp. 131-38.
Wendorf, Richard, The Elements of Life (New York: Oxford University Press, 1990).
West, Shearer, Portraiture (Oxford & New York: Oxford University Press, 2004)
Wey, Francis, “Théorie du Portrait, ” La Lumière, no. 12 ( 27 April, 1851), trans. by Ambrose Andrews, The Photographic Art Journal 5, no. 1 (Jan. 1853), pp. 33-36; no. 2 (Feb. 1853), pp. 104-109.
Woodall, Joanna, ed., Portraiture: Facing the Subject (Manchester: Manchester University Press, 1997).
Woods-Marsden, J., Renaissance Self-Portraiture: The Visual Construction of Identity and the Social Status of the Artist (New Haven & London: Yale University Press, 1998).
Word and Image: Verbal and Visual Portraiture 6, no.4 (1990).
二、攝影史與攝影總論
Bagué, Dominique, La Photographie plasticienne (Paris: Editions du Regard, 1998).
Ballerini, Julia, “Recasting Ancestry: Statuettes as Imaged by Three Investors of Photography,” in Anne Walter Lowenthal, ed., The Object as Subject: Studies in the Interpretation of Still Life (Cambridge, Mass.: Princeton University Press, 1996).
Bann, Stephen, Parallel Lines. Printmakers, Painters and Photographers in Nineteenth-Century France (New Haven & London: Yale University Press, New Haven, 2001).
Barger, M. Susan and William Blaine White, The Daguerreotype: Nineteenth-Century Technology and Modern Science (Washington, D. C.: The Smithsonian Institute, 1991).
Batchen, Geoffrey, “Le Petit Mort: Photography and Pose,” San Francisco Camerawork Quarterly 15, no. 1 (Spring 1988), pp. 3-6.
──, “The Naming of Photography: ‘A Mass of Metaphor’,” History of Photography, vol. 17, no. 1 ( Spring 1993), pp. 22-32.
──, Burning with Desire: The Conception of Photography (Cambridge, Mass.: The MIT Press, 1999).
Beaton, Cécil & Gail Buckand, The Magic Images: The Genius of Photography from 1839 to the Present (Boston: Little Brown and Cie, 1975).
Bergeret, Albert, et Félix Drouin, Les Récréations photographiques (Paris: Charles Mendel, 1891).
Boisjoly, François, La photo-carte: portrait de la France du XIXe siècle (Lyon: Lieux dits, 2006).
──, Répertoire des photographes Parisiens du XIXe siècle (Paris: Les Éditions de l’Amateur, 2009).
Bolton, R., ed., Contest of Meaning: Critical Histories of Photography (Cambridge, Mass.: The MIT Press, 1992).
Bourdieu, Pierre, Photography: A Middle-Brow Art, trans. by Shaun Whiteside (Cambridge, UK: Polity Press, 1990).
Brunet, François, La Naissance de l’idée de photographie (Paris: Presses Universitaires de France, 2000).
Buerger, Janet E., French Daguerreotypes (Chicago and London: The University of Chicago Press, 1989).
Bulletin de la société française de Photographie ( 1855-1914).
Cartier-Bresson, Anne, eds., Le Vocabulaire technique de la photographie (Marval : Pairs Musées, 2008).
Chaplot, Charles, La Photographie récréative et fantaisiste. Recueil de divertissements, trucs, passe-temps photographiques (Paris: Charles Mendel, 1904).
Chernhoff, Georges et Sarbin Hershel, Photography and the Law (New York: Amphoto, 1967).
Chéroux, Clément, “Les recreations photographiques: Un répertoire pour les avant-gardes,” Études photographiques, n. 5 ( nov. 1998), pp. 73-96.
Chéroux, Clément, Andreas Fischer, Pierre Apraxine, Denis Canguilhem & Sophie Schmit, Le Troisième oeil: La photographie et l'occulte (Paris: Éditions Gallimard, 2004).
Chéroux, Clément, Fautographie: Petite histoire de l'erreur photographique (Crisnée: Yellow Now, 2003).
Chevrier, Jean- François, et Jean Sagne, “Essai sur l’identité, l’exotisme et les excès photographiques,” Photographies, no. 4 ( avril 1984), pp. 45-82.
Choinière, France, and Michèle Thériault, eds., Point and Shoot: Performance and Photography (Montreal: Dazibao, 2005).
Coke, Van Deren, The Painter and the Photograph (Albuquerque: University of New Mexico, 1964).
Collins, Kathlenn, eds., Shadow and Substance: Essays on the History of Photography in Honor of Heinz K. Henisch (New Mexico: The Amorphous Institute Press, 1990).
De Mondenard, Anne, La mission héliographique: cinq photographes parcourent la France en 1851 (Paris: Centre des monuments nationaux, 2002).
Denton, Margaret, “Francis Wey and the Discourse of Photography as Art in France in the Early 1850s: 'Rien n'est beau que le vrai; mais il faut le choisir',” Art History, vol. 25, issue 5 ( Dec. 2003), pp. 622-48.
Éclats d’histoire: les collections photographiques de l’institute de France, 1839-1918 (Actes Sud: Institute de France, 2003).
Eder, Josef Maria, History of Photography, trans. by Edward Epstean (New York: Columbia University Press, 1945; New York: Dover Publications, 1978).
──, La Photographie instantanée (New York: Arno Press, 1979).
Frizot, Michel & Françoise Ducros, eds., Du bon usage de la photographie: Une anthologie de texts (Paris: Centre National de la Photographie, 1987).
Frizot, Michel & Robert Delpire, Histoire de voir: de l’invention de la photographie, 1839-1880 (Paris: Centre national de la photographie, 1989).
Frizot, Michel, ed., 1839: La photographie révélee (Paris: Centre Natioale de la Photographie, 1989).
──, ed., A New History of Photography (Koln: Konemann, 1998).
Galassi, Peter, Before Photography: Painting and the Invention of Photography (New York: Museum of Modern Art, 1981).
Gernsheim, Helmut and Alison, The History of Photography: 1850-1880, 2 vols. (London: Thames & Hudson, 1955; vol. 1–The Origins of Photography, 1982; vol. 2-The Age of Collodion, 1988).
Gervais, Thierry et Gaëlle Morel, La Photographie: Histoire, Techniques, Art, Presse (Paris: Larousse, 2008).
Godeau, Abigail Solomon-, Photography at the Dock: Essays on Photographic History, Institution, and Practices (Minneapolis: University of Minnesota Press, 1991).
Goldberg, Vicki, ed., Photography in Print: Writings from 1816 to the Present (New Mexico: University of New Mexico Press, 1988).
Hannavy, John, ed., Encyclopedia of Nineteenth-Century Photography (London: Routledge, 2007).
Heilbrun, Françoise et Philippe Néagu, Musée d’Orsay: Chefs-d’œuvre de la collection photographique (Paris: Philippe Sers Réunion des Musées nationaux, 1986).
Heilbrun, Françoise, Philippe Néagu et Bernard Marbot, L’invention d’un regard 1839-1918 (Paris: Edition de la RMN, 1989).
Henisch, Heinz K. and Bridget A. Henisch, The Photographic Experience, 1839-1914: Images and Attitudes (University Park, Pennsylvania: The Pennsylvania State University Press, 1994).
Hirsch, Robert, Seizing the Light: A History of Photography (London: McGraw-Hill, 1999).
Jammes, André and Eugenia Parry Janis, The Art of French Calotype (Princeton, NJ: Princeton University Press, 1983).
Jammes, André and Robert Sobieszek, French Primitive Photography (New York: Aperture, 1970).
Johnson, Geraldine A., Sculpture and Photography (Cambridge: Cambridge University Press, 1998).
Keller, Ulrich F., “The Myth of Art Photography: A Sociological Analysis,” History of Photography ( January-Februry 1985), pp. 1-38.
──, “The Myth of Art Photography: An Iconographic Analysis,”History of Photography, vol. 8, no. 4 ( October-December 1984), pp. 249-56.
Kozloff, Max, The Privileged Eye: Essays on Photography (Albuquerque: University of New Mexico Press, 1987).
Krauss, Rolf H., Beyond Light and Shadow. The Role of Photography in Certain Paranormal Phenomena: A Historical Survey (Munich: Nazraeli Press, 1995).
L’Ecotais, Emmanuelle de, et Alain Sayag, Man Ray: Photography and Its Double (Paris: Centre Georges Pompidou; Corte Maderna, CA.: Gingko Press, Inc., 1998).
La Lumière ( 1851-1880).
Lemagny, Jean-Claude and Raymond Lécuyer, A History of Photography: Social and Cultural Perspectives (Cambridge and New York: Cambridge University Press, 1987).
Lewis, Jennifer Green-., Framing the Victorians: Photography and the Culture of Realism (Ithaca and London: Cornell University Press, 1996).
Marien, Mary Warner, Photography and Its Critics: A Cultural History, 1839-1900 (Cambridge: Cambridge University Press, 1997).
──, Photography: A Cultural History (London: Lawrence King Publishing, 2002).
McCauley, Elizabeth A. E., “ ‘Merely Mechanical’: On the Origins of Photographic Copyright in France and Great Britain,” Art History, vol. 31, no. 1 (Feb. 2008), pp. 57-78.
──, “Caricature and Photography in Second Empire Paris,”Art Journal (Winter 1983), pp. 355-60.
──, Industrial Madness: Commercial Photography in Paris, 1848-1871 (New Haven & London : Yale University Press, 1994).
──, Likenesses: Portrait Photography in Europe, 1850-1870 (Albuquerque: Art Museum, University of New Mexico, 1980).
Mondenard, Anne de, “Entre romantisme et réalisme. Francis Wey (1812-1882), critique d’art,” Études photographiques, no. 8 ( nov. 2000), pp. 22-43.
Nadeau, Luis, Encyclopedia of Printing, Photographic and Photochemical Processes, 2 vols. (New Brunswick, Frederiction: Luis Nadeau, 1989).
Néagu, Philippe, ed., La Mission héliographique: Photographies de 1851 (Paris: Inspection générale des musées classés et contrôlés, 1980).
Newhall, Beaumont, ed., Photography: Essays & Images. Illustrated Reading in the History of Photography (New York: Museum of Modern Art, 1980).
──, ed., The History of Photography: From 1839 to the Present (New York: Museum of Modern Art, 1982).
Novak, Daniel A., Realism, Photography and Nineteenth-Century Fiction (Cambridge & New York: Cambridge University Press, 2008).
Pauli, Lori, ed., Acting the Part: Photography as Theatre (London & New York: Merrell Publishers, 2006).
Peter E. Palmquist, ed., Photographers : A Sourcebook for Historical Research. Featuring Richard Rudisill's Directories of Photographers: An Annotated Bibliography (Nevada City: Carl Mautz, 2000).
Pinney, C. & N. Peterson, eds., Photography’s Other Histories: Objects and Histories (Durham: Duke University Press, 2003).
Pultz, John, The Body and the Lens: Photography 1839 to the Present (New York: Calmann and King Ltd., 1995).
Quentin Bajac et Planchon-de Font-Réaulx, eds., Le Daguerréotype français: Un objet photographique (Pairs: Réunion des musées nationaux, 2003).
Rabb, Jane M., Literature and Photography: Interactions, 1840-1990 (Albuquerque : University of New Mexico Press, 1995).
Regards su la photographie en France au XIXe siècle. 180 chefs-œuvre du Départment des estampes et de la photographie (Paris: Berger-Levranlt, 1980).
Roosens, Laurent & Luc Salu, eds., History of Photography: A Bibliography of Books (London: Mansell, 1989-1994).
Rosenblum, Naomi, A World History of Photography (New York & London: Abbeville Press Publishers, 1997).
Roubert, Paul-Louis, L’image sans quailté: Les beaux-arts et la critique à l’épreuve de la photographie 1839-1859 (Paris : MONUM/Édition du patrimoine, 2006).
Rouillé, André et Marbot, B., Le Corps et son image: photographies du dixneuvième siècle (Contrejour: Bibliothèque nationale Maison de la culture de La Rochelle et du Centre Ouest, 1986).
Rouillé, André, L’Empire de la photographie, 1839-1870 (Paris: Le Sycomore, 1982).
──, La photographie en France, textes et contriverses: Une anathologie, 1816-1874 (Paris: Macula, 1989).
Sagne, Jean, Delacroix et la photographie (Paris: Herscher, 1982).
──, L’Atelier du photographe:1840-1940 (Paris: Presses de la Renaissance, 1984).
Scharf, Aaron, Art and Photography (London: The Penguin Books, 1968).
Schwarz, Heinrich& William E. Parker, eds., Art and Photography: Forerunners and Influences (Chicago and London: The University of Chicago Press, 1985).
Seiberling, Grace, Amateurs, Photography and the Mid-Victorian Imagination (Chicago, IL: University of Chicago Press, 1986).
Sicard, Monique, “La photographie scientifique, les académismes et les avant-gardes. Les conditions d’une convergence,” Alliage: l’Image dans la science, no. 39 (été 1999).
Sobieszek, Robert A., ed., Ghost in the Shell: Photograph and the Human Soul, 1850-2000 (Cambridge, Mass.: Los Angeles County of Art & The MIT Press, 1999).
──, Masterpieces of Photography from the George Eastman Collection (New York: Abbeville Press, 1985).
Szarlowski, John, Looking at Photographs: 100 Pictures from the Museum of Modern Art (New York: Museum of Modern Art, 1973).
──, Photography Until Now (New York: The Museum of Modern Art , 1989).
──, The Photographer’s Eye (New York: Museum of Modern Art, 1966).
Thomas, Alan, Time in a Frame: Photography and the Nineteenth-Century Mind (New York: Schoken Books, 1977).
Trachtenberg, Alan, “Mirror in the Marketplace: American Responses to the Daguerreotype, 1839-1851,” in John Wood, ed., The Daguerreotype (Iowa City: University of Iowa Press, 1989), pp. 60-73.
──, ed., Classic Essays on Photography (New Haven: Leete’s Island Books, 1981).
Weaver, Mike, ed., British Photography in the Nineteenth Century: the Fine Art Tradition (Cambridge, UK: Cambridge University Press, 1989).
Witkovsky, Matthew S., “Circa 1930. Histoire de l’art et nouvelle photographie,” Études photographiques, no. 23 ( 23 mai 2009), pp. 116-38.
三、攝影理論與美學
Barthes, Roland, Camera Lucida: Reflections on Photography (New York: Hill and Wang, 1981).
Baudrillard, Jean, “Photography, Or the Writing of Light, ” Impossible Exchange (London: Verso, 2001).
Benjamin, Walter, “The Work of Art in the Age of Mechanical Reproduction,” in Illuminations: Essays and Reflections (New York: Schoken Books, 1968), pp. 217-51.
Bergson, Henri, Le Rire. Essai sur la signification du comique (Paris: PUF, 1981).
Burgin, Victor de., Thinking Photography (Hampshire & London: MacMillan Press Ltd., 1982).
Derrida, Jacques, The Truth in Painting, trans. by Geoff Bennington & Ian McLeod (Chicago & London: The University of Chicago Press, 1987).
──, Writing and Difference (Chicago: University of Chicago Press, 1978).
Dubois, Philippe, L’Acte photographique et autres essais (Bruxelles: Editions Nathan, 1990).
Elkins, Jammes, ed., Photography Theory (London: Routledge & New York: Taylor & Francis Group, 2007).
Flusser, Vilem, Towards a Philosophy of Photography (Göttingen: European Photography, 1984).
Gadamar, Hans-Goerg, “The Ontology of the Work of Art and Its Hermeneutic Significance,” Truth and Method, trans. by Joel Weinsheimer and Donald Marshall (London: Continuum International Publishing Group, 1989).
Guilbert, Hervé, L’Image fantome (Paris: de Minuit, 1981).
Hegel, Phenomenology of Mind, trans. by J. B. Baillie, 2 vols. (New York: Cosimo Inc., 2006).
Krauss, Rosalind, “Notes on the Indexes: Part 1, Part 2,” in The Originality of the Avant-Garde and Other Modernist Myths (Mass. Cambridge: The MIT Press, 1985), pp. 196-209, 210-19.
──, Le Photographique: Pour une Théorie des Ecarts (Paris : Editions Macula, 1990).
Landais, Napoléon, Dictionnaire général et grammatical des dictionnaires français (Paris: Didier, 1847).
Mitchell, W. J. T., “Showing Seeing: A Critique of Visual Culture,” in N. Mirzoeff, eds., The Visual Culture Reader (London & New York: Routledge, 2002).
Newman, Michael, Vision as Metaphor: Towards a Fragmentary History, in The Mirror and the Lamp (Edinburgh: The Fruitmarket Gallery, 1986).
Schaffer, Jean-Marie, “La photographie entre vision et image,” in Valérie Picaudé et Philippe Arbaïzar, eds., La Confusion des genres en photographie (Paris: Bibliothèque nationale de Paris, 2001), pp. 14-19.
Sontag, Susan, On Photography (Doubleday: An Anchor Books, 1973).
──, Under the Sign of Saturn (New York: Vintage Books, 1978).
Tagg, John, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of Massachusetts Press, 1988).
Tisseron, Serge, Le Mystère de la chamber claire: photographie et inconscient (Paris: Les Belles Lettres/ Archimbaud, 1996).
四、攝影師個別研究
A、Hippolyte Bayard (1801-1887)
Batchen, Geoffrey, “Le noyé,” Burning with Desire: The Conception of Photogrpahy (Cambridge, Mass.: The MIT Press, 1997), pp. 143-73.
Boyé, Michel, et Jean Alain, Pionneers méconnus de la photographie, en homme à Hippolyte Bayard et Louis Ducos du Hauron (Bordeaux: Musée des Douanes, 1989).
Frizot, Michel, “The Parole of the Primitives: Hippolyte Bayard and French Calotypists. La Parole de primitifs ( à propos d’Hippolyte Bayard et des calotypistes français), History of Photography, vol. 6, no. 4 ( Winter 1992), pp. 358-70.
Gautrand, Jean-Claude & Michel Frizot, Hippolyte Bayard: Naissance de l’image photographique (Amiens: Trois Cailloux, 1986).
Jammes, André, Ein verkannter Erfinder und Meister der Photographie (Lucerne: Bucher, 1975).
Keeler, Nancy B., “Hippolyte Bayard: aux origines de la photographie et de la ville moderne,” La Recherche Photographie, no. 2 ( May 1987), pp. 7-17.
──, Cultivating Photography: Hippolyte Bayard and the Development of a New Art (Austin: University of Texas diss., 1991).
Lo Duca, Giuseppe Maria, Bayard. Portrait par Amaury Duval (Paris: Prisma, 1943).
Passafiume, Tania, “Le positif directe de Hippolyte Bayard reconstitué, ” Études Photographiques, 12 (novembre 2002), pp. 98-108.
Poivert, Michel., “Hippolyte Bayard et la préhistoriographique de la photographie, ” Revue de l’Art, 141/3 ( 2003), pp. 25-30.
Sapir, Michel, “The Impossible Photograph: Hippolyte Bayard’s Self-Portrait as a Drowned Man,”Modern Fiction Studies, 40/3 ( 1994), pp. 619-629.
Steinert, Otto, Hippolyte Bayard. ein Erfinder der Photographie (Essen: Folkwang Museum, 1959).
B、La Comtess de Castiglione (1837-1921)
Apraxine, Pierre and Xavier Demange, eds., La Divine Comtesse: Photographs of the Countess de Castiglione (New Haven and London: Yale University Press, 2000).
Godeau, Abigail Solomon-, “The Legs of the Countess,” in Emily Apter and William Pietz, eds., Fetishism as Cultural Discourse (Ithaca and London: Cornell University Press, 1993), pp. 266-306.
La contessa di Castiglione e il suo tempo (Cinisello Balsamo: Silvana; Torino: Regione Piemonte, 2000).
McPherson, Heather, “La Divine Comtesse: (Re)presenting the Anatomy of a Courtesan,” The Modern Portrait in Nineteenth-Century France (Cambridge: Cambridge University Press, 2001), pp. 38-75.
Merz, Christian, “Photography and Fetish,” in October, 34 ( Fall 1985), pp. 81-90.
Montesquiou-Fezensac, Robert de, La Divine comtesse: étude d'après Mme la comtesse de Castiglione (Paris: Manzi, Joyant et Cie, 1913).
C、Louis Jacques Mandé Daguerre (1787-1851)
Daguerre, 1787-1851 (Paris : Bibliothèque Nationale George Eastman House, 1961).
Daguerre, Louis Jacques Mandé, An Historical and Descriptive Account of the Various Processes of the Daguerreotype and the Diorama (Paris: Alphonse Giroux Et Cie, 1839; New York: Winter House, 1971).
Gernsheim, Alison and Helmut, L. J. M. Daguerre: The History of Diorama and the Daguerreotype (New York: Dover Publications, 1969).
Louis Daguerre. Le Magicien de l’image, 1851-2001 (Bry-sur-Marne: Ville de Bry-sur-Marne, 2001).
Pinson, Stephen C., “Daguerre, expérimentateur du visuel,” Études photographiques, 13 ( juillet 2003), pp. 2-5.
Pinson, Stephen C., Speculating Daguerre: Art and Entreprise in the Work of L. J. M. Daguerre (Chicago: Univerisity of Chicago Press, 2007).
Stephen C. Pinson, “Trompe l’œil: Photography’s Illusion Reconsidered,” Nineteen-Century Art Worldwide, vol. 1, issue 1 ( spring 2002).
Potonniée, Georges, “Daguerréotypomanie,” La Revue Française de Photographie, Paris ( 15 aoüt 1921)
Potonniée, Georges, Daguerre, peintre et décorateur (Paris: Paul Montel, 1935).
D、André-Adolphe-Eugène Disdéri (1819-1889)
Disdéri, André-Adolphe-Eugène, “Sur le portrait photographique”(1862), in Michel Frizot & Françoise Ducros, eds., Du bon usage de la photographie. Un anthologie de textes ( Paris: Centre National de la Photographie, 1987), pp. 37-48.
──, Application de la photographie à la reproduction des œuvres d’art (Paris: Disdéri, 1861).
──, L’Art et la photographie (Paris: Disdéri, 1861).
──, Manuel opératoire de photographie sur collodion instantané (Paris: A. Gaudin, 1853).
──, Renseignements photographie indispensable à tous (Paris: produced by the author, 1855).
Frizot, Michel, ed., Identités: de Disdéri au Photomaton (Paris: Centre national de la photographie/ Édition du Chêne, 1985).
McCauley, Elizabeth A. E., Disdéri and the Carte-de-visite Portrait Photograph (New Haven, CT: Yale University Press, 1985).
Sobieszek, Robert A., “Composite Images and the Origins of Photomontage: Part II, The Formalist Strain,” Art Forum, vol. 17 ( Oct. 1978), pp. 40-44.
F、Guillaume-Benjamin-Amant Duchenne (1806-1875)
Boulogne, G. –B. Duchenne de, The Mechanism of Human Facial Expression, Studies in Emotions and Social Interaction, Cuthbertson, R. Andrew, ed. (Cambridge & New York: Cambridge University Press, 1990).
Catherine, Mathon, ed., Duchenne de Boulogne, 1806-1875 (Paris: École nationale supérieure des beaux-arts, 1999).
Debord, Jean-François, “Le mécanisme de la physionomie humaine: la vie et l’œuvre de Duchenne de Boulogne, ” in L’Âme au corps, arts et sciences, 1793-1993 (Paris: Réunion des musées nationaux, 1993), pp. 412-19.
Duchenne de Boulogne, De l’électricité localisée et de son application à la physiologie, à la pathologie et à la thérapeutique (Paris: Baillière, 1855).
Jammes, André, “Duchenne de Boulogne, la grimace provoquée et Nadar, ” Gazette des Beaux-Arts, no. 1319 tome 92 ( décembre 1978), pp. 215-20.
Luxenberg, Alisa, “ ‘The Art of Correctly Painting the Expressive Lines of the Human Face’, Duchenne de Boulogne’s Photographs of the Human Expression and the École des beaux-arts,” History of Photography, 25/2 ( 2001), pp. 201-12.
G、Victor Hugo ( 1802-1885)
Blondel, Madeleleine & Pierre Georgel, eds., Victor Hugo et les images (Dijon: aux amateurs de livres, 1989).
Gaudon, Sheila, “Victor Hugo et la photographie: les débuts de l’atelier photographique de Jersey (1855),”Bérénice, no. 7 ( 1995), pp. 11-23.
Georgel, Pierre, “Les images,” La Gloire de Victor Hugo (Paris: Galeries nationales du Grand Palais, 1985), pp. 64-157.
Gisbourne, Mark, “Le spiritisme chez Victor Hugo, Justinus Kerner et quelques autres,” in Jean Clair, ed., L’Âme au corps. arts et sciences, 1793-1993 (Paris: RMN & Gallimard/ Electa, 1993), pp. 488-99.
Heilbrun, Françoise and Danielle Molinari, En collaboration avec le soleil: Victor Hugo Photographies de l’exil (Paris: Maison de Victor Hugo, Paris-Musée/ RMN, 1998).
Heilbrun, Françoise and Philippe Néagu, “L’Atelier de photographie de Jersey,” Victor Hugo et les images. Colloque de Dijon (Dijon: Ville de Dijon, 1989), pp. 185-96.
Lacan, Ernest, “Vues de Jersey par MM. Hugo frères et Auguste Vacquerie,” La Lumière, no. 41 ( 8 Octobre 1853)
Le Théatre de Victor Hugo mis en scène (Paris: Paris musées, 2002).
Neagu, Philippe, “Un projet photographique de Victor Hugo,” Photographies, no. 5 ( 1983), pp. 55-61.
Prévost, Marie-Laure, ed., L’Homme Océan (Paris: Bibliothèque nationale de France, 2004).
Souvenirs de Jersey, Photographies de Charles Hugo et Auguste Vacquerie (Paris: Galerie Octant 1980).
Stevens, Philip, Victor Hugo in Jersey (Chichester: Phillimore & Co., 1985, 2002).
G、Félix Nadar (Gaspard-Félix Tournachon，1820-1910)
Baldwin, Gordon & Judith Keller, Nadar-Warhol, Paris-New York: Photography and Fame (Los Angeles: J. Paul Getty Museum, 1999).
Bouillon, Jules, Catalogue d’albums, lithographies et eaux-fortes, provenant de la collection de M. Nadar (Paris: D. Dumoulin et Cie, 1895).
Chevallier, Alix & Jean Adhémar, Nadar (Paris: Bibliothèque Nationale de France, 1965).
Chotard, Loïc, Nadar: Caricatures et photographies (Paris: Paris-musées & Maison de Balzac, 1990).
Gosling, Nigel, Nadar (New York: Knopf, 1976).
Greaves, Roger, Nadar, ou le paradoxe vital (Paris: Flammarion, 1980).
Heilbrun, Françoise, Maria Morris Hambourg et Philippe Néagu, Nadar: Les Années créatrices, 1854-1860 (Paris: Édition de la Réunion des Musées Nationaux, 1994).
Heilbrun, Françoise, Maria Morris Hambourg, Philippe Néagu, eds., Nadar (New York: The Metropolitan Museum of Art, 1995).
Jammes, André, Nadar (Paris: Centre national de la photographie, 1983).
Kozloff, Max, “Nadar and the Republic of the Mind,” Artforum 15 (sept. 1976), pp. 28-39.
Krauss, Rosalind, “Tracing Nadar,” October, no. 5 (1978), pp. 29-47.
Mellot, Philippe, Paris sens dessus-dessous: Marveille et Nadar, photographies 1852-1870 (Neuilly, V & O: Editions de Lodi, 2001).
Nadar, Panthéon-Nadar: Albums photographiques (Paris-Leipzig, 1930).
Nadar, Quand j’étais photographe (Paris: Flammarion, 1899; New York: Arno Press, 1979; Pairs: Seuil, 1994 ).
Néagu, Philippe et Jean-Jacques Poulet-Allamagny, Les Parisian souterrain de Félix Nadar, 1861 (Paris: Caisse nationale des monuments historiques et des sites, 1982).
Néagu, Philippe, Jean-Jacques Poulet-Allamagny et Jean-François Bory, Nadar, 2 tomes (Paris: Arthur Hubschmid, 1979).
Peeters, Benoît, Les Métamorphoses de Nadar (Auby-sur-Semois: Marot, 1994).
Prinet, Jean et Antoinette Dillasser, Nadar (Paris: Armand Colin, 1966).
Rouillé, André, ed., Nadar. Correspondance, 2 vols. (Nîmes: J. Chambon, 1998).
Schneider, Pierre, The Many-Sided M. Nadar (New York: Stable Gallery, 1955).
H、其他攝影師
Adhémar, Jean, “ Baudelaire et les photographes: Paris et Bruxelles,” Bulletin Musées Royaux des Beaux-Arts de Belgique (1985), pp. 249-59.
Aubenas, Sylvie, Alphonse Poitevin 1819-1882, photographe et inventeur (Paris: Thèses dactylographie, Ecole des Chartes, 1987).
──, “Les photographies d’Eugène Delacroix, ” Revue de l'Art , no. 127 ( jan. 2000), pp.62-69.
──, ed., Gustave Le Gray, 1820-1884 (Paris: Bibliothèque nationale de France/ Gallimard, 2003).
Baldwin, Gordon, ed., All the Mighty World: The Photographs of Roger Fenton, 1852-1860 (New Haven: Yale University Press; New York: Metropolitan Museum of Art, 2004).
──, ed., Gustave Le Gray 1820-1884 (Los Angeles: The J. Paul Getty Museum, 2002).
Buerger, Janet E., Pierre Petit. Photographer (Rochester, New York: International Museum of Photography at George Eastman House, 1980).
Borcorman, James, ed., Charles Nègre, 1820-1880 (Ottawa: National Gallery of Canada, 1976).
Carjat, Etienne, Artiste et citoyen (Paris: Tresse édit, 1883).
Charles Marville, photographe de Paris de 1851 à 1879 (Paris: Bibliothèque historique de la Ville de Paris, 1980).
Dahlberg, Laurie, Victor Regnault and the Advance of Photography: The Art of Avoiding Errors (Princeton & Oxford: Princeton University Press, 2005).
Etienne Carjat (Ville de Chalon-sur-Soane: Musée Nicéphore Niépce, 1980).
Fallaize, Elizabeth, Etienne Carjat and Le Boulevard: 1861-1863 (Genève-Paris: Slatkine, 1987).
Gautrand, Jean-Claude et Alain Buisine, Blanquart-Évrard (Douchy-les-Mines: Centre Régional de la photographie Nord-Pas-de-Calais, 1999).
Haddard, Hubert, ed., Etienne Carjat, 1828-1906 (Paris: L’Image du Grenier sur L’Eau, 1990).
Heftler, Sylviane, ed., Etienne Carjat. photographe, 1828-1906 (Paris: Musée Carnavalet, 1982).
Heilbrun, Françoise, ed., Charles Nègre: photographe, 1820-1880 (Paris: Musées Nationaux, 1980).
Hungerford, Constance Cain, “Charles Marville, Popular Illustrator: The Origins of a Photographic Sensibility,” History of Photography, vol. 9, no. 3 ( 1985), pp. 227-46.
Jammes, André, Charles Nègre Photographe, 1820-1880 (Paris: André Jammes, 1963).
Jammes, Isabelle, Albums photographiques édités par Blanquart-Evrard (Chalon-sur- Saône: Musée Nicéphore Niépce, 1978).
Janis, Eugenia Parry & Josiane Sartre, Henri Le Secq. photographe de 1850 à 1860 (Paris: Musée des arts décoratifs / Fammarion, 1986).
Janis, Eugenia Parry, “The Man on the Tower of Notre-Dame: New Light on Henri Le Secq,” Image, vol. 19, no. 4 ( Dec. 1976), pp. 13-25.
──, The Photography of Gustave le Gray (Chicago: University of Chicago Press, 1987).
Jay, Paul et Michel Frizot, eds., Nicéphore Niépce: Lettres et documents (Paris: Centre National de la Photographie, 1983).
Morand, Sylvain, ed., Charles Winter Photographe. Un pioneer Strasbourgeois, 1821-1904 (Strasbourg: Musée de Strasbourg, 1985).
──, eds., Olympe Agaudo photographe, 1827-1894 (Strasbourg: Musée d’Art Moderne et Contemporaine, 1997).
Munhall, Edgar, Whistler and Montesquiou: The Butterfly and the Bat (New York & Prais: Frick Collection/ Flammarion, 1995).
Perego, Elvire, “Delmaet & Durandelle ou la rectitude des lignes, un atelier du XIXe siècle, ” Photographies, no. 5 ( 1984), pp. 54-75.
Pierre Petit photographer (Rochester: International Museum of Photogrpahy at George Eastman House, 1980).
Sacquin, Michèle, Zola (Paris: Bibliothèque nationale de France / Fayard, 2003).
Schwilden, Tristan, et Steven Joseph, Le Chevalier L. P. T. Dubois de Nehaut, 1799-1872. Sa vie et son œuvre (Bruxelles: Crédit Communal, 1987).
Thiébaut, Philippe, Robert de Montesquiou ou l'art de paraître (Paris: Musée d'Orsay, RMN, 1999).
五、十九世紀研究
Bätschmann, Oskar, The Artist in the Modern World: The Conflict between Market and Self- Expression (New Haven: Yale University Press, 1997).
Booth, Michael R., Victorian Spectacular Theatre, 1850-1910 (Boston and London: Routledge & Kegan Paul, 1981).
Bourdieu, Pierre, The Rules of Art: Genesis and Structure of the Literary Field, trans. by S. Emanuel (Standford: Standford University Press, 1995).
Brown, Marylin R., Gypsies and Other Bohemians: The Myth of the Artist in Nineteenth-Century France (Ann Arbor: UMI, 1985).
Clark, T. J., The Absolute Bourgeois: Artists and Politics in France 1848-1851 (London: Thames & Hudson, 1973, 1982).
Cooper, Barbara T. & Donaldson-Evans, Mary, eds., Modernity and Revolution in Late Nineteenth- Century France (Newark, London & Toronto: University of Delaware Press, Associated University Presses, 1992).
Crary, Jonathan, Techniques of the Observer: On Vision and Modernity in the Nineteenth-Century (Cambridge, Mass.: The MIT Press, 1990).
──, Suspension of Perception: Attention, Spectacle, and Modern Culture (Cambridge, Mass.: The MIT Press, 1999).
Daumard, Adéline, Les Bourgeois de Paris au XIX siècle: science de l'histoire (Paris: Flammarion, 1970).
Daumier, 1808-1979 (Ottawa: National Gallery of Canada, 1999).
Debord, Guy, Society of the Spectacle (Detroit: Black and Red, 1983).
Deleuze, Gilles and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. by Brian Massumi (Minneapolis: University of Minneapolis Press, 1987).
Deteil, Loys, Honoré Daumier: the Early Lithograph, 1830-1870 (San Francisco: Alanwofsy Fine Arts, 2005).
Doy, Gen, Picturing the Self: Changing View of the Subject in Visual Culture (London: I. B. Tauris, 2004).
Feldman, Edmund B., The Artist: A Social History (New Jersey: Prentice Hall, 1982).
Foucault, M., “What is an Author?” ( 1969) in C. Harriso n and P. Wood, eds., Art in Theory: An Anthology of Changing Ideas (Oxford: Basil Blackwell, 1992), pp. 923-28.
Fried, Michael, Absorption and Theatricality: Painting and Beholder in the Age of Diderot (Chicago: University of Chicago Press, 1988).
Gay, Peter, The Bourgeois Experience: Victoria to Freud, 5 vols. (New York: Norton, 1998).
Giddens, Anthony, Modernity and Self-Identity: Self and Society in the Late Modern Age (Stanford, California: Stanford University Press, 1991).
──, The Consequences of Modernity (Cambridge: Polity Press, 1990).
Gluck, Mary, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (L. A.: University of California Press, 1994).
──, Modernity and Its Discontents: French Society and the French Man of Letters in the Nineteenth Century (New York: Harper Torchbooks, 1966).
──, Popular Bohemia: Modernism and Urban Culture in Nineteenth-Century Paris (Cambridge, Mass.: Harvard University Press, 2005).
──, Popular Bohemian versus Bourgeois: French Society and Man of Letters in the Nineteenth-Century (New York: Basic Books, 1964).
Goffman, Erving, The Presentation of Self in Everyday Life (Edinburgh: Anchor, 1959).
Green, Nicholas, The Spectacle of Nature: Landscape and Bourgeois Culture in Nineteenth-Century France (Manchester: Manchester University Press, 1990).
Gross, John, The Rise and Fall of the Man of Letters: A Study of the Idiosyncratic and the Humane in Modern Literature (New York: Macmillan, 1969).
Hamilton, Peter & Roger Hargreaves, The Beautiful and the Damned: The Creation of Identity in Nineteenth-Century Photography (London: National Portrait Gallery, 2001).
Hannoosh, Michele, Baudelaire and Caricature: From the Comic to an Art of Modernity (University Park, Pennsylvania: The Pennsylvania State University Press, 1992).
──, “Théophile Silvestre’s Histoire des artistes vivants: art criticism and photography,” Art Bulletin, 88 ( Dec. 2006), pp. 729-55.
Harper, Paula Hays, Daumier’s Clowns: Les Saltimbanques et les parades. Biographical and Political Functions for a Nineteenth-Century Myth (New York: Garland, 1981).
Haskell, Francis, “The Social Clown: Some Note on a Nineteenth-Century Myth,” in Past and Present in Art and Taste: Selected Essays (New Haven: Yale University Press, 1987), pp. 117-28.
Hemmings, F. W. J., The Theatre Industry in Nineteenth-Century France (Cambridge: Cambridge University Press, 2004).
Kris, Ernst & Otto Kurz, Legend, Myth and Magic in the Image of the Artist: A Historical Experiment (New Haven: Yale University Press, 1994).
Lacan, J., “The Mirror Stage as Formative of the Function of the I,” in Ecrits: A Section, trans. by A. Sheridan (London: Routleledge and Kegan Paul, 1977), pp. 1-8.
Lloyd, Jill, German Expressionism: Primitivism and Modernity (New Haven, CT: Yale University Press, 1991).
Meisel, Martin, Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth- Century England (Princeton, N.J.: Princeton University Press, 1983).
Meskimmon, Marsha, The Art of Reflection (London: Columbia University Press, 1996).
Nochlin, Linda, Realism (Harmondsworth: Penguin, 1971).
Nochlin, Linda, The Body in Pieces: The Fragment as a Metaphor of Modernity (New York: Thames & Hudson, 1995).
Nochlin, Linda, The Politics of Vision: Essays on Nineteenth-Century Art and Society (London: Harper & Row, 1994).
Pelles, Geraldine, Art, Artists & Society: Origins of a Modern Dilemma (Englewood Cliff, NJ: Prentice-Hall, 1963).
Prevost, John C., Le Dandysme en France: 1817-1839 (Geneva: E. Droz; Paris: Minard, 1957).
Pyat, Félix, Nouveau tableau de Paris au XIXme siècle, 7 vols. (Paris: Madame Charles-Béchet, 1834).
Rugg, Linda Haverty, Picturing Ourselves: Photography and Autobiography (Chicago: Chicago University Press, 1997).
Schwartz, Vanessa & Jeannene M. Przyblyski, eds., The Nineteenth-Century Visual Vulture Reader (New York & London: Routledge, 2004).
Seigel, Jerrold, Bohemian Paris: Culture, Politics and the Boundaries of Bourgeois Life, 1830-1930 (New York: Viking, 1986).
──, The Idea of the Self: Thought and Experience in Western Europe since the Seventeenth Century (Cambridge & New York: Cambridge University Press, 2005).
Soussloff, Catherine, The Subject in Art: Portraiture and the Birth of the Modern (Durham & London: Duke University, 2006).
Starobinski, Jean, Portrait de l’artiste en saltimbanque (Paris: Flammarion, 1970).
Stoichita, Victor I., A Short History of the Shadow: Essays in Art and Culture (London: Reaktion Books Ltd., 1997).
Sturgis, Alexandre, Rupert Christiansen, Lois Oliver and Michael Wilson, Rebels and Martyrs: The Image of the Artist in the Nineteenth Century (London: National Gellery Company & Yale University Press, 2006).
Taylor, Charles, Sources of the Self: The Making of Modern Identity (Cambridge, Mass.: Harvard University Press, 1989).
Varnedow, Kirk, “The Self and Others in Modern Portraits,” Art News 75, no. 8 ( October 1976), pp. 64-70.
Wharton, Grace and Philip, Wits and Beaux of Society (New York: Harper and Brothers, 1861).
White, Harrison C. & Cynthia A., Canvases and Careers: Institutional Change in the French Art World (Chicago: University of Chicago Press, 1993).
Wittcower, Rudolf and Margot, Born Under Saturn: The Character and Conduct of Artists: A Documented History from Antiquity to the French Revolution (New York: Random House, 1963).
貳、中文部分
Ariès, Philippe、Georges Duby著，周鑫等譯，《私人生活史：卷三－激情》（哈爾濱市：北方文藝，2008）。
──《私人生活史：卷四－演員與舞台》（哈爾濱市：北方文藝，2008）。
Barthes, Roland著，許綺玲譯，《明室：攝影札記》（台北：台灣攝影工作室，1995）。
Baudelaire, Charles著，郭宏安譯，《1846年的沙龍：波特萊爾美學論文選》（桂林：廣西師範大學出版社，2002）。
Benjamin, Walter著，許綺玲譯，《迎向靈光消逝的年代》（台北：台灣攝影工作室，1998）。
Burger, Peter著，蔡佩君、徐明松譯，《前衛藝術理論》（台北：時報文化，1998）。
Crary, Jonathan著，蔡佩君譯，《觀察者的技術：論十九世紀的視覺與現代性》（台北：行人，2007）。
Fossier, François，〈法國肖像繪畫的辯護與例證〉，《從普桑到普桑：法國繪畫三百年》（台北：國立故宮博物院，2001），頁33-39。
Freud, Sigmund著，林克明譯，《日常生活的心理分析》（台北市：志文，1984）。
Freund, Gisèle著，盛繼潤、黃少華譯，陳新綺校閱，《藝術與社會》（台北：攝影家出版社，1990）。
Germer, Stefan著，林瑞逢譯，〈舊媒體‧新使命：十九世紀藝術家的社會定位〉，《視覺藝術》，第二期（1999.5），頁47-69。
Leenhardt, Jacques著，林志明譯，〈作為自我生產的自畫（自拍）像〉(“La Production du soi dans l’image”)，曾曬淑編，《身體變化：西方藝術中身體的概念和意象》（台北：南天書局，2002），頁141-58。
Levine, Steven Z.著，劉瑞琪譯，〈從蒙田、普桑至杜象、拉岡的法國面貌繪畫〉( “Self- Representation in France from Montaigne and Poussin to Duchamp and Lacan ”)，曾曬淑編，《身體變化：西方藝術中身體的概念和意象》（台北：南天書局，2002），頁111-29。
Lobstein, Dominique，〈由單一沙龍到多元沙龍：法國官方展覽史1648-1914〉，《從普桑到塞尚：法國繪畫三百年》（台北：國立故宮博物院，2001），頁24-27。
Merleau-Ponty, Maurice著，龔卓軍譯，《眼與心》（台北：典藏藝術，2007）。
Sicard, Monique著，陳姿穎譯，《視覺工廠：圖像誕生的關鍵故事》（台北：邊城，2005）。
Sontag, Susan著，黃翰荻譯，《論攝影》（台北：唐山，1997）。
林志明，〈在指認和認同之間擺盪的攝影肖像〉，曾曬淑編，《身體變化：西方藝術中身體的概念和意象》（台北：南天書局，2002），頁171-98。林志明，〈注意的觀看：波特萊爾的《現代生活的畫家》〉，蔡淑玲編，《中外文學：自波特萊爾以降－現代性的法蘭西觀點》，第30卷，第11期（2002.4），頁62-82。馬國明，《班雅明》（台北：東大，1998）。
許綺玲，《糖衣與木乃伊》（台北：美學書房，2001年）。
陳振堯，《法國文學史》（台北：天肯文化，1995）。
陳傳興，〈明室鏡語：由羅蘭巴特（Roland Bathes）的《明室》談攝影美學的幾種問題〉，《憂鬱文件》（台北：雄獅美術，1992），頁163-90。曾少千，〈杜米埃的沙龍繪畫：為觀眾作史〉，《國立歷史博物館學報》，第11期（1998.12），頁95-116。曾少千，〈波西米亞藝術家：浪漫時期的文化現象〉，《國立歷史博物館學報》，第12期，1999年3月，頁197-213。劉瑞琪，《陰性顯影：女性攝影家的扮裝自拍像》（台北：遠流，2004），頁11-27。