Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl (...) Loran published his classic book on Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

Written by a team of distinguished scholars, this is an authoritative and comprehensive history of Western philosophy from its earliest beginnings to the present day. Illustrated with over 150 color and black-and-white pictures, chosen to illuminate and complement the text, this lively and readable work is an ideal introduction to philosophy for anyone interested in the history of ideas. From Plato's Republic and St. Augustine's Confessions through Marx's Capital and Sartre's Being and Nothingness, the extraordinary philosophical dialogue between (...) great Western minds has flourished unabated through the ages. Dazzling in its genius and breadth, the long line of European and American intellectual discourse tells a remarkable story--a quest for truth and wisdom that continues to shape our most basic ideas about human nature and the world around us. That quest is brilliantly brought to life in The Oxford History of Western Philosophy. With spectacular illustrations--including sixteen pages of full-color plates--this splendidly written volume takes the reader on a magnificient chronological tour through the revolutions of thought that have forged the Western philosophical tradition from ancient times to the present. Throughout, the six contributors--an internationally renowned team of philosophers including Roger Scruton, Anthony Quinton, and Anthony Kenny--bring the astonishingly diverse, wide-ranging landscape of intellectual history into sharp focus, emphasizing how notions seen today as part of an inevitable march of ideas were in their own time often considered radical, if not revolutionary. Thus we are treated, for example, to lively accounts of how Plato's "theory of forms" and Aristotle's pioneering exercises in logic broke with the past to irrevocably alter the course of Western thought. The authors also reveal the relationships between landmark thinkers, and the ways they drew on their intellectual heritage. They show, for instance, how St. Augustine and Aquinas, though advancing the cause of Christian doctrine, picked up where their pagan Greek forebears had left off. We witness how, during the Renaissance, the profound empiricist ideas underlying Descarte's famous utterance--"I think, therefore I exist"--lived in a tense but complementary relationship with Locke's rationalist theories. Moving into the eighteenth and nineteenth centuries, the book explores how Hume greatly influenced Kant's conception of the "transcendental aesthetic," and how Hegel drew upon the lesser known (but groundbreaking) work of Fichte and Schelling. The authors bring the story up to our own time, vividly recounting the existential trend from Nietzsche ("God is dead") to Sartre, along with other increasingly fractious schools of thought. Along the way, we not only encounter the vast intellectual riches of the Western mind, but we also meet the personalities behind the great thoughts, from the saintly Hume (described by Adam Smith as having "come as near to perfection as anybody could") to the ill-mannered outcast Fichte. And the hundreds of maps and striking illustrations (including full-color reproductions of art ranging from medieval manuscripts to the works of Raphael, Ingres, and Magritte) form an integral part of the book, revealing the interweaving of art and ideas through the ages, as artists have striven to give visual immediacy to philosophical concepts. The Oxford History of Western Philosophy is the most authoritative single-volume account ever written for the general reader. Engagingly written and astonishingly far-reaching, it provides the consummate introduction to the intellectual bedrock upon which Western civilization is built. (shrink)

The paper is an example of interdisciplinary research. It combines aspects of mythology, philosophy, psychoanalysis, aesthetics and feminism to support the analysis of images of water associated with woman and seduction, mainly in visual art. The author’s question is as follows: What are the basic characteristics of woman, water and seduction that have enabled them, throughout the world’s history, to fuse into a complex that can be found in myths, fairy tales, philosophical treatises, psychoanalysis and especially in works (...) of art? Is it a kind of Jungian archetypal image? To answer this question the author searches for a philosophical explanation of seduction in Jean Baudrillard’s On Seduction, and for an explanation of women’s identity in the works of Helene Cixous and Julie Kristeva. Further, an explanation of the development of the image of the mermaid is offered. The main emphasis is put on the interpretation of several works of art: What a Water Gave Me by Frida Kahlo, The Seduction and The Collective Invention by Rene Magritte, Queen of the Fish by Mimi Parent, and Bathing Nymphs by Paul Delvaux. (shrink)

"Dealing with the Visual will be of great use to advanced students because it offers an overview of current debates, and to graduate students and professionals in the field because the essays offer in-depth investigations of the methodological issues involved and various historical ways of defining visuality. The topics included range from early modern ways of viewing pictures and sixteenth-century views of Palladio's villas in their landscape settings to contemporary debate about whether there is life yet in painting."--BOOK (...) JACKET. (shrink)

continent. 1.4 (2011): 242—252. Introduction The following two works were produced by visual artist Jonas Staal and writer Vincent W.J. van Gerven Oei during a visit as artists in residence at The Bag Factory, Johannesburg, South Africa during the summer of 2010. Both works were produced in situ and comprised in both cases a public intervention conceived by Staal and a textual work conceived by Van Gerven Oei. It was their aim, in both cases, to produce complementary works that (...) could be read “through each other,” in which the movement of artistic construction would be imitated by textual deconstruction and vice versa. Both works deal with the way in which capital, apartheid, and monumentality are interwoven in South-African society. The Missing Link addresses a monument for democracy, erected on the premises of a private corporation running both an amusement park and the Apartheid Museum franchise. The textual intervention accompanying this public intervention investigates the limits of the inclusiveness of the anti-discrimination section in the South-African constitution, itself a monumental work of democracy. The Monument for the Distribution of Wealth deals with the history and eventual dissolution of a monumental square, commemorating the Soweto Uprising, in one of the poorest townships of Johannesburg. The history accompanying this public dismemberment of memory is equally fragmented, which is expressed by the many voices recounting uncertain and perhaps even irrelevant “facts” about the genius loci, the way in which the memorial space has actually entered into the memory of the inhabitants surrounding it. Next to their individual practices, Staal and Van Gerven Oei have worked together on a number of projects ever since 2007, including several art residencies. Their work involves an investigation of the different interfaces between art, politics, and public space in media ranging from theater and public interventions, to video installations and (co-authored) textual works. The Missing Link Missing Link (1) Missing Link (2) Missing Link (3) Intervention on the monument entitled The Seven Pillars of the Constitution , part of the Apartheid Museum in Johannesburg, South Africa. The Seven Pillars represent the constitutional values propagated in South Africa since the abolition of the apartheid regime. The monument and museum were built by the Gold Reef Resorts corporation, which is also responsible for the theme park and casino next to it. By placing the word “capitalism” on the wall surrounding the museum, the capitalist system and the constant social divisions that it implies are interpreted as sophistic continuations of apartheid politics. Through the capitalist system, apartheid is still operational within South African society. Whereas during the apartheid regime, the separation clearly ran along race divisions, in the current, “democratic” system, the same actual separation is sustained without it being an explicit element of the foundations of the country, i.e. the constitution. This intervention foregrounds the constant role of capitalism is both periods. At the same time the intervention acknowledges that contemporary Western artisthood is a mirror of the privileges that are offered by the capitalist system, and the type of artist that it produces. The intervention initiates a critical discourse concerning the capitalist system situated within the disaster of capitalism itself, in other words: through the desire to break with the presumption that art would be able to operate outside the capitalist system and to confirm that art—and the artist himself—is in fact modeled on this system. The public intervention by Staal was supplemented by a textual intervention by Van Gerven Oei: a proposition to alter the seventeenth amendment of the South African constitution. Even though the anti-discrimination legislation in South-Africa is one of the most stringent and inclusive in the world, one factor—wealth—remains outside its scope, thus continuing the schisms along racial lines produced during the apartheid regime: §9.3. The state may not unfairly discriminate directly or indirectly against anyone on one or more grounds, including race, gender, sex, pregnancy, marital status, ethnic or social origin, colour, sexual orientation, age, disability, religion, conscience, belief, culture, language, birth, and wealth. Monument for the Distribution of Wealth Intervention concerning the June 16 Memorial Acre in Central Western Jabavu, one of the poorest townships of Johannesburg. The monument comprises a park on which different are placed recalling an important protest the black population against the former apartheid regime. In 1976, from a school adjacent to the park, they started a massive protest against the introduction of Afrikaans in the school curriculum. The police reacted violently, and shot several hundreds of students. The construction of the June 16 Memorial Acre was started in 2005, and from the start was the paragon of corruption. Coordinated by local politicians, some family members of the protest leader from 1976 gained control of the realization of the monument, outside the regulation through external institutions. The available budget of 41 million rand (at that time well over 5 million euro) was largely embezzled. In the meantime, the monument has become fully dilapidated and defaced. The park has become overgrown with weeds and covered in a layer of dirt, and the local population is slowly plundering the square to use the material for the construction and decoration of their own houses. The Monument for the Distribution of Wealth develops the dynamics already existent around the June 16 Memorial Acre. Without obtaining official permission in advance, several local inhabitants were hired to break down the monument, sort the materials, and offer it to the neighborhood. Thus, the redistribution of wealth after the fall of the apartheid regime is finally taking place, albeit from the mere remains of the capital that was once invested in the community. The words “monument” and “for free” are spray-painted on the stacks of material, both in English and Zulu, as these are locally the most common languages. Van Gerven Oei supplemented Staal’s public intervention with an account of the history of the monument based on a series of interviews. The account clarifies how the different interests within the protest 1976 are reflected in the exceeding decay of the park, and how in the end those interests were represented by the June 16 Memorial Acre. Monument for the Distribution of Wealth 1: Removing stones Monument for the Distribution of Wealth 3: Pulling down statues Monument for the Distribution of Wealth 4: Offering the material Monument for the Distribution of Wealth 5: Offering the material Monument for the Distribution of Wealth 6 The next day A Fragmentary History of the Monument for the Distribution of Wealth, Formerly Known as the June 16 Memorial Acre in Central Western Jabavu, Soweto Vincent W.J. van Gerven Oei The following text, based on interviews and online research aims to provide parts of a history of the park in front of Morris Isaacson High School in Central Western Jabavu, Soweto. The idea for the transformation of the park into a memorial site has its source in the events of June 16, 1976: the start of the the student uprising in Soweto. The development of the park was started in the early 1980s, and the actual transformation into a memorial site, the June 16 Memorial Acre, was initiated in 2005. Over the last few years, several monumental additions have been made to the park: A marble monument with three pillars was revealed on June 16, 2006. A sculpture of a book and several billboards on June 16, 2008. A sculpture of student leader Tsietsi Mashinini on June 16, 2010. The park was transformed into the Monument for the Distribution of Wealth on August 3, 2010. According to the entry “Youth Struggle” on the website South African History Online, the Bantu Education Act was introduced in 1953 . In 1954 , Dr Verwoerd, Minister of Native Affairs, stated: “What is the use of teaching the Bantu child mathematics when it cannot use it in practice? That is quite absurd.” According to the entry “Soweto uprising” on Wikipedia, the Afrikaans Medium Decree was issued in 1974 , forcing all black schools to use Afrikaans and English in a 50-50 mix as languages of instruction. The Regional Director of Bantu Education (Northern Transvaal Region), J.G. Erasmus, told Circuit Inspectors and Principals of Schools that from January 1, 1975 , Afrikaans had to be used for mathematics, arithmetic, and social studies from standard five (7th grade). English would be the medium for general science and practical subjects. Indigenous languages would be used for religion instruction, music, and physical culture. According the entry “Soweto uprising” on Wikipedia, on April 30, 1976 , students from the Orlando West Junior School in Soweto went on strike, refusing to go to school. Their example was followed by other schools in Soweto. A student from Morris Isaacson High School, Toboho “Tsietsi” Mashinini, proposed a meeting on June 13, 1976 to discuss further action. According to Weizmann Hamilton’s article “The Soweto Uprising 1976,” which appeared in the September 1986 edition of Inqaba Ya Basebenzi (Fortress of the Revolution), on June 13, 1976 , the South African Students’ Movement called a meeting at the Donaldson Community Center in Orlando. 300-400 Students representing 55 schools decided to hold a mass demonstration on June 16. According to Brian Mokhele, member of the Joint Community Safety Forum, Dr Edelstein was the first victim of the Soweto uprising and killed the day before the march on June 15, 1976 . Edelstein was an administrator at the pass office in Jabavu and gave golf courses to the local community. Edelstein was put in a garbage bin and pierced by pickaxes. The garbage bin was left at the very spot of the murder for many years. A few years ago, a child was beheaded at the same spot, and the basketball court next to it has been abandoned since. According to Marcus Neustetter, founder of the Trinity Session, this story is untrue. According the entry “Soweto uprising” on Wikipedia, on June 16 , Tsietsi Mashinini led students from Morris Isaacson High School to join up with others who walked from Naledi High School. A crowd of between 3,000 and 10,000 eventually ended up near Orlando High School. According to Raymond Marlowe, a local photographer, Tsietsi Mashinini was heading the march. According to the entry “Hector Pieterson” on Wikipedia, Dr Edelstein died on June 16, 1976 , stoned to death by mob and left with a sign around his neck proclaiming “Beware Afrikaaners.” The first child to die that day was called Hastings Ndlovu. According to Pat Motsiri, Orlando West is claiming struggle heritage through the Hector Pieterson Museum, while Hector Pieterson was from Jabavu. According to Pat Motsiri, his generation effectively struggled between 1980 and 1991, forcing the release of Nelson Mandela and negotiations with the apartheid regime while the 1976-generation was safely in exile. Nevertheless, this has not been recognized in any monument. After the abolition of apartheid, the generation from 1976 returned from exile, occupied important government and ANC positions, creating an abundance of 1976 memorials and refusing to acknowledge that this was only possible because of the younger generation’s struggle. He calls this a generational conflict. According to Archibald Dlamini, the park officer responsible for the Memorial Acre, he started working for the municipality in 1978. In 1981/82 , Isaac Makhele from Pimville, who used to work in the cemetery business, was the first developer of the park. It used to be just a normal park until City Parks decided to develop the Memorial Acre in 2006. In 2007 the work was stopped by the community. According to Brian Mokhele, he left the country in 1989 after he participated in the riots of 1986. But when he returned in 1999 he found that nothing had changed. He says that they were promised to be protected by the Constitution, but that reality is different. The police uses fear to suppress them so that they don’t come out to talk openly. He has been arrested twice, both times harassed and tortured by the police, but in the end always released without indictment. He says that this is their way to threaten communities to back off from politics. According to Moses, who is sitting outside rolling a joint, Brian knows everything. He tells Brian to tell me everything he knows. According to Brian Mokhele, Tsietsi Mashinini was possibly murdered in 1990 during his exile in New York. Two weeks before he was supposed to return to South Africa, his papers in order, he was found dead under mysterious circumstances. His coffin was sealed when he was buried. According to Pat Motsiri, he came up with the idea for the Memorial Acre in 2003 . He submitted the documents for the proposal to the council, which sidelined him as soon as the budget came out in 2005 . According to Brian Mokhele, there was on estimation R 41,000,000 spent to redesign the park and turn it into the Memorial Acre. The millions were divided by Amos Masondo, the mayor of Soweto, the local councilor Bongani D. Zondi, and the director of the city of Johannesburg, Pat Lephunya. They were dividing the money between several contractors: Tsietsi Mashinini’s brothers were involved in the development of the park, they got the tender to do the green areas, the landscaping. Construction was done by other companies, some did the paving, the toilets, etc. EMBA, a private company appointed by the municipality was in control of the money flow, but the money was quickly gone. According to Raymond Marlowe, the contractor bought a BMW with the money. According to Archibald Dlamini, the Mashinini brothers got the tender, so the space would look more like the other places around in Soweto. It was agreed that after they were done, they would return the property to the municipality. They did whatever they could do. According to Mafaisa, a member of the Jabavu business community, he was one of the contractors for the landscaping and the pavement under Mpho Mashinini, one of the brothers. He says that I should contact Mavi for information on Mpho. According to Poi Stuurman, a local youth worker, Mafaisa is one of the guys who ran away with the money. According to Mavi, Mpho Mashinini was never a contractor. The contracts were organized by Sbu Butelezi, the former head of the Gauteng Department for Public Works. The June 16 Foundation and the Mashinini brothers will be the beneficiaries of the park when it is finished. According to Brian Mokhele, City Parks did not accept the Memorial Acre because it was not finished. The rest of the year, the unfinished park is not maintained, as should have happened. This was done deliberately so that in the end they can just clean the whole thing up and have a reason to redo the whole park. According to Brian Mokhele, the Mashinini brothers now work for the government. People that manipulate for money purposes always come from the government’s side. Because the park was left unfinished, the people from the neighborhood are taking away the stones to decorate their own homes with. According to Archibald Dlamini, because City Parks doesn’t accept responsibility of the park, he officially has nothing the guard, except for his cottage, which is municipal property. The thieves come at night and destroy the park, but he cannot do anything because he is sleeping. According to the website of the Thanda Foundation on June 16, 2006 a bronze statue of Hector Pieterson, the first child to die in the 1976 protests, made by Kobus Hattingh and Jacob Maponyane was unveiled in the Maponya Mall in Soweto. The statue is sculpted after the famous image shot by Sam Nzima of Mbuyisa Makhubo carrying the dead body of the boy. The sculpture was sponsored by the Thanda Foundation, founded by the Swedish entrepreneur Dan Olofsson and South-African entrepreneur Matthews Phosa. According to the official website of the City of Johannesburg, the Memorial Acre and Artwork were unveiled in 2006. According to a blog post on sowetouprisings.com, the Memorial Acre was still under development on July 24, 2006. According to Archibald Dlamini, City Parks only cleans up the park once a year just before the June 16 celebrations. Everybody is waiting for the Mashinini brothers to finish their job. The last time he talked with them was in 2007 . According to a sign on the school grounds of the Morris Isaacson High School, the June 16 Trail will be finished in 2008 . According to a blog post on sowetouprisings.com, the Memorial Acre contains another monument erected in Tsietsi’s honor. The monument was created as part of the Sunday Times Heritage Public Art program. Its physical form resembles a giant book which symbolizes the crisis in education experienced in 1976. On the face of the book is the map of the route taken by the students from Morris Isaacson High School in Central Western Jabavu to Phefeni Junior Secondary in Orlando West (currently the site of the Hector Pieterson Museum), while the back cover of the ‘book’ is inscribed with a tribute to Tsietsi Mashinini. The monument was revealed on June 16, 2008 . According to Marcus Neustetter, the billboards on the Memorial Acre were part of a school project realized in 2008. Following several workshops, the students from different high schools along the June 16 Trail were invited to work with artists on the billboards, while the neighborhood community was invited to watch the process during the festivities on June 15 and 16, 2008 . The billboards were supposed to be removed because of construction works on the Memorial Acre, which never ended up happening. According to Brian Mokhele, the former toilet facilities were converted into a house for the park officer. This park officer has been working for city parks for more than 12-15 years, but does nothing here, because the park, including the new toilet buildings, is not finished. The government is now moving around looking for people to take this job because they stopped it. They confronted everybody who was going in and chased them away. According to John, in 2009 , some girls, around 16 or 17 years old, were raped by four men who had been drinking in a local shebeen. When the bar quit they said that they would go home by car, but instead raped the girls on the Memorial Acre nearby. This happened in the unfinished toilets, because the doors couldn’t be closed. According to Brian Mokhele, there used to be some fences around the park because of the construction work that was eventually stopped, but these were also stolen. According to Archibald Dlamini, people from the neighborhood started about two and a half years ago, and the last piece was stolen near the end of 2009 . Sometimes he would catch someone with a roll of fence, and then use it for his own cottage. According to the official website of the City of Johannesburg, a statue of Tsietsi Mashinini by Johannes Pokhela was revealed on June 16, 2010 , “Youth Day.” According to Shirley Makutoane, deputy principal of Isaac Morrison High School, the statue of Tsietsi Mashinini, funded by the June 16 Foundation, has temporarily been placed within the school perimeter. The statue will be moved to the Memorial Acre when it will be finished, in 2011 . According to Brian Mokhele, beside the June 16 Foundation, there is also a June 16 Memorial Acre Foundation. Both foundations are quarreling about the money involved in the Memorial Acre project. Nobody knows who’s involved in them. According to Marcus Neustetter, the June 16 Foundation consists of people that were part of 1976 protest movement, local government officials, representatives of the Hector Pieterson Museum, and the council. According to students from the Isaac Morrison High School, the statue of Tsietsi Mashinini is on the school ground because on the Memorial Acre it would be vandalized by youths from White City, an adjacent neighborhood. Accorcing to Brian Mokhele, the statue of Tsietsi should eventually be mounted on the Memorial Acre. It is wrong that the statue is in the school at the moment, because it is not a public school. He wants the statues to depict the massiveness of the force that was coming into Soweto after the protests. According to Brian Mokhele, City Parks, City of Jo’burg, City Lights, and SAPS are making some sort of plan to take the plan back. They want to remove the trees from the Memorial Acre, and redesign the Memorial Acre into a relaxing park, without political content. They want to depoliticize the square. In doing so,they will have their own employment and not use local workforces. According to Brian Mokhele, the community wants to remove the monuments, amphitheater, and sculptures from the Memorial Acre because they do not resemble anything. The sculptures should be depicting the truth of what happened, because the Memorial Acre is a political heritage site. He wants to involve the people that actually participated in the struggle to make the monument so that everyone can enjoy it and get a better understanding of the struggle heritage. Therefore, he proposes collective ideology in which everyone has a say. This would prevent future vandalization of the monument. According to Pat Motsiri, the sculptures must depict the event around June 16, 1976. Like the story of Dr Edelstein, who was pierced by pickaxes, forced into a garbage bin and burned alive. According to Jonas Staal, the Memorial Acre should be destroyed, its elements stacked on pallets, thus forming the Monument for the Distribution of Wealth . According to Mafaisa, his men can do the work quickly. He has about twenty men working under him. (shrink)

Although primarily known as a portrait painter, Charles Willson Peale also possessed a profound interest in natural history. Indeed, Peale eventually founded the first natural history museum in the United States, and, during the end of the eighteenth century, he began to overlap his two great interests: art and nature. The event Peale chronicled in his 1804 painting The Exhumation of the Mastodon caused an extreme stir within the intellectual and religious circles of its time, and brought (...) about, at the very least, a serious questioning in the deeply held notion of the Great Chain of Being. Although now largely discredited, this religious conviction postulated two concepts that Peale’s Exhumation of the Mastodon seemingly contradicts. The first was the belief that no animals since creation had suffered the fate of extinction. The second was a lack of belief in geological time. Indeed, one Irish clergyman calculated the actual date of creation to 4004 BCE. In this paper, I explore Peale’s monumental painting, a work that is many things, a self-portrait and history painting among others. Indeed, in this painting, Peale was responding to science, religion, and their shifting positions within early-nineteenth-century America. When viewed together, Peale’s The Exhumation of the Mastodon is not merely a record of an event that occurred in New York during the early nineteenth century, and instead is a document of Peale and the interaction of science and religion in early-Federal America. (shrink)

Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a text (...) but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries. Twelfth-century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth-century ideas about the kingdom of God, the status of women, and the nature of time itself. It also identifies a strain in European thought that had striking affinities to methods of perception familiar in Oriental religions and that proved to be antithetic to later humanist traditions in the West. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

In this paper art history and visual studies, the disciplines that study visual culture, are presented as a field whose conjectural paradigm can be used to understand the epistemic problems associated with abduction. In order to do so, significant statements, concepts and arguments from the work of several specialists in this field have been highlighted. Their analysis shows the fruitfulness and potential for understanding the study of visual culture as a field that is interwoven with the (...) assumptions of abductive cognition. (shrink)

'The Aestheticization of History and the Butterfly Effect: Visual Arts Series' introduces the audience to philosophical concepts that broach the beginning of the history of Western thought in Plato and Aristotle to that of more modern thought in the theoretician Jacques Rancière in which the main conceptual framework of this anthology is predicated. The introduction is mainly concerned with Rancière's concept of the distribution of the sensible, which is the arrangement of things accessible to our senses, what (...) we experience in real-time and space- compartmentalization and categorization of all things. These things do not just involve tangible items, but audible speech, written language, and visibilities. Rancière's theory of the regimes of art is undertaken as the unfolding of the distribution. Such is evoked in the various genres of visual art forms, from two-dimensional paintings to three-dimensional sculptures and architectures. Understanding the aesthetic regime of art is crucial for grasping how art performs time travel. One way of understanding this phenomenon is in terms of embodied philosophy imbued vis-à-vis art forms, which are subsequently challenged by contemporary artists. The contributing essays examine these reiterations, reevaluations-performances. Aesthetics is a term deriving from the 18th-century European Enlightenment. It is here that aesthetics as the study of beauty is probed for its political potential after the failure of the French Revolution. Many major thinkers during this period signed on to the aesthetic moment, recognizing that Reason in its present state failed to develop humankind beyond barbarism. J.E.B. Stuart's statue is part of an equestrian theme that approximates the Western canon of power and class in the pursuit of domination. But such power and domination will be dethroned in the restaging of history and the redistribution of said canon. This reimagining of the form not only alters perception but constitutes a new narrative. (shrink)

It was the general practice until not at all long ago to look at Turner as one of the moderns, if not as one of the founding fathers of modern art. He was a man straddling the fence between two periods, but he was looking forward. In a history of art that marches through time, forever endorsing what is about to be forgotten, wrapping up, as it were, one style to open eagerly the package of the next, such a (...) position is most enviable for, no matter where the times may be going, it is a hallmark of greatness to be ahead of one's time. There were things to be explained, of course, Turner himself, a keen pessimist, did not approved of the future and had little use for the present.1 His love of art was schooled on Reynolds' Discourses, and he remained loyal to them; his poets were Thomson and Pope and, among contemporaries, the rather frigid but delicate Samuel Rogers, a classicist par excellence. Above all, however, Turner looked back to classical antiquity for training and guidance, and for the delectation of his heart. And the poetry of the ancients, such as he could obtain it in translation, was as important to him as their art. What does one do with a declared classicist whom a historicizing hindsight feels compelled to rescue as a man of the future by making him a Romantic? It is a challenge stylistic analysis likes to meet, for it goes beneath what it declares to be the surface of a work of art to find its style, the essence that must conform to the presumed spirit of the age in question. The triumphant result of such studies in depth is a forgone conclusion as much as it is a surprise to the uninitiated. The facade of the Louvre, for example, used to suffice to make it a building in the classical style; it took the acumen of a Wölfflin to prove that it really was "baroque." The more the artist struggled not to be of his time, the more, poor man, he betrayed to the analyst that he was of his time. The Louvre facade stands convicted of being "classicizing-baroque."2 · 1. On Turner's view of the modern art of his time see John Gage, Color in Turner: Poetry and Truth , pp.97-105. On his literary education and taste see the seminal essay by Jerrold Ziff, "Turner on Poetry and Painting, " Studies in Romanticism 3 no. 4 : 193-215. Turner's poetical writings have been edited by Jack Lindsay, The Sunset Ship: The Poems of J.M.W. Turner . For the most recent and also most elegantly practical introduction to the work and life of Turner, see the catalogue of the Turner Exhibition of the Royal Academy and the Tate Gallery, Turner, 1775-1851 . · 2. This is now a commonplace of art historical teaching. See, for example, Gardner’s Art Through the Ages, 6th ed. Horst de la Croix and Richard G. Tansey , p. 632. On the theory behind the application to the particular case, see Heinrich Wölfflin, Principles of Art History, trans. M. D. Hottinger . Philipp Fehl, artist and art historian, is currently preparing a collection of essays, Art and Morality: Studies in the History of the Classical Tradition. He is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. "Farewell to Jokes: The Last Capricci of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting" was published in Summer 1979 in Critical Inquiry. (shrink)

It is ironic that, with few exceptions, the now vast body of critical literature about Diego Velázquez’s Las Meninas fails to link knowledge to understanding—fails to relate the encyclopedic knowledge we have acquired of its numerous details to a convincing understanding of the painting as a whole. Las Meninas is imposing and monumental; yet a large portion of the literature devoted to it considers only its elements: aspects of its nominal subjects, their biographies, and their roles in the household of (...) the queen or the king. Niceties of court etiquette; concerns about clothing, and shoes , and the small cup of water offered to the Infanta Margarita .This increasingly intimate discussion of the painting’s details is not altogether beside the point; some of this information deserves to be integrated into descriptions of the painting as a whole. But a reader of these descriptive accounts soon begins to suspect they are offered in the hope that some new details might provoke an understanding of the entire painting, might prove to be the key to our comprehension of it. In fact, Las Meninas invites such analysis. Some nineteenth-century critics called it “photographic” in its naturalism , in the profusion of its detail, and in the alleged “snapshot” quality of its composition.1 The underlying motive of this understanding ought not to be dismissed, even thought the photography analogy is clearly grotesque, in terms both of history and visual sensibility. Although we know a great deal about the contention, in seventeenth-century Spanish art theory, that a major function of art is the perfecting of nature according to ideal standards, Las Meninas nonetheless is most commonly taken to be a pure spectacle memorializing an incidental moment, seemingly explicable solely in terms of what is apparent in it. 1. Gustav Waagen, paraphrased in Carl Justi, Diego Velazquez and His Times , p. 419; William Stirling-Maxwell, quoted in ibid. Joel Snyder is associate professor of humanities and of art and design and is chairman of the Committee on General Studies in the Humanities at the University of Chicago. He is currently working on a book about the foundations of perspective. His previous contributions to Critical Inquiry are “Photography, Vision, and Representation,” written with Neil Walsh Allen , “Picturing Vision” , and “Reflexions on Las Meninas: Paradox Lost,” written with Ted Cohen. (shrink)

The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the (...) contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications, and works of the Art Nouveau authors stored in the museum funds, many of which after 1917 appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture. (shrink)

The subject of the study is the consideration of modern trends in the study of fine art, in particular Russian portrait and narrative painting of the beginning of the XXI century. The object is scientific works related to various fields of the humanities, namely: art history, aesthetics, anthropology, sociology, philosophy, psychology, etc. Using their material, it is possible to show not only the difference in approaches to understanding the essence and role of the image of a modern person in (...) the art process, but also to demonstrate the specifics of the artistic interpretation of this figurative system in the context of art criticism, cultural and philosophical issues. Such a study allows us to systematize existing ideas about the peculiarities of the development of anthropological subjects in the mainstream of contemporary fine art in modern Russia, to identify the main directions. The main methodological basis of the study was a systematic approach that allowed us to consider contemporary Russian art as a single system. This helped to compare the approaches of modern researchers analyzing the place and role of the human image in it. Through the postmodern paradigm of perception and interpretation of anthropological topics, to identify the essential features of the ideas of Russian scientists. Methods of art historical analysis were also used. The starting point of the research is that at the moment in Russian science there is a body of art history and cultural studies devoted to the development of contemporary art in the country. However, there are no works summarizing the existing experience of scientists and defining the main directions of scientific thought. In light of this, the scientific novelty of the article lies in expanding the understanding of the methodological apparatus necessary for the analysis of the anthropological trend in the visual arts of our time, which is a promising path for future research in this area. The most demanded conceptual philosophical and historical-cultural foundations for the analysis and solution of practical problems in the field of contemporary art in relation to the representation of the human image are identified. Empirical research material has been collected and analyzed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Hypothesis Concerning the Character of Islamic ArtAsli GocerWhy Islamic art has the distinctive features it has continues to generate clashing explanations. The Islamic visual treasury has no figural images, for instance, and three-dimensional sculpture or large scale oil painting, but instead contains miniatures, vegetal ornaments, arabesque surface patterns, and complex geometrical designs. To account for the phenomena the following radically opposing theories have been offered: the influence (...) of Judaism, the Quranic prohibition against making images, 1 Islamic resentment of the glory of Byzantine icons, 2 logocentricism of classical Islam, 3 the spiritual dimension of Islam, 4 tacit Islamic assertion of “otherness,” 5 and contingency of history. 6 The merits of these theories have been roundly discussed in the literature, and so I will not repeat the task here. I will insist that none of these theories offer a coherent explanation for all arts, but my presumption is that such an explanation is possible. In nonvisual arts the Muslim prefers simple tunes over that of the symphony, for instance, whirling dervishes over the ballet, and lyric poetry over dramatic literature. In my view what explains the common characteristic of all these arts is a certain kind of Islamic attitude informed by a certain philosophical outlook. Although it would be hasty to suggest the existence of a monolithic [End Page 683] Islamic art, it would be equally rash to deny some striking commonalities among its diverse examples. 7The following observation by a Muslim scholar is notable in this regard: “Whether in the great courtyard of the Delhi Mosque or the Qarawiyyin in Fez, one feels oneself within the same artistic and spiritual universe despite all the local variations in material, structural techniques, and the like.” 8 Some cite geometry as what mediates that feeling to the observer despite the cultural divergences in style. 9 Even those who have given up the search for the universal or the spiritual in Islamic art cannot help but see in it the classical ideal of beauty. 10 It is this classical heritage that in fact holds one of the important keys to the puzzle at hand. In particular I shall claim that Islamic art is the living image of what Plato has in mind for art in a theocratic state. Clearly, to refer to Plato and art in the same breath invites trouble. As is well enough known, giving a general interpretation of Plato’s views on the nature of art is a very complex endeavor. 11 Even in the face of grave difficulties in textual exegesis, however, there is sufficient evidence that Plato has some settled views on art. Those pertinent to our discussion here involve two claims, that beauty and goodness are divine and that all human endeavor (including artistic creation) must imitate the divine. 12 Although Platonic strain in Islam has been noted in other areas, its persistent legacy has been overlooked in art. 13 I shall argue that the Platonic influence on Islamic thought can be traced not only to political philosophy 14 and geometry, 15 as it has been commonly accepted, but also aesthetics. 16 A philosophical explanation of the Islamic attitude toward art may therefore be derivable from the Platonic axiom that god is the paradigm of beauty, which is the cosmological principle of [End Page 684] order and harmony; and as all created things, art, too, must reflect the divine paradigm.Before defending this ahistorical hypothesis on the character of Islamic art so reviled in recent literature, a few caveats are in order. “Islamic art” contains redundant terms. Strictly speaking all art in Islam is “Islamic,” because for the Muslim art is a crucial point of contact with the divine. That art should direct the mind to the divine is also Plato’s view. 17 Second, the categories that have traditionally been used to describe Islamic art such as “aniconic” and “nonrepresentational” are unhelpful for the problem at hand. 18 When it comes to the issue of iconography in Islamic arts, there is no consensus, for Islamicists are notably divided on the semiotic dimension of the Islamic visual language. The question of whether the geometric surface pattern is essentially iconography, for instance, is yet... (shrink)

The article focuses on the differences between Eastern and Western art, characteristics of the representation of women's images in Eastern and Western art, and aesthetic criteria regarding women's images in Eastern and Western art. The author emphasized the need to understand the image of women in Eastern and Western visual artworks in different cultural and historical contexts and concluded that studying the image of women in visual art can help one better understand regional gender paradigm differences. To understand (...) the representation of women in Eastern and Western cultures, it is necessary to first understand the differences and similarities between these two cultures in order to gain a deeper understanding of how women are portrayed in these cultures. A few of the differences that can be found between East and West include the geographical structure, the ethno-cultural colors, the social outlooks, and the aesthetic ideals of the two regions. In addition to these factors, it is also important to consider how the visual arts of the two regions differ in their methods, materials, and religious, philosophical and philosophical perspectives. Throughout the article, the author discusses these aspects in great detail, showing specific approaches as to how the female image is represented in Eastern and Western visual art traditions. As such, the article provides valuable insight into the cultural divide between East and West and how their respective artistic styles have interacted with each other. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 116-120 [Access article in PDF] Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, edited by Janis Bell and Thomas Willette. Cambridge: Cambridge Universtiy Press, 2002, 396 pp. Giovan Pietro Bellori is a name familiar to all who have studied seventeenth-century Italian art. His magisterial book, The Lives of the Modern Painters, Sculptors, and Architects (Le (...) vite de' pittori, scultori, ed architetti moderni), published in Rome in 1672, continued in the grand tradition of artists' biographies established by Giorgio Vasari in the sixteenth century, while at the same time espousing a classical theory of artistic creation that has often been seen as the foundation of academic classicism, popular well into the nineteenth century. He is, in other words, an immensely significant figure, as a source of information on artists' lives, and, more importantly, as a cogent, early spokesperson for one of the dominant aesthetic modes of Western European culture.Given this importance, the relative dearth of publications dedicated toBellori, especially in the Anglo-American world, is surprising. PerhapsBellori's famously negative assessment of Caravaggio, or his complete avoidance of two of the most successful Italian artists of the seventeenth century, Pietro da Cortona and Gian Lorenzo Bernini, account for the scarcity ofscholarly treatments, or maybe his supposed insistence that all great art should be grounded in rules is to blame. The reasons are hard to pin down, but the volume of essays under consideration here goes some significant way towards rectifying the situation. Stemming from a 1996 conference organized by the Association for Textual Scholarship in Art History and held at the American Academy in Rome, the volume is divided into two roughly equal sections, one on "Bellori and the Republic of Letters in Seventeenth-Century Rome," and the other on "Bellori's Lives: History, Criticism, Theory." It comprises twelve essays, including a long and very useful introduction by Janis Bell, one of the editors of the book. The overall goal of the collection is to treat Bellori's activity as a whole, rather than focus single-mindedly on the Lives. After all, as Bell points out, the preponderance of Bellori's publishing was not dedicated to aesthetic theory, or even artists' biographies, but to antiquarian studies. In this, the present volume is very different from the other major new work on Bellori, a two-volume cataloguepublished in 2000 to accompany anexhibition held at the Palazzo delle Esposizioni in Rome, L'idea del Bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. The exhibition did acknowledge Bellori's antiquarian interests, but was aimed principally at something else: making visible his aesthetic theory. Unfortunately, the authors of Art History in the Age of Belloriwere not able to take into account fully [End Page 116] the conclusions of this important study,although it should be noted that several authors are represented in both publications.The first group of essays in the book, six in number, treats a wide range of themes, with the intention of crafting a context, both literary and political, for understanding Bellori's achievement. Giovanna Perini's essay, the first of section one, describes Bellori's career trajectory, and, more significantly, how this path had an impact on his life as a scholar. Bellori did not come from the wealthiest stratum of society. On the contrary, he was of relatively modest means, which meant that he had to rely on employment income. One implication of being economically beholden to his employers was that his writing had to conform to their political agendas. The Vite, for instance, are famous for lionizing the French artist Nicolas Poussin, of obvious appeal to his Francophile patrons. Diego Velázquez, however, was not included in the Vite, perhaps because he was Spanish and would thus have appealed to the opposing political faction in Rome at the time, which was linked to Spain. At the same time, Perini convincingly argues that Bellori's own voice was not drowned out in the process... (shrink)

PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of (...) this book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing... (shrink)

By juxtaposing issues and problems, Donald Preziosi's latest collection of essays, In the Aftermath of Art , opens up multiple interpretive possibilities by bringing to the surface hidden resonances in the implications of each text. In re-reading his own writings, Preziosi opens up alternatives within contemporary discourses on art history and visual culture. A critical commentary by critic, historian, and theorist Johanne Lamoureux complements the author's own introduction, mirroring the multiple interpretations within the essays themselves.

This book is an important contribution to the philosophy of art that bridges the disciplines of philosophy and art. It engages with a long-standing debate about what it is that bestows the designation 'art' on an artwork. Tiffany Sutton shows how the history of art should influence the classification of visual art. She considers the various theories that have been put forward to define the nature of the artwork and then offers her own set of classificatory norms. Amongst (...) the critical questions that are addressed in the process are: how important is patronage in the contemporary visual arts, and what lends conceptual art its specific aura? (shrink)

This article takes stock of the seeming wealth of visual and material sources concerning stars and numbers that has come down to us from early imperial China (221 BCE–755 CE) and their minimal impact on how we write the history of astronomy and mathematics in this period. My goal is to offer ideas about how we might better engage with these sources and work across ancient and modern disciplines. I begin by outlining the conceptual categories into which our (...) historical subjects divided these sciences, followed by an overview of those visual and material sources we know from textual sources to have once existed versus those that are currently extant. The historiographic disconnect, I argue, is due in part to an inherent disconnect in the sources that have survived and, in some degree, to terminological and categorical confusion between those working in the history of science, divination, and art. Pointing to what are, in my opinion, good examples of how we might move forward and beyond the limits imposed by our sources and disciplinary boundaries, I then end on a list of questions I think fruitful to explore. What, for example, do we mean by “accuracy” when speaking of how constellations are represented in technical literature and tomb murals? (shrink)

This article provides a strategic history of the role assigned by modern historians to visual representation in early modern science, an aspect of historiography that is largely ignored in the scholarly literature. Despite the current undervaluation of images and visual reasoning, historians in the 1940s and 1950s who established the 20th century concept of the Scientific Revolution, also assigned a conspicuous role to images, claiming 15th century art as a chapter in the history of science and (...) identifying the first modern scientists in artists such as Brunelleschi and Leonardo. My analysis of the writings that shaped the discourse on visual representation---by giants such as George Sarton, Herbert Butterfield, and Alexandre Koyré---shows that the handful of concepts introduced in these early discussions formed the foundations of the subsequent scholarly approach to early modern scientific images. However, close scrutiny during the 1970s defined these concepts as interesting but not as key elements for the emergence of modern science proposed earlier. The wave of social studies of science in the 1980s further diminished the importance of images, to the point that recent surveys of early modern science neither consider the role of visual representation nor include figures in their narratives. Several recent publications with suggestive titles such as The Power of Images in Early Modern Science promise to recover a significant role for images in the Scientific Revolution. The present inquiry into the earlier discourse seeks to clarify the historiographic framework into which these new efforts fit. (shrink)

The aim of this study is to determine the criticism to Mushabbiha and Mujassima on the basis of al-Faṣl fī l-milal wa-l-ahwāʾ wa-l-niḥal whose writer is Ibn Ḥazm (d. 456/1064), one of the eminent scholars of the Andalusian civilization. In this work, Ibn Ḥazm gives systematic information about the non-Islamic religions as well as the sects emerging under the Islamic roof, criticizing the views of religion and religious sects from various perspectives. In doing so, he approached the views of the (...) sects with his identity as a kalam theologian, and he made his critics in the light of classical conception of the Ahl al-Sunnah. Ibn Ḥazm pointed out that Mushbbiha and Mujassima had an anthropomorphic understanding of God, and emphasized that this understanding does not correspond with the belief in monotheism. He strongly emphasizes that God is one and nothing is equal to Him.Summary: Islamic Civilization of Andalusia was the most important representative of Islam in the West and enlightened Europe for centuries, has made important successes in science-technic, art and literature. Also made improvements on other areas such as religous and philosophical knowledge, in these eras raised important Islam scholars who made important contributions to those areas. One of those scholars undoubtedly is Ibn Ḥazm who was born in Andalusia (d. 456/1064). The aim of this paper is to analyze and determine Ibn Ḥazm’s critiques on Mushabbiha and Mujassima, based on Ibn Ḥazm’s thought found in his al-Fasl,who was one of the leading scholars of Anatolia civilization and played an important role in development of Islam thought nearly in all areas by his precious writings.Ibn Ḥazm, in his work gives systematic information on sects under Islamic thought and beliefs and religions out of Islam, their relations and differences with Islam, which he accepts as one and unchangeable, and analyzes them gives in an analytic, defensive and rejective method, puts them under critique. In other words, with his theologian identity and dialectical method, under the Sunnī classical tradition, he criticizes other sects’ thoughts. Ibn Ḥazm used a very sharp language and rough method in his critiques. This kind of attitude was symbolized by a traditional saying “Ibn Ḥazm’s language is sharper than Hajjāj’s sword”. As it very well known in the Qurʾān, oneness (tawhīd) was emphasized very much, God does not look like anything ever created, and does not have any resemblance or sameness with anything, in order to eliminate polytheist (shirk) belief. On the other hand, in some verses representations and resemblances were used that does not seem in line with oneness (tawhīd). This problem which seems to be contradiction at first sight has been subject to many debates of how that can be solved. In the center of discussion informing attributes (revealed attributes) that drive people to comparison (tajsīm) and anthropomorphism (tashbīh) that recall humanly attributes if they are understood in artificial meanings. In history of Islamic thought, in order to understand those kind of attributes, in their artificial meanings or their changed and decided meanings (ta’wīl), has been subject to discussion and to understand the attributes different methods have been used. One of these method which is the main subject of this paper is tajsīm and tashbīh method and was accepted by Mushabbiha and Mujassima. They take informing attributes artificial meanings as base and were against the changing of the meaning. As a natural conclusion of this, they resemble God to the created and asserted God has concrete parts such as hand, face, eye, leg, etc. In his work al-FaṣlIbn Ḥazm mentions ideas of Mushabbiha and Mujassima, and criticized whether it is appropriate for Sunnah or not. His critique against these sects are mostly based on the informing attributes being taken as visual attributes in nasses, where as a result the God imagination turns to be anthropormorphist imagination. According to Ibn Ḥazm, the verses “… He does not resemble anything…” (Ṣūra 42/11) and “He is not equal to anything” put forward the onlyness and soleness of God and they do not give attention to this and try to prove the attributes fall into anthropormorphism (tashbīh) and corporealisim (tajsīm). Ibn Ḥazm believes and says that their God imagination is not in line with oneness (tawhīd) understanding and puts the verses into the center. In his critiques he emphasizes God’s oneness, he does not have pair, not resemble anything, does not have equal and tried to explain how his attributes should be understood. In this respect, in qualification of God his main principle was exploitation (tanzīh) and asserts that humanly attributes (face, eye, foot) in their visual understandings cannot be attributed to God and tried to prove that names like object (jism), accident (symptoms), substance (ore) he cannot be put into qualification. Ibn Ḥazm’s consideration of nass through an exterior perspective, his criticism of Mushabbiha and Mujassima, who take visual attributes as principles, and his re-interpretation (ta’wīl) of some nass whenever necessary may be seen as a contradiction but it is consistent in his system. Because he is not definitely against re-interpretation (ta’wīl) but he rejects re-interpretation without proof, he accepts ta’wīlthat comes from nasses and rational necessity with a proof. From this perspective if there is an occasion a word’s meaning in the Qurʾān that needs understanding different from its written meaning and there is a proof for that, he sees this a requirement for re-interpretation (ta’wīl). He practically used this theory of him in informing attributes. As a result, in attributes of God, he follows the madhhab of the Salaf (predecessors), where as in informal attributes and their understanding, he uses ta’wīlmethod and takes the path of Halaf (successors). By this way, he departed from the madhhab of the Salaf and created his own method. In this context while he was criticizing anthropormorphist and corporealist methods. Also he defended that since comprehension of God is not possible without re-interpretation of these attributes, it is necessary. He explained these attributes in verses with their dictionary meanings and related verses, with appropriate Arabic grammar and God’s greatness. From that perspective Ibn Ḥazm’s Salafī and artificial understandings, we cannot say he is from Salafī which rejects rationale and explanation all together. In addition to that when necessary in informal attributes he uses ta’wīland uses reason and the function he put upon reason, shows his position against sect like Mushabbiha and Mujassima who underestimates the value of reason. (shrink)

The subject of the study is the role of stained glass in the visual semiosis of religious buildings in Crimea. The object of the study is the stained glass decor of the sacred architecture of the Crimea. The research uses the methods of cultural (hermeneutic and semiotic) and artistic (idiographic and structural) analysis of stained glass art in the sacred space of Crimean architecture, the method of analysis of previous studies, the method of synthesis in conclusions regarding the development (...) of stained glass in the Crimean cult architecture. In the study, the authors considered the following areas of the topic: the development of stained glass art of the Crimea in sacred architecture; the meaning of color and subject symbols in stained glass compositions of religious buildings of the Crimea. The main conclusions of the study are: 1. Stained glass art, more precisely, its subject component, is not authentic for the Crimea, it appears in the decor of residential and public buildings during the late XIX century, the beginning of the eclecticism of Art Nouveau and imitation of Gothic and Byzantine models. Colored glass in earlier periods decorated the windows of well-to-do houses of representatives of various Crimean ethnic groups, however, stained glass as a phenomenon was not characteristic of sacred structures. 2. Due to its geographical location, Crimea is a multicultural and multi-confessional territory, where various religious trends developed: ancient pantheism, Byzantine Orthodox Christianity, Catholicism and Protestantism with the colonization of Catherine's time, Islam, Ashkenazi and Sephardic Judaism. Stained glass windows in religious buildings of various faiths, in addition to decorative function, play a symbolic role, conveying through color, symbolism of abstract and object forms one or another sacred meaning. 3. A special contribution of the authors to the study of the topic is the cataloging, art history and cultural description of examples of stained glass art in the sacred architecture of the Crimea. The scientific novelty of the study is that the authors for the first time carry out an ontological analysis of stained glass art in the sacred visual semiosis of the Crimea and analyze its semiotic aspects. (shrink)

As frequently pointed out in this discussion, one of the most characteristic features of Mayr's approach to the history of biology stems from the fact that he is dealing to a considerable degree with his own professional history. Furthermore, his main criterion for the selection of historical episodes is their relevance for modern biological theory. As W. F. Bynum and others have noted, the general impression of his reviewers is that “one of the towering figures of evolutionary biology (...) has now written a towering history of his discipline.”138 Bynum is here referring to The Growth of Biological Thought, but this observation holds equally true for Mayr's other historical writings: One must surely read this book [One Long Argument] not only for its content in itself, but for what it tells of its author. And certainly as one does so, one comes away full-handed. Many, if not all, of the disputes and controversies that have driven Mayr through his long intellectual life reappear, stated as forcefully and elegantly as ever.139Up to this point, most reviewers agree; the bone of contention is, rather, how to evaluate Mayr's historical work, considering this observation. The two related characteristics of his work-I will call them subjectivity and presentism-stand in opposition to a widespread approach in the history of science exemplified by Kuhn's suggestion that “insofar as possible..., the historian should set aside the science that he knows. His science should be learned from the textbooks and journals of the period he studies.”140 There are, however, historians who consider the close connection between Mayr and the subject matter of his historical studies to be an advantage.141On the other hand, it is assumed that the connection between past and present must result in a distortion of the historical truth and lead to a historiographical fallacy, commonly referred to as “Whig history”. Herbert Butterfield, who in 1931 gave the term its now generally accepted meaning, believed that “real historical understanding is not achieved by the subordination of the past to the present, but rather by our making the past our present and attempting to see life with the eyes of another century than our own”142. Unfortunately, Butterfield's definition of what he considers Whig history remains somewhat vague, and modern authors have emphasized what they consider most important. Butterfield's “subordination of the past to the present” is referred to in respect to the selection of subjects (there are more biographies of Charles Darwin than of, let's say, Louis Agassiz),143 to the evaluation of historical authors,144 or, more generally, to all kinds of histories “with one eye, so to speak, upon the present.”145 The underlying tendency of Whig historians is to produce a “historical account told from the viewpoint of those in power,”146 leading to a “glorification of the present.”147 It is obvious that Mayr's strongly presentist approach to the history of biology can be called Whiggish, if we apply the criteria of “selection” or “reference.” However, it might be worth mentioning that the program of writing a strictly historicist account of the history of science is challenged by various authors.148 For Mayr, it is not only legitimate but necessary to compare the present situation with the past. “Whiggish” is only the evaluation of an author in terms of our time.149I cannot discuss the Whit/anti-Whig controversy in any detail here, apart from saying that Mayr has defended himself rather extensively against the charges of being Whiggish.150 Nevertheless, it may be useful to touch on some of the criticisms that are predominant in reviews of his writings. First, we encounter the notion that historians can write a true and convincing historical account only if they have no personal interest or interpretation of their own; Mayr, on the other hand, because he “has such strong interpretations of his own, ... cannot possibly convince everyone that he is right about everything.”151 It makes one wonder, what historian has ever been able to convince everyone that he or she is right about everything? But apart from this peculiar idea, it unquestionably poses certain dangers if the subject matter of historical scrutiny and the author are identical. At the same time, this identity brings certain advantages with it, especially firsthand experiences of the period in discussion. Whether these personal memories ultimately result in a distorted picture of the past has to be decided in every particular instance. The notion that a scientific study can be conducted by a completely detached observer from a neutral standpoint has been shown to be impossible in physics, and it is also an illusion in historiography. The question is not whether, but which kind of interest are the underlying motivation for a historian. At this point, Mayr is ahead of his critics when he suggests that our understanding of the past always has a subjective component: The main reason, however, why histories are in constant need of revision is that at any given time they merely reflect the present state of understanding; they depend on how the author interpreted the current zeitgeist of biology and on his own conceptual framework and background. Thus, by necessity the writing of history is subjective and ephemeral.152Second, the temporal proximity between the event and the historical analysis makes difficulties inevitable and will finally result in certain false assessments. But this applies to all historians when they discuss recent problems, regardless of whether they are personally involved or not: As long as the battle between Darwinism and Lamarckism was raging, it was quite impossible to undertake an unbiased evaluation of Lamarck. ...[The] definite refutation of Lamarck's theory of evolutionary causation clears the air. We can now study him without bias and emotion and give him the attention that this major figure in the history of biology clearly deserves.153Third, Mayr is primarily interested in biological problems and not, for instance, historiographical, sociological, or psychological questions. Several authors have remarked that since the beginning of the professionalization of the history of science in the 1960s, a rift between two groups has developed, resulting from the heterogeneous professional backgrounds and interests of the people involved: the authors who were originally biologists and became interested in the history of their discipline only later on, and the authors who were trained as historians.154 Whereas the first group, the “biologists,” tend to be laymen in history proper, the “historians” are in most cases laymen in biology. Different professional backgrounds obviously shape the historical perspective in both groups, but neither approach is necessarily superior. The great number of important books in the history of biology written by “biologist” documents how valuable this point of view can be. On the other hand, it cannot be denied that the writings of biologists in the history of science tend to have a strong “internalist” tendency and often neglect the professional, cultural, and political context of science. Mayr's approach is that of a “biologist”; it is “internalist,” and typical for scientists who turn to the history of their discipline.I want to conclude my analysis with a quotation from a review by Douglas J. Futuyma, which gives a perceptive glimpse of Mayr's personality and style: One cannot help standing in awe of the germanic capacity for vast, allembracing synthesis: consider the lifelong devotion of Goethe to Faust, or Wagner's integration of the arts into a Gesamtkunstwerk in which all of human history and experience is wrought into epic myth. It is perhaps in this tradition that Ernst Mayr's The Growth of Biological Thought stands: a history of all of biology, a Ring des Nibelungen complete with leitmotivs such as the failures of reductionism, the struggle of biology for independence from physics, and the liberation of population thinking from the bounds of essentialism.155 Within this style of thinking Mayr has “to offer...nothing less than a vision of biology that places neodarwinian evolutionary theory firmly at the centre.”156 There may be other visions of biology, but few of them have as indefatigable and able representatives as Darwinism has in Ernst Mayr. (shrink)

ABSTRACT This article attempts to situate land art in the deserts of the US Southwest in terms of the works’ relation to and rupture with more traditional genres (seventeenth to twentieth centuries) of parks, gardens, and landscape architecture. It argues that the earlier works provide implicit answers to questions concerning Earth’s meaning and offer models of flourishing habitation. In contrast, the more recent works, all constructed in the era of the great acceleration (the Anthropocene), pose questions having to do (...) with new challenges posed by climate change and the devastation of the Earth. (shrink)

Resumen: Este artículo estudia el poder de la visualidad en la política. Entre aquello que está permitido ver y aquello que está prohibido mostrar, el régimen escópico se define por la intervención del poder institucional respecto de la mirada del espectador. Este estudio se desarrolla entre la tradición filosófica y otras aportaciones multidisciplinares (estudios visuales, comunicación social, estética, historia del arte, teoría del arte) que evidencian a) el control político en los regímenes escópicos de la mirada del espectador; b) la (...) consolidación de una cultura visual que condiciona el modo de vida de los individuos y las sociedades; c) el dominio del espacio social por medio de la regulación del espacio visual; y d) la manipulación de los afectos por medio de la experiencia visual. En este estudio destacamos la apertura de la consciencia crítica en la modernidad a la estetización de la política. Abstract: This article studies the power of visual aesthetics in politics. Between what is allowed to see and what is forbidden to show, the scopic regime is defined by the intervention of institutional power on the viewer's gaze. This study is developed between the philosophical tradition and other multidisciplinary contributions (visual studies, social communication, aesthetics, art history, art theory) that show a) political control in the scopic regimes of the viewer's gaze; b) the consolidation of a visual culture that conditions the way of life of individuals and societies; c) the domain of social space through the regulation of visual space; and d) the manipulation of affects through visual experience. In this study we highlight the opening of critical consciousness in modernity to the aestheticization of politics. (shrink)

An active engagement with arts in general and visual arts in particular has been hypothesized to yield beneficial effects beyond arts itself. So-called cognitive and socio-emotional “transfer” effects into other domains have been claimed. However, the empirical basis of these hopes is limited. This is partly due to a lack of experimental comparisons, theory-based designs, and objective measurements in the literature on transfer effects of arts education. Therefore, the aim of the present study was to design and experimentally investigate (...) a theory-based visual-arts education program for adolescents aged between 12 and 19 years. The program was delivered in a museum context in three sessions and was expected to yield specific and objectively measurable transfer effects. To conduct a randomized field trial, three strictly parallelized and standardized art courses were developed, all of which addressed the topic of portrait drawing. The courses mainly differed regarding their instructional focus, which was either on periods of art history, on the facial expression of emotions, or on the self-perception of a person in the context of different social roles. In the first and more “traditional” course portrait drawing was used to better understand how portraits looked like in former centuries. The two other courses were designed in a way that the artistic engagement in portrait drawing was interwoven with practicing socio-emotional skills, namely empathy and emotion recognition in one course and understanding complex self-concept structures in the other. We expected positive socio-emotional transfer effects in the two “psychological” courses. We used an animated morph task to measure emotion recognition performance and a self-concept task to measure the self-complexity of participants before and after all three courses. Results indicate that an instructional focus on drawing the facial expressions of emotions yields specific improvements in emotion recognition, whereas drawing persons in different social roles yields a higher level of self-complexity in the self-concept task. In contrast, no significant effects on socio-emotional skills were found in the course focussing on art history. Therefore, our study provides causal evidence that visual-arts programs situated in an art-museum context can advance socio-emotional skills, when designed properly. (shrink)

From Plato's Republic and St. Augustine's Confessions through Marx's Capital and Sartre's Being and Nothingness, the extraordinary philosophical dialogue between great Western minds has flourished unabated through the ages. Dazzling in its genius and breadth, the long line of European and American intellectual discourse tells a remarkable story--a quest for truth and wisdom that continues to shape our most basic ideas about human nature and the world around us. That quest is brilliantly brought to life in The Oxford (...) class='Hi'>History of Western Philosophy. Featuring hundreds of spectacular illustrations--including sixteen pages of full-color plates--this splendidly written volume takes the reader on a magnificient chronological tour through the revolutions of thought that have forged the Western philosophical tradition from ancient times to the present. Throughout, the six contributors--an internationally renowned team of philosophers including Roger Scruton, Anthony Quinton, and Anthony Kenny--bring the astonishingly diverse, wide-ranging landscape of intellectual history into sharp focus, emphasizing how notions seen today as part of an inevitable march of ideas were in their own time often considered radical, if not revolutionary. Thus we are treated, for example, to lively accounts of how Plato's "theory of forms" and Aristotle's pioneering exercises in logic broke with the past to irrevocably alter the course of Western thought. The authors also reveal the relationships between landmark thinkers, and the ways they drew on their intellectual heritage. They show, for instance, how St. Augustine and Aquinas, though advancing the cause of Christian doctrine, picked up where their pagan Greek forebears had left off. We witness how, during the Renaissance, the profound empiricist ideas underlying Descarte's famous utterance--"I think, therefore I exist"--lived in a tense but complementary relationship with Locke's rationalist theories. Moving into the eighteenth and nineteenth centuries, the book explores how Hume greatly influenced Kant's conception of the "transcendental aesthetic," and how Hegel drew upon the lesser known (but groundbreaking) work of Fichte and Schelling. The authors bring the story up to our own time, vividly recounting the existential trend from Nietzsche ("God is dead") to Sartre, along with other increasingly fractious schools of thought. Along the way, we not only encounter the vast intellectual riches of the Western mind, but we also meet the personalities behind the great thoughts, from the saintly Hume (described by Adam Smith as having "come as near to perfection as anybody could") to the ill-mannered outcast Fichte. And the hundreds of maps and striking illustrations (including full-color reproductions of art ranging from medieval manuscripts to the works of Raphael, Ingres, and Magritte) form an integral part of the book, revealing the interweaving of art and ideas through the ages, as artists have striven to give visual immediacy to philosophical concepts. The Oxford History of Western Philosophy is the most authoritative single-volume account ever written for the general reader. Engagingly written and astonishingly far-reaching, it provides the consummate introduction to the intellectual bedrock upon which Western civilization is built. (shrink)

This paper employs the metaphor of hunting to discuss intellectual investigation. Drawing on the example of Chrysippus’ dog, an animal whose behaviour supposedly reflects disjunctive syllogistic reasoning, the article traces the history of thought. It concludes by summarizing the contribution of Chrysippus’ dog to the fields of literature, philosophy and the visual arts. -/- .

Apin's cabinet of printed curiosities -- Thinking through plural images of logic -- The visible order of student lecture notebooks -- Visual thinking in logic notebooks and Alba amicorum -- The generation of art as the generation of philosophy.

This paper will focus on the discussion of Tolstoy’s ideas in the late 1920s, right after the 100th anniversary of the writer’s birth, by the State Academy for the Study of Arts (GAKhN) (in a collective volume entitled Leo Tolstoy’s Aesthetics, 1929) and by Mikhail Bakhtin (in his two articles written specially for Tolstoy’s Collected Works). These interpretations were notably influenced by the official commemoration of Tolstoy during the anniversary year and by changes in the prevailing Marxist discourse regarding the (...) creative legacy and ideology of the author of War and Peace. (shrink)

One of the iconographic trends that became especially articulated in the XII century is the strengthening of the role of typological logic in the selection and organization of subjects within the iconographic program of monuments of decorative and applied art, book illumination and stained glass. Interest in this kind of visual exegesis, based on the symbolic parallelism of the Old and New Testaments, generates experiments in the field of iconographic programs, which leads to the appearance in the late XII (...) – early XIII centuries a number of monuments in which detailed typological cycles are used (the Klosterneuburg altar, typological stained glass windows of French and English cathedrals). The subject of the research in this article is the connection of the described iconographic trend with texts of a theological, theosophical and liturgical nature. Despite the fact that some of the mentioned texts have already been involved by researchers of Christian iconography for the interpretation of pictorial programs, a special study of the sources of "typological iconography" in the XII century has not been implemented yet. Based on the analysis of a number of texts and iconographic analysis of fine art monuments, an attempt is made to identify a group of sources that could be familiar to the compilers of iconographic programs. Among the monuments of fine art, works created in the Rheno-mosan region (as well as derivatives of this tradition) are of particular interest in the XII century. In this group of works of art (including processional and altar crosses, phylacteries, portable altars, works of stained glass and book illumination), searches in the field of typological iconography are consistently realized. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:110 HISTORY OF PHILOSOPHY History of Aesthetics, Vol. I. Ancient Aesthetics. By Wladyslaw Tatarkiewicz. Ed. J. Harrell. Trans. Adam and Ann Czerniawski. (The Hague-Paris: Mouton and Warszawa: PWN-Polish Scientific Publishers, 1970. Pp. vii-352.) History of Aesthetics, Vol. II. Medieval Aesthetics. By WladySlaw Tatarkiewicz. Ed. C. Barrett. Trans. R. M. Montgomery. (The Hague-Paris: Mouton and Warszawa: PWN-Polish Scientific Publishers, 1970. Pp. vii-315.) These two volumes of Tatarkiewicz' (...) monumental history of aesthetics, the third volume (to 1700) of which is now being prepared for press, have been reviewed already in the major aesthetic journals in Europe and America following their publication in Polish. Since Polish is not one of my languages, I can say nothing about the adequacy of the (rather obscured) translators and their work. The editors of both volumes have done their difficult work thoroughly, though the usual inconsistencies of spelling and such creep in. British spellings of judgement, centre, and colour, for example, appear in one part of a volume, while center, color, and judgment appear in another part. These are rare and not at all irksome details. On p. 220 of volume I, Aristotle has become a Stagiryte (sic). If the editors and translators actually re-checked all of those Greek, Polish and English texts--to say nothing of the Latin--they have earned a very large debt indeed. Again, my selective ignorance eliminates me from assessment. Tatarkiewicz' historical writing is surgical and Lacon-like. His major achievement lies in refraining from philosophical animadversions and for sticking strictly to his topic, no matter how tempting the theoretic distractions. Actually one expects a history of aesthetics to find the locus of aesthetic theory in the usual systematic frameworks of outstanding philosophers, but again Tatarkiewicz knows better than to try to provide these settings. His device is to stay exactly with the texts of authors, and to provide as much evidence for his statements as a printed work will allow. His scholarship is truly prodigious, and the work will live as reference for a long time to come. But it is more than a reference. There are some remarkable novelties included that bear mention. First of all, Tatarkiewicz' opening analysis of what must be included in a history of aesthetics is penetrating and convincing. In addition to the major "dualities" of aesthetics (beauty-art, subjective-objective aesthetics, psychological-sociological aesthetics, descriptive-prescriptive aesthetics, etc.) he simply accepts the necessity to find evidence of aesthetic history among statements by artists, among the inexplicit and inarticulate art works, in the vox populi and cultural actions of people. Thus the "evidence" he adduces will often displease the theoretical purist. Next, one is impressed by the great antiquity of some key issues that are being avidly pursued today. What is impressive is not that they are being repeated now, but that modern writers so rarely recognize (or acknowledge) their historical sources---or seem to care to. A careful study of this history might do much to reduce the growing volume in aesthetics----or at least to change the direction of emphasis significantly. One is surprised to note which figures emerge as of first rate importance in the history of aesthetics, important for different reasons. These figures stand out: Democritus, Plotinus, Aristotle, Vitruvius, the Pseudo-Dionysius, Johannes Scotus Erigena, to select only a few. The first Polish philosopher, Vitelo, anticipates much modern psychologizing in advancing the work of Alhazen. Ockham, not so surprising, contributes major advances, as do Augustine and Aquinas. BOOK REVIEWS 111 One fascinating item is the author's extensive account of the most violent and extended controversy in the history of aesthetics---the veneration of images and the disputes between the Iconoclasts and the Iconophiles. This sometimes physical battle raged for over 100 years! The Byzantine society, obviously, took art seriously. Tatarkiewicz' great labor is an object lesson in historiography and bibliographic technique. At one and the same time it demonstrates how much of value remains to be discovered by careful adherence to the detail of scholarship, while it also displays how much fruitful scholarship depends upon a brilliant and profoundly informed mind. Such a work, in short, could only have descended from a fully mature... (shrink)

Joseph Beuys’ installation Plight forcefully avows of the Nazi genocide by means of negative presentation. The work culminates a collective artistic investigation of negative sculptural strategies for representing traumatic history, opened by the Nouveaux Réalistes under the impact of Alain Resnais’ documentary film Nuit et Brouillard. This article outlines this history and analyzes Plight in the context of the ‘after Auschwitz’ crisis of representation and traditional culture theorized by Theodor W. Adorno. For Adorno, Auschwitz demonstrated threats to autonomous (...) subjectivity posed by tendencies unfolding within the global social process of modernity itself. Reflecting on the fate of music, poetry and literature under these conditions, Adorno advocated a hermetic art of silence and dissonance, as exemplified by Paul Celan and above all Samuel Beckett. This article shows that in the visual arts, too, the genocidal violence of World War II was confronted with analogous strategies of indirection. In Plight, Beuys would successfully synthesize John Cage’s symbolic demolitions of traditional music and the investigations of negative presentation carried out in sculpture by Arman and Daniel Spoerri. (shrink)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, he leads the way to a (...) new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol's Brillo Box and the product found in the grocery store. Here we are engaged in a series of insightful and entertaining conversations on the most relevant aesthetic and philosophical issues of art, conducted by an especially acute observer of the art scene today.Originally delivered as the prestigious Mellon Lectures on the Fine Arts, these writings cover art history, pop art, "people's art," the future role of museums, and the critical contributions of Clement Greenberg--who helped make sense of modernism for viewers over two generations ago through an aesthetics-based criticism. Tracing art history from a mimetic tradition through the modern era of manifestos, Danto shows that it wasn't until the invention of Pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways of producing art, hinged on a narrative.Traditional notions of aesthetics can no longer apply to contemporary art, argues Danto. Instead he focuses on a philosophy of art criticism that can deal with perhaps the most perplexing feature of contemporary art: that everything is possible. (shrink)

How can aesthetic enquiry contribute to the study of visual culture? There seems to be little doubt that aesthetic theory ought to be of interest to the study of visual culture. For one thing, aesthetic vocabulary has far from vanished from contemporary debates on the nature of our visual experiences and its various shapes, a fact especially pertinent where dissatisfaction with vulgar value relativism prevails. Besides, the very question ubiquitous in the debates on visual culture of (...) what is natural and what is acquired in our visual experiences has been a topic in aesthetics at least since the Enlightenment. And last but not least, despite attempts to study visual culture without employing the concept of art, there is no prospect of this central subject of aesthetic theory ebbing away from visual studies. The essays compiled in this volume show a variety of points of intersection and involvement between aesthetics and visual studies; some consider the future of visual art, some the conditions and characteristics of contemporary visual aesthetic experience, while others take on the difficult question of the relation between visual representation and reality. What unites them is their authors' willingness to think about contemporary visual culture in the conceptual frame of aesthetics. This book will be of great interest to students and scholars of philosophical aesthetics, art history, and cultural studies. (shrink)

One of the most influential ideas of twentieth-century art history and aesthetics is that vision has a history and it is the task of art history to trace how vision has changed. This claim has recently been attacked for both empirical and conceptual reasons. My aim is to argue for a new version of the history of vision claim: if visual attention has a history, then vision also has a history. And we have (...) some reason to think that at least in certain contexts, visual attention does have a history. (shrink)

The great critic Peter Viereck, in a volume that both reproduces an earlier effort and presents an entirely new work on the intersection of history and literature, offers a biting critique of the American desire for normalcy that leads to a culture of the surrender of personality. In contrast to this voluntary thought control process is the unadjusted person. Cast in the mold of great individualists from Thomas More to Friedrich Nietzsche, such a person responds to fundamental (...) values of conscience rather than conformity built exclusively on ego gratification and icon worship. Viereck's book is a stinging critique of the liberal presumption of a monopoly in critical thought. He argues to the contrary, that most varieties of liberal expression offer little else than the common platitude dressed up as critique. In such a cultural environment, conservatism is the skeleton in the liberal closet. The virtue of conservatism is that in its very stress on liberty as dependent on tradition and law, it permits the human being an opportunity to test all transient things by the touchstone of all lasting ideas. Unadjusted Man cuts deep and in many directions: against left totalitarian regimes of Europe and right wannabes like McCarthyism in America. For Viereck, the art of conserving is not an embrace of utopias to come or empires that were, but retaining the sense of individuality over against the senselessness of the "massman." Civil liberties in this approach are a right to non-conspiratorial dissent informed by fundamental values. The new material is presented unabashedly--without an attempt to rewrite personal history, and with an admission that not every prediction made in the original edition has come to fruition. That said, the underlying themes of the original are not so much repeated as expanded upon. For those seeking a work in the classic mold of conservatism, rather than the strident reactionary views that have come to dominate much of the conservative dialogue, this will be a special book, a special entrance to the mind of a great figure in American culture wars of present as well as past. (shrink)

In a recent series of lectures delivered at the Institute of Fine Arts and the Frick Collection, Michael Ann Holly highlighted a moment in the 1950s when, she argues, art history made a pivotal choice, opting to follow Erwin Panofsky’s iconographic system of interpretation, based in a neo-Kantian historical distance, rather than Hans-Georg Gadamer’s theory of immediacy of experience.1 The dichotomy between visual experience and contextualization that Holly implicitly posits in her lecture suggests a long-standing tension in the (...) historiography of art history. Holly’s argument that Gadamer is a forgotten founder figure for the discipline of art history is a compelling one, not only for art history but, as I... (shrink)

In this outstanding collection of essays, Isaiah Berlin, one of the great thinkers of the twentieth century, discusses the importance in the history of thought of dissenters whose ideas still challenge conventional wisdom--among them Machiavelli, Vico, Montesquieu, Herzen, and Sorel. With his unusual powers of imaginative re-creation, Berlin brings to life original minds that swam against the current of their times.

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the works of (...) Nietzsche and Max Weber. (shrink)

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. (...) John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

There is a common tradition in European education going back to the Middle Ages which long played a part in providing the curriculum of schools which catered both for the wealthy and for able sons of less well-to-do families. Originally published in 1974, this volume examines the relationship between education and society in the different countries of Europe from which differences in tradition and practice emerge. The countries discussed include: France, Germany, the former Soviet Union, Poland and Sweden.