Winckelmann’s work inhabits an ambivalent place in the history of historiography. His Geschichte der Kunst des Alterthums (1764) is often referred to as the foundational document of art history, but almost never without the obligatory mention of its rather unhistorical dimension. The aim of the following discussion is to evaluate Winckelmann’s position in the history of eighteenth-century European historiography, especially with regard to the early phase of his career as a historian, i.e. the decisive period between his studies (...) in Halle and his stay in Nöthnitz (1738–1754). During these years, Winckelmann carefully excerpted historiographical literature and dealt intensively with the model of universal history, whose structural patterns deeply influenced his reflection on art historiography. (shrink)

We no longer have any texts, any past, but just interpretations of them. The evident multi -interpretability of a text causes it gradually to lose its capacity to function as arbiter in the historical debate. It is necessary to define a new link with the past based on a complete and honest recognition of the position in which we now see ourselves placed as historians. In recent years, many people have observed our changed attitude towards the phenomenon of information. For (...) postmodernism, science and information are independent objects of study which obey their own laws. Language and art are not situated opposite reality but are themselves a pseudo-reality and are therefore situated within reality. Because of the relation between the historiographical view and the language used by the historian to express his view - a relation which nowhere intersects the domain of the past -historiography possesses the same opacity and intensional dimension as art. The essence of postmodernism is precisely that we should avoid pointing out essentialist patterns in the past. There is reason to assume that our relation to the past and our insight into it will in future be of a metaphorical nature rather than a literal one. (shrink)

In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History. This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace. He then added in the Mellon lectures a sociological perspective on the current situation (...) of the visual arts, and an Hegelian historiography. The history of art has ended, Danto claims, and we now live in a posthistorical era. Since in his well-known book on historiography, Analytical Philosophy of History, Danto is unsympathetic to Hegel's speculative ways of thinking about history, his adaptation of this Hegelian framework is surprising. Danto's strategy in After the End of Art is best understood by grasping the way in which he transformed the purely philosophical account of The Transfiguration into a historical account. Recognizing that his philosophical analysis provided a good way of explaining the development of art in the modern period, Danto radically changed the context of his argument. In this process, he opened up discussion of some serious but as yet unanswered questions about his original thesis, and about the plausibility of Hegel's claim that the history of art has ended. (shrink)

Organized thematically, this important five-volume set brings together key essays from the field of historical studies. Including an extensive general introduction by the editor in the first volume, as well as shorter individual introductions in each of the following volumes, this set is essential reading for scholars and students alike. Coverage includes: 1. Foundations - The Classic Tradition - The Old Cultural History - Economic History 2: Society - Social History - Marxism - Annales - History of Mentalities 3: Ideas (...) - History of Ideas/ Intellectual History - History of Science - History of the Arts - History of Religion - History of Sexuality. 4: Culture - History and Anthropology - Microhistory - New Cultural History - History and Memory - The Poetics of History - Narrativity. Postmodernist Historiography and its Critics 5: Politics - Political History - Imperialism and Postcolonial History - World History - World-Systems Analysis. (shrink)

The essays in this collection explore both how the employment of nation-state dominated discourses have caused a re-imagination of the past, and how the past has been re-constructed to accord with nationalist agendas. Although other works have considered in general terms how nations are imagined, this collection takes a different stance and specifically focuses on how 'the past' is used in such imaginations. This collection was conceived in an interdisciplinary spirit, drawing insights from art history, intellectual history, literature, archaeology, heritage (...) studies, political science, and film studies. The authors combine a sophisticated theoretical approach with illuminative case studies from all across the globe, including the Balkans, South Africa, Rwanda, the Yemen, Italy, Turkey, Greece, and Uzbekistan. (shrink)

Since the mid-1980s, Arthur C. Danto has been increasingly concerned with the implications of the demise of modernism. Out of the wake of modernist art, Danto discerns the emergence of a radically pluralistic art world. His essays illuminate this novel art world as well as the fate of criticism within it. As a result, Danto has crafted the most compelling philosophy of art criticism since Clement Greenberg. Gregg Horowitz and Tom Huhn analyze the constellation of philosophical and critical elements in (...) Danto's new- Hegelian art theory. In a provocative encounter, they employ themes from Kantian aesthetics to elucidate the continuing persistence of taste in shaping even this most sophisticated philosophy of art. (shrink)

First published in 1959, this book is concerned with the methodology of art history, and so with questions about historical thinking; it enquires what scientific history of art can accomplish, what are its mean and limitations? It contains philosophical reflections on history and begins with chapters on the scope and limitations of a sociology of art, and the concept of ideology in the history of art. The chapter on the concept of "art history without names" occupies the central position in (...) the book — thoroughly discussing the basic philosophical outlook for the whole work. There are also further chapters on psychoanalysis, folk art and popular art. The chapter on the role of convention in the history of art points the way for further study. (shrink)

"Como pensar hoje na escrita da história? Como enfrentar a página em branco que não se apresenta como um espaço neutro, mas um espaço onde quem escreve - o historiador - deixa rastros do passado e também os seus próprios rastros? Essas são algumas das questões colocadas pelos ensaios que compõem "Arte e pensamento: operações historiográficas". Num primeiro momento, são fornecidos o ritmo, o tom e os compassos por meio de discussões e reflexões sobre uma teoria da experiência para a (...) escrita da história, sobre a historicidade do artístico, sobre o inespecífico do contemporâneo, sobre o pensamento na fronteira, sobre a nomeação dos anônimos em Machado de Assis. A partir dessas harmonizações dissonantes e consoantes, iniciam-se 3 operações que delineiam o segundo momento do livro, cuja intenção maior é fazer operar a escrita da história na imbricada conjunção história-arte-pensamento."--Contratapa. (shrink)

When does art history begin? Art historiographers typically point to the Renaissance (Vasari) or, alternatively, to Hellenism (Pliny the Elder). But such origin stories become increasingly disconnected from contemporary disciplinary practices, especially as the latter try to rise to the challenge of conducting art history in a more diversified and global way. This essay provides an alternative account of art history’s origin, one that does not try to alleviate the sense of disconnect, but rather develops a global, non-Eurocentric account. The (...) account focuses less on genealogy and more on what necessitates something like an art-historical awareness or attention in the first place. Relying on examples from ancient Mesopotamia, it argues that art-historical thought can be identified whenever and wherever material objects are attended to or produced for their potential to manifest visibly and over time their meaning. (shrink)

Meine Untersuchung gliedert sich in folgende Abschnitte: In einer Art Vorspiel wird anhand einiger Beispiele daran erinnert, wie Fichte selbst zum Gegenstand einer politischen Historiographie geworden ist, die dazu neigt, sich über die hochkomplexe interne Struktur der Theorie hinwegzusetzen. In einem zweiten Abschnitt wird Fichtes Geschichtsphilosophie umrissen. Ein dritter Abschnitt geht in den Texten zur Französischen Revolution der Frage nach, welcher Sinn dort eigentlich der Historiographie zugeschrieben wird. Und im vierten Abschnitt wird die gleiche Frage mit Blick auf das spätere (...) Werk, insbesondere die »Grundzüge«, traktiert. (shrink)

Meine Untersuchung gliedert sich in folgende Abschnitte: In einer Art Vorspiel wird anhand einiger Beispiele daran erinnert, wie Fichte selbst zum Gegenstand einer politischen Historiographie geworden ist, die dazu neigt, sich über die hochkomplexe interne Struktur der Theorie hinwegzusetzen. In einem zweiten Abschnitt wird Fichtes Geschichtsphilosophie umrissen. Ein dritter Abschnitt geht in den Texten zur Französischen Revolution der Frage nach, welcher Sinn dort eigentlich der Historiographie zugeschrieben wird. Und im vierten Abschnitt wird die gleiche Frage mit Blick auf das spätere (...) Werk, insbesondere die »Grundzüge«, traktiert. (shrink)

The paper relates two different fields of research: the historiography of generative linguistics and argumentation theory, a central topic of which is the investigation of fallacies. Relating the two fields is a challenge: Since fallacies seem to be at the heart of the historiography of generative linguistics, any thorough evaluation of its present state of the art also involves accounting for fallacies. The paper applies Kertész and Rákosi’s p-model of plausible argumentation to a case study on heated discussions (...) in the historiography of generative linguistics. As a result, basic properties of fallacious argumentation are revealed and delimited from plausible argumentation in linguistic historiography. In addition, the paper also draws generalizable conclusions that may affect the historiography of other human sciences as well. (shrink)

The Periegesis of Pausanias has finally entered the world of serious literature. Long after the way was first shown, the Magnesian has arrived and duly taken his place in the intellectual world of the second century: a pilgrim to the past. Yet he was no bookish, library-bound bore. Recent studies have transformed our opinion of him as a recorder of the sites and treasures of what was, even to him, antiquity, ‘His faithfulness in reporting what he saw has, time and (...) time again, been proven at a large number of sites and could easily be demonstrated at a good many others.’ ‘The very fact that the second-century A.D. traveller Pausanias wrote at such length about the sites and monuments of Greece is itself indicative of his most important attitude towards antiquities. That is, he thought them of sufficient value to be worth recording and thought it worth travelling extensively in mainland Greece over a period of many years to see them for himself.’ And so inevitably, as respect for the author has grown, the desire to lay bare his soul has followed. Critics are unanimous in their view of a man sensitive to the resonance of the ancient and power of the past. On occasion a Herodotean fascination with the mutability of man's lot bubbles to the surface, indeed we may surmise Herodotus to have been an important influence on the Periegesis in several fundamental respects. Above all he was a man of deep learning and keen interest in the past and a faithful recorder of its remains. Archaeologists and art-historians concur. (shrink)

The concept of the Formalesque preoccupied Bernard Smith during the last decades of his life. First propounded in Modernism's History (1998), the Formalesque is a proposed period style describing the art of the 20th century. Yet, despite his ambitions for the Formalesque as a new classification for modern art, the idea failed to appeal to academic art history. This paper does not attempt to salvage the Formalesque from art-historical obscurity. But it does argue Smith's work on this topic is relevant (...) by virtue of the contribution it makes to debates about modernism and art history. Although Smith's thesis emphasizes the necessity of period styles and the perennial development of art history, paradoxically, the Formalesque also highlights the limitations of art history. If the Formalesque has a place in art historiography, it belongs to a speculative discourse describing the end of the history of art. (shrink)

Exhibitions are embodied knowledge, and the processes of making exhibitions are also in themselves knowledge production practices. Science and technology exhibitions are therefore doubly of interest to historians of science: both as epistemic agents and as research methods. Yet both exhibitions and exhibition-making practices are ephemeral, as is the subsequent experience of the visitor. How can we research, interrogate, and understand both the productive creation of exhibitions and the phenomenologies and epistemologies of their reception and impact? “Exhibition histories” has become (...) a significant field of late, most closely associated with research on art exhibitions but also extending to world and trade fairs, and now increasingly crossing over into histories of science and technology. It is not an easy task: the range of exhibition archive materials includes – but is not limited to – 35mm slides, architectural blueprints, models, drawings, briefs, memos, budgets, press films, reviews, and personal accounts. This primary material is distributed unevenly across public and organized repositories, closed commercial archives, the personal papers of designers, often embargoed national bureaus of information, and more. Further, the experience of visiting an exhibition leaves far fewer traces to follow, requiring the researcher to do different kinds of things with the same widely varied material. This paper proposes methodologies for historians of science and technology wishing to understand the spatialization of science in exhibition contexts, the impacts of science exhibitions, and the more elusive phenomenological aspects of the exhibition visitor experience. Historians of science must accurately historicize context while researching both along and against the grain of archival material left by the making of exhibitions, as well as understanding the embodied trajectories of visitors. The practice of making exhibitions can also offer the researcher critically valuable insights into what to look for – and what may be absent – in archival records. (shrink)

This article examines E.H. Gombrich’s critical appraisal of Arnold Hauser’s book, The Social History of Art. Hauser’s Social History of Art was published in 1951, a year after Gombrich’s bestseller, The Story of Art. Although written in Britain for an English-speaking public, both books had their origins in the intellectual history of Central Europe: Gombrich was an Austrian art historian and Hauser was Hungarian. Gombrich’s critique, published in The Art Bulletin in 1953, attacked Hauser’s dialectical materialism and his sociological interpretation (...) of art history. Borrowing arguments from Karl Popper’s critique of historicism, Gombrich described Hauser’s work as collectivist and deterministic, tendencies at odds with his own conception of art history. However, in his readiness to label Hauser a proponent of historical materialism, Gombrich failed to recognize Hauser’s own criticism of deterministic theories of art, especially formalism. This article investigates Gombrich’s reasons for rejecting Hauser’s sociology of art. It argues Gombrich used Hauser as an ideological counterpoint to his own version of art history, avowedly liberal and individualist in outlook. (shrink)

Cover -- Half Title -- Title Page -- Copyright Page -- Original Copyright Page -- Dedication -- Table of Contents -- INTRODUCTION -- VOLTAIRE -- HUME -- ROBERTSON -- GIBBON -- INDEX.

Depuis le début des années 1980, Georges Didi-Huberman, philosophe et historien de l'art, enseignant à l'École des hautes études en sciences sociales (Paris), s'attache à penser le devenir des images, et plus généralement le travail des formes, avec des outils théoriques empruntés à des champs de recherche multiples (philosophie, anthropologie, histoire de l'art, psychanalyse...) et pour des périodes historiques très diverses (Renaissance, XIXe siècle, art moderne, art contemporain...). La fécondité de cette pensée, la richesse des propositions théoriques qu'elle a su (...) inventer, en font aujourd'hui une référence majeure dans le champ de l'histoire et de la théorie de l'art. Ce volume propose un ensemble de lectures de cet être-devant-les-images, en explorant sa tonalité essentiellement heuristique. Il montre combien, ici, l'art et l'histoire trouvent des outils capables de les faire travailler ensemble. (shrink)

The critical literary world has spent a wealth of thought and words on the question of Hawthorne himself: Where does he stand in his works? In history? In literary tradition? In this major new study, G. R. Thompson recasts the "Hawthorne question" to show how authorial presence in the writer's works is as much a matter of art as the writing itself. The Hawthorne who emerges from this masterful analysis is not, as has been supposed, identical to the provincial narrator (...) of his early tales; instead he is revealed to be the skillful manipulator of that narrative voice, an author at an ironic distance from the tales he tells. By focusing on the provincial tales as they were originally conceived--as a narrative cycle--Thompson is able to recover intertextual references that reveal Hawthorne's preoccupation with framing strategies and variations on authorial presence. The author shows how Hawthorne deliberately constructs sentimental narratives, only to deconstruct them. Thompson's analysis provides a new aesthetic context for understanding the whole shape of Hawthorne's career as well as the narrative, ethical, and historical issues within individual works. Revisionary in its view of one of America's greatest authors, The Art of Authorial Presence also offers invaluable insight into the problems of narratology and historiography, ethics and psychology, romanticism and idealism, and the cultural myths of America. (shrink)

Arthur Danto proklamierte das »Ende der Kunst«, d. h. das Ende der auf ein Narrativ und auf eine unidirektionale Grundlage basierenden Kunstgeschichte. In der zeitgenössischen Kunstwelt und besonders in der Historiographie hingegen findet man durchaus ein Telos. Dieses Telos ist die Globalisierung. Es gibt heute ein sich ausbreitendes unidirektionales Narrativ, dessen Regel als »Netzwerklegitimation« erklärt werden kann. Ein Netzwerk, dessen Ausmaß (mehr Regionen der Welt), Sättigung (mehr Objekte) und Historizität (umfassendere Entwicklungsketten) zunehmen. Das Netzwerk hat auch einen Mittelpunkt, den Westen, (...) wenn auch nicht für immer. Arthur Danto proclaimed the »end of art«, that is, the end of the history of art structured on a narrative and unidirectional basis. But in contrast to Danto’s ideas, we detect a telos in the contemporary art world, especially in historiography. This telos is globalisation. At present, we have a clearly expansive unidirectional narrative in which the norm can be summed up as »network legitimation.« A network that is growing in extent (more regions of the world), saturation (more objects) and historicity ( further-ranging chains of development). The network also has a centre, the West, although it may not last forever. (shrink)

During the past three decades the Utrecht scholar Jaap Mansfeld has built up a formidable reputation in the field of the history of ancient philosophy. This state-of-the-art collection of articles is presented to him by colleagues and friends on his sixtieth birthday.

Despite the importance of the “historiographical revolution” in Kuhn’s work, he did not carry out a specific study about it. Without a systematic investigation into it, he even affirms that the “old” historiography of science (OHS) is unhistorical, suggesting its summary disqualification in the face of his “new historiography” of science (NHS). My wider project, of which this paper is a part, is to better discuss the issue of the justification of the NHS. In this paper, I discuss (...) the justification (and the genesis) of the OHS, focusing on Condorcet and Comte and resorting especially to Koyré. This will allow us to understand that the relation between the OHS and the NHS is a new instance of inter-theoretical incommensurability. And, indeed, that the NHS is not stricto senso a new historiography. It is the same historiography used for other disciplines (art, philosophy), which in the twentieth century begins to be applied to science as well. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Enchantment of Art: Abstraction and Empathy from German Romanticism to ExpressionismDavid MorganA familiar tradition since the eighteenth century has invested art with the power to heal a decadent human condition. Inheriting this ability from religion—the romantic enthusiast Wilhelm Wackenroder considered artistic inspiration to originate in “divine inspiration” in the case of his hero, Raphael 1 —art eventually replaced institutionalized belief in an evolutionary schedule of cultural development determined (...) by German idealism. Hegel, for instance, theorized the evolution of spirit from religion to art as a qualitative advancement over time. Rejecting the metaphysics of German idealism, Friedrich Nietzsche nevertheless contended that “Art raises its head where religions decline.” By assuming the “feelings and moods” of religion which had been dismantled by enlightenment, Nietzsche claimed that art gave new form to the life of feeling and imbued human endeavors with a “loftier, darker coloration.” 2 In the early twentieth century Wassily Kandinsky believed that the “spiritual in art” was the historical manifestation of an “inner necessity” that was in itself timeless and universal. Kandinsky portrayed the “life of the spirit” as “a large acute-angled triangle divided horizontally into unequal parts.” In a kind of “trickle down” aesthetic, the compartments of the triangle move slowly upward toward the apex, which is inhabited by the solitary genius of an age whose vision gradually elevates all those who occupy the lower stages. 3 [End Page 317]The point for proponents of the spiritual in art from romanticism to expressionism (and beyond) was to find in works of art what can best be described as an enchantment. 4 As the negotiation of the gaps or disjunctures separating human beings from complete power over their lives, enchantment conjoins the plane of immediate human experience to a desirable state of affairs through the mediation of such symbolic devices as rituals, incantations, or charms. Thus, evil can be warded off by the use of an apotropaic amulet, and fertility can be enhanced by the recitation of a suitable prayer or the performance of a certain ritual. In a modern analogy a sense of impotence is often alleviated by a trip to the mall where the bored therapeutically lose themselves in symbolic acts of self-renewing consumption. In the traditions of philosophy and science, systems of representation such as astrology, the microcosm, the harmony of the spheres, the great chain of being, the celestial hierarchies, or the mechanisms of theurgy and divination situate humanity within a cosmos that follows a particular order accessible to and in some degree manipulable by human beings. Enchantment consists of an apparatus of belief whose form of representation or enactment is thought to exert influence over the realities it configures.But enchantment is not limited to the spells and magic of premodern metaphysics (or modern consumerism). By means of religion, morality, and aesthetics, Nietzsche once averred, “man likes to believe that... he is touching the heart of the world.” 5 This study will focus on the manner in which art as constructed within the idealist tradition of German art theory functioned as an enchantment. Specifically, it will explore what the history of ideas about abstraction and empathy has to tell us about the spiritualization or enchantment of art. After identifying the philosophical and aesthetic wherewithal of enchantment in nineteenth-century Germany, attention focusses on Franz Marc’s early twentieth-century theorization of abstraction. It is certainly more customary to study Kandinsky, whose writings and early efforts at abstraction are much better known, but Marc’s ideas offer more immediate connections to German intellectual history and clarify the aims of his abstract art as a strategy of enchantment. Moreover, Marc was unusually articulate and wrote often, exploring ideas and artistic efforts with great insight. Focusing on Marc therefore offers a corrective to the historiography that has favored Kandinsky’s writings. Finally, Marc differed from his Russian friend over the cause of the war. Manifesting a difference that is portentous for this study, Kandinsky left Germany for Russia in 1914, while Marc enthusiastically took up arms for the fatherland. Given these circumstances and the unfortunate tendency of art historians to valorize expressionist art rather than situate it in the ideological context of... (shrink)

Recent theories of art that subscribe to the view that art objects are agents enchanting their target audience, have tended to explain the operation of art objects as an agent–patient dynamic, a causal nexus of agency. They face a challenge, however, when they also aspire to embrace the idea – dominant in modernist and contemporary art theory – that the function of art is to unsettle its spectators’ habitual ways of perceiving and understanding, that is, to disenchant them: If artworks (...) are to be understood as agents enchanting their recipients, how can they be forces of disenchantment at the same time? I argue that the shift in perspective from perceiving art objects as enchanting agents to approaching them as possible means of gaining cognitive distance is inadequately addressed by these theories. (shrink)

Marianna Charitonidou's books discuss the problem of changes in the creation of architecture in the 20th century. The author showed representatives of four generations of architects of this period. The first group is represented by Le Corbusier and Ludwig Mies van der Rohe. The second generation was described as a group of opponents to the CIAM environment centered around the Team X grouping and the activities of Alison and Peter Smithson and Aldo van Eyck. Generation three was discussed based on (...) the work of Aldo Rossi and Giancarlo Da Carlo. Generation four, active since the 1980s, was linked to the activities of Rem Koolhaas and Bernard Tschumi. (shrink)

Departing from a critical assessment of the most widespread and initiated definitions of Contemporary Art from the last decade and a half, sustaining a world-wide discourse on contemporary art and contemporaneity, this article will deal with two aspects of an immodest proposal captured by the keywords actualization and anachrony. While current discussions on contemporary art are arguably reproducing modernist assumptions on the primacy of innovation, bolstered by a veiled avant-garde logic, the proposal to regard contemporary art as actualized art upsets (...) not only ideas on what art after postmodernism might mean, but the whole edifice of historicist historiography. An anachronic perspective, a bi- or polychronic situatedness of the work of art, could be used to liberate art from being defined according to its unique descent, and to embrace, instead, a chronologic open to art’s continuous “life” through its successive aesthetic accessions and actualizations in time. (shrink)

Tracing the relationship between Marxism and Darwinism in Bernard Smith’s writing, the article unpacks the meaning of Smith’s claim that ‘it is the business of the art historian to reveal tendencies’. While Smith tended towards Marxism his writing is not about Marxist tendencies in art. Smith was practising a type of genealogy rather than teleology, something, that is, more Darwinian than metaphysical, philosophical or ideological. I argue that Smith’s claim is more than methodological: it also shaped the content of his (...) historiography and particularly his interpretation of Australian art. (shrink)

From the late-fifteenth century onwards, scholars across Europe began to write books about how to read and evaluate histories. These pioneering works - which often take surprisingly modern-sounding positions - grew from complex early modern debates about law, religion, and classical scholarship. In this book, based on the Trevelyan Lectures of 2005, Anthony Grafton explains why so many of these works were written, why they attained so much insight - and why, in the centuries that followed, most scholars gradually forgot (...) that they had existed. Elegant and accessible, What Was History? is a deliberate evocation of E. H. Carr’s celebrated and icononclastic Trevelyan Lectures on What Is History?, and will appeal to a broad readership of students, scholars and historical enthusiasts. Anthony Grafton is one of the most celebrated historians writing in English today, and What Was History? is a powerful and imaginative exploration of some central themes in the history of European ideas. (shrink)

From one of the most respected historians in America, twice the winner of the Pulitzer Prize, a new collection of essays that reflect a lifetime of erudition and accomplishments in history. The past has always been elusive: how can we understand people whose worlds were utterly different from our own without imposing our own standards and hindsight? What did things feel like in the moment when outcomes were uncertain? How can we recover the uncertainties of the past, before the outcomes (...) were known? What kind of imagination goes into the writing of transformative history? Are there latent trends that distinguish the kinds of history we now write? How unique was North America among the far-flung peripheries of the early British empire? As Bernard Bailyn argues in this elegant, deeply informed collection of essays, history always combines approximations based on incomplete data, with empathic imagination and the interweaving of strands of knowledge into a narrative which also explains. This is a stirring and insightful work drawing on the wisdom and perspective of a career spanning more than five decades--a book that will appeal to anyone interested in history"--From publisher's website. (shrink)

Issues of style in art are fundamental issues of modern aesthetics, since style is put forward in a number of main categories of art, acting as a principle of the organization of aesthetic form. It is no coincidence that over the past century, the attention of numerous researchers has been drawn to the XVII century - the beginning of the history of aesthetics of modern times, in which, perhaps, the root of modern problems lies. In this respect, the XVII century (...) seems to be the most grateful material for a discussion about style, since in the XVII century great styles arise that will develop and transform in the following centuries and will determine the development of art for many decades - classicism and Baroque. Since the 30s of the XX century, in studies devoted to the study of literature and art of the XVII century, a departure from the theory of classicism of the XIX century is planned. The first stage of this turn is the study of the creativity of the "pillars of classicism", which demonstrated that it has nothing to do with hierarchized academicism and reverence for norms. The desire to please the public, which was initially perceived as the main paradox in the theory of classicism, is further formulated by researchers as the presence of a different aesthetic. The next stage - the term "classicism" itself is criticized as late, evaluative, giving this era the meaning of the absolute. As a result, many researchers come to the conclusion that in France of the XVII century there was no literary and aesthetic doctrine as a single and "classical" one. Finally, the third stage of the study - the appeal to a single anthropo-socio-cultural concept of history, the use of sociological methods to highlight the gallant ethos allows us to conclude that classicism is a phenomenon in the field of art, gallantry is not only an artistic phenomenon, but also a social one. (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)

SummaryHistorians have explored the continuities between science and the arts in the Industrial Revolution, with much recent historiography emphasizing the hybrid nature of the activities of men of science around 1800. Chemistry in particular displayed this sort of hybridity between the philosophical and practical because the materials under investigation were important across the research spectrum. Inflammable gases were an example of such hybrid objects: pneumatic chemists through the eighteenth century investigated them, and in the process created knowledge, processes and (...) instruments essential for the creation of a new gaslight industry from 1800. Once this industry began to expand and mature, the interests and experiments of the gas industry stimulated new research work which in turn had relevance for theoretical debates.This paper explores how the emergence of the gas industry from 1800 provided an impetus for new work in theoretical chemistry. Boulton & Watt, important pioneers of the gas industry, explored the compositions of inflammable gases for practical purposes: the composition of these gases had an important effect on the luminosity of gaslights, and hence the economics of the new technology compared to older forms of lighting. As they explored these questions in their engineering work, they stimulated their friend William Henry to explore the nature of these gases further, and he carried out a series of experiments to determine their composition more exactly than Boulton & Watt had done. Henry published a series of paper between 1805 and 1820 where he made arguments about the compositions of inflammable airs, and further related these to contemporary debates about the laws of multiple and definite proportions, as well as John Dalton's atomism. Henry's research was also a hybrid of the theoretical and practical in that he tried to develop results useful for the fledgling gas industry. Specifically, he suggested the best kind of coal to use, and showed how gas quality varied with distillation time and temperature. (shrink)

Dans ce dialogue avec Garnet Hertz, Jussi Parikka argumente pour une archéologie des media qui puisse constituer une méthodologie de recherche universitaire au sein des études des media et des arts médiaux. Suivant cette idée directrice de la construction nécessaire d’une fondation théorique à l’archéologie des media, la conversation aborde les sujets de l’interdisciplinarité, de l’historiographie, de l’art, des nouveaux media et du monde universitaire.

This article engages with the work of Scotland-based artist Kate Davis (b.1977). The discussion begins to articulate a framework for understanding Davis's work within a feminist logic of re-visioning and re-citing, strategies that are explicated and suggested as paradigmatic to feminist art production since 1970. Fundamentally, the article explores Davis's complex strategies for adopting and adapting motifs from within the archives of art history, arguing that her work constitutes a mode of visual research and historiography.

The mid-twentieth century saw a change in paradigms of art history: iconology. The main claim of this novel trend in art history was that renown Renaissance artists created imaginative syntheses between their art and contemporary cosmology, philosophy, theology and magic. The Neo-Platonism in the books by Marsilio Ficino and Giovanni Pico della Mirandola became widely acknowledged for their lasting influence on art. It thus became common knowledge that Renaissance artists were not exclusively concerned with problems intrinsic to their work, but (...) that their artifacts encompassed a much larger intellectual and cultural horizon. This volume brings together historians - both those concerned with the history of their own discipline and also those whose research is on the art and culture of the Italian Renaissance itself - with historians from a wide variety of specialist fields, in order to engage with the contested field of iconology. The book will be of interest to scholars working in art history, Renaissance history, Renaissance studies, historiography, philosophy, theology, gender studies, and literature. (shrink)

This article examines an eighteenth-century historical work, Antoine-Yves Goguet's De L'origine des loix, des arts, et des sciences, et de leurs progrès chez les anciens peuples. Goguet studied ancient cultures, but maintained that they were inferior to modern European civilization. His methodology, wide erudition, and detailed footnotes were praised at the time, including by the customarily critical Edward Gibbon. Goguet's work was translated into several languages and was influential into the beginning of the nineteenth century, although he was later all (...) but forgotten. The article discusses his work in the context of eighteenth-century scholarship. (shrink)

Hutton considers the ideas of philosophers, poets, and historians to seek outthe roots of fact as mere recollection.