Though inspired by a Panofskyan legacy, this book diverges at certain points from Erwin Panofsky's declared objectives, and calls attention to several of aspects that were until now less accentuated in his intellectual reception. Insisting on the importance of iconology as a method for art history and the humanities in general, it shows how examining this promotes a cooperation between the history of art and the history of philosophy. It discusses whether Panofsky's method could be of use for general questions in the epistemology of the historical sciences that examine human works. Figural Philology also shows that Panofsky shares affinities with twentieth-century romance philology. A reading of Panofsky's work alongside the philological enterprise of Erich Auerbach and several other authors demonstrates that a proper appropriation of the philological impulse can provide a way out of the methodological antimony still hanging between hyper-formalist and hyper-theoretical approaches to the history of art.
The fifth volume of the Journal of Badiou Studies, "Architheater," energized by the publication of Badiou's Rhapsodie pour le théâtre (2014), knits together distinguished approaches to artistic production engaging with the work of Alain Badiou: "Engaging" here means articulated positions that include, imply, or criticize the Badiouiesque corpus. The issue does not therefore seek to implement Badiou's philosophical insights in interpretations of art or of aesthetics, but rather to take Badiou's philosophy as a center of convergence-nexus of a plethora of philosophical positions that include artistic production as a central element of their structure. Thematically, the volume limits its discussion to "a two" of architecture and theater, thinking their overlapping, juxtaposition, and respective generative capacities.
Rather than being an event of an aesthetic, sublime or revelatory character, art can be rather understood simply as a habitual productive activity, taking an equal part in the design of quotidian reality as any other tool. The habitual approach to art carries with it several consequences regarding the understanding of the history of art and the theory of artistic production. This habitual approach has its origins in the Scholastic conception of the habitus of art, leaning on the Aristotelian definition of Poiesis. But the habitual approach had also its long history, passing through French Spiritualism in the 19th century, and several other stations in the 20th century. The essay follows Erwin Panofsky's concept of "mental habit" as a methodological instrument in the history of art. After exposing the principles of a habitual approach to the history of art, the essay continues to follow Panofsky's essay Gothic Architecture and Scholasticism, trying to trace what was Panofsky in fact conceiving under this term. In the conclusion, the essay suggests some guiding principles for conceiving of a habitus-oriented theory of art, energized by the scholastic approach to the habitus of art and by the methodology of habitus in science of history.
Though inspired by a Panofskyan legacy, this book diverges at certain points from Erwin Panofsky's declared objectives, and calls attention to several of aspects that were until now less accentuated in his intellectual reception. Insisting on the importance of iconology as a method for art history and the humanities in general, it shows how examining this promotes a cooperation between the history of art and the history of philosophy. It discusses whether Panofsky's method could be of use for general questions in the epistemology of the historical sciences that examine human works. Figural Philology also shows that Panofsky shares affinities with twentieth-century romance philology. A reading of Panofsky's work alongside the philological enterprise of Erich Auerbach and several other authors demonstrates that a proper appropriation of the philological impulse can provide a way out of the methodological antimony still hanging between hyper-formalist and hyper-theoretical approaches to the history of art.
This intellectual biography of Hans Kohn (1891-1971) looks at theories of nationalism in the twentieth century as articulated through the life and work of its leading scholar and activist. Hans Kohn was born in late nineteenth-century Prague, but his peripatetic life took him from the Revolutionary-era Russia to interwar-era Palestine under the British Empire to the United States during the Cold War. Bearing witness to dramatic reconfigurations of national and political identities, he spearheaded an intellectual revolution that fundamentally challenged assumptions about the "naturalness" and the immutability of nationalism. Reconstructing Kohn's long and fascinating career, Gordon uncovers the multiple political and intellectual trends that intersected with and shaped his theories of nationalism. Throughout his life, Kohn was not simply a theorist but also a participant in multiple and often conflicting movements: Zionism and anti-Zionism, pacifism, liberalism, and military interventionism. His evolving theories thus drew from and reflected fierce debates about the nature of internationalism, imperialism, liberalism, collective security, and especially the Jewish Question. Kohn's scholarship was not an abstraction but a product of his lived experience as a Habsburg Jew, an erstwhile cultural Zionist, and an American Cold Warrior. As a product of the times, his concepts of nationalism reflected the changing world around him and evolved radically over his lifetime. His intellectual biography thus offers a panorama of the dynamic intellectual cornerstones of the twentieth century.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.