I first became interested in Husserl and Heidegger as long ago as 1980, when as an undergraduate at the Freie Universitat Berlin I studied the books by Professor Ernst Tugendhat. Tugendhat's at tempt to bring together analytical and continental philosophy has never ceased to fascinate me, and even though in more recent years other influences have perhaps been stronger, I should like to look upon the present study as still being indebted to Tugendhat's initial incentive. It was my good fortune that for personal reasons I had to con tinue my academic training from 1981 onwards in Finland. Even though Finland is a stronghold of analytical philosophy, it also has a tradition of combining continental and Anglosaxon philosophical thought. Since I had already admired this line of work in Tugendhat, it is hardly surprising that once in Finland I soon became impressed by Professor Jaakko Hintikka's studies on Husserl and intentionality, and by Professor Georg Henrik von Wright's analytical hermeneu tics. While the latter influence has-at least in part-led to a book on the history of hermeneutics, the former influence has led to the present work. My indebtedness to Professor Hintikka is enormous. Not only is the research reported here based on his suggestions, but Hintikka has also commented extensively on different versions of the manuscript, helped me to make important contacts, found a publisher for me, and-last but not least-was a never failing source of encouragement.
In recent years, a large number of books and articles on Foucault has been published. Almost all of the book-size studies are expository and introductory. Indeed, there seems to be no other modern philosopher with reference to whom a comparable numberofintroductionshavebeen produced in such a short period. Most ofthe articles too provide over views, rather than critical assessments or rational reconstructions, even though there existsby now a small numberoffine papers also inthe two latter genres. Moreover, more often than not, writers on Foucault approach his work as part and parcel of so-called "postmodern" philo sophy. They concentrate on topics like the "death of the subject", the relation ofFoucault's work to. Derrida or Habermas, or its significance for postmodern art and culture. Without wanting to deny the merits, either of introductory exposi tions, or ofstudies that read Foucault as a postmodern thinker, it seems to me that these received perspectives have tended to leave central areas and aspects ofFoucault's work somewhat underexposed. As I see it, the most important of these areas are such as would suggest reading Fou cault from the vantage point of recent developments in the philosophy, sociology and history of science.
I first became interested in Husserl and Heidegger as long ago as 1980, when as an undergraduate at the Freie Universitat Berlin I studied the books by Professor Ernst Tugendhat. Tugendhat's at tempt to bring together analytical and continental philosophy has never ceased to fascinate me, and even though in more recent years other influences have perhaps been stronger, I should like to look upon the present study as still being indebted to Tugendhat's initial incentive. It was my good fortune that for personal reasons I had to con tinue my academic training from 1981 onwards in Finland. Even though Finland is a stronghold of analytical philosophy, it also has a tradition of combining continental and Anglosaxon philosophical thought. Since I had already admired this line of work in Tugendhat, it is hardly surprising that once in Finland I soon became impressed by Professor Jaakko Hintikka's studies on Husserl and intentionality, and by Professor Georg Henrik von Wright's analytical hermeneu tics. While the latter influence has-at least in part-led to a book on the history of hermeneutics, the former influence has led to the present work. My indebtedness to Professor Hintikka is enormous. Not only is the research reported here based on his suggestions, but Hintikka has also commented extensively on different versions of the manuscript, helped me to make important contacts, found a publisher for me, and-last but not least-was a never failing source of encouragement.
In recent years, a large number of books and articles on Foucault has been published. Almost all of the book-size studies are expository and introductory. Indeed, there seems to be no other modern philosopher with reference to whom a comparable numberofintroductionshavebeen produced in such a short period. Most ofthe articles too provide over views, rather than critical assessments or rational reconstructions, even though there existsby now a small numberoffine papers also inthe two latter genres. Moreover, more often than not, writers on Foucault approach his work as part and parcel of so-called "postmodern" philo sophy. They concentrate on topics like the "death of the subject", the relation ofFoucault's work to. Derrida or Habermas, or its significance for postmodern art and culture. Without wanting to deny the merits, either of introductory exposi tions, or ofstudies that read Foucault as a postmodern thinker, it seems to me that these received perspectives have tended to leave central areas and aspects ofFoucault's work somewhat underexposed. As I see it, the most important of these areas are such as would suggest reading Fou cault from the vantage point of recent developments in the philosophy, sociology and history of science.
A panoramic history of the antiquarians whose discoveries transformed Renaissance culture and gave rise to new forms of art and knowledge In the early fifteenth century, a casket containing the remains of the Roman historian Livy was unearthed at a Benedictine abbey in Padua. The find was greeted with the same enthusiasm as the bones of a Christian saint, and established a pattern that antiquarians would follow for centuries to come. The Art of Discovery tells the stories of the Renaissance antiquarians who turned material remains of the ancient world into sources for scholars and artists, inspirations for palaces and churches, and objects of pilgrimage and devotion. Maren Elisabeth Schwab and Anthony Grafton bring to life some of the most spectacular finds of the age, such as Nero’s Golden House and the wooden placard that was supposedly nailed to the True Cross. They take readers into basements, caves, and cisterns, explaining how digs were undertaken and shedding light on the methods antiquarians—and the alchemists and craftspeople they consulted—used to interpret them. What emerges is not an origin story for modern archaeology or art history but rather an account of how early modern artisanal skills and technical expertise were used to create new knowledge about the past and inspire new forms of art, scholarship, and devotion in the present. The Art of Discovery challenges the notion that Renaissance antiquarianism was strictly a secular enterprise, revealing how the rediscovery of Christian relics and the bones of martyrs helped give rise to highly interdisciplinary ways of examining and authenticating objects of all kinds.
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.