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Volume 2
Diagrams are an essential part of the most diverse processes of communication and cognition. Indeed, today the production of all kinds of text (including this one) is mediated by diagrammatic tools to be found on computer desktops. Not surprisingly, then, diagrams have become the object of much historical and theoretical work. This book--volume 2 of the Proceedings of the 33rd International Wittgenstein Symposium--is dedicated to this quickly growing field of interdisciplinary research. It includes contributions from philosophy, sociology (space syntax), art history, and history of science. Historically, there is a focus on Otto Neurath and his famous visual language (ISOTYPE), while the new attempts at theorizing diagrams presented here are mainly inspired by Charles Sanders Peirce and Ludwig Wittgenstein.
The Drawings of Bronzino
Drawings by the great Italian Mannerist painter and poet Agnolo Bronzino (1503-1572) are extremely rare. This important and beautiful publication brings together for the first time nearly all of the sixty drawings attributed to this leading draftsman of the 16th century. Each drawing is illustrated in color, discussed in detail, and shown with many comparative photographs. Bronzino's technical virtuosity as a draftsman and his mastery of anatomy and perspective are vividly apparent in each stroke of the chalk, pen, or brush. The younger generations of Florentine artists particularly admired Bronzino for his technical virtuosity as a painter, and Giorgio Vasari praised him for his powers as a disegnatore (designer and draftsman).
Volume 1
What is an image? How can we describe the experience of looking at images, and how do they become meaningful to us? In what sense are images like or unlike propositions? Participants of the 33rd International Wittgenstein Symposium--philosophers as well as historians of art, science, and literature--provide many stimulating answers. Some of the contributions are dedicated to Wittgenstein’s thoughts on images while others testify to the important role notions coined or inspired by Wittgenstein--“seeing as”, “picture games” and the dichotomy of “saying and showing”--play in the field of picture theory today. This first volume of the Proceedings of the 2010 conference addresses readers interested in the history and theory of images, and in the philosophy of Wittgenstein.
Sacred Possessions
This innovative study explores how interpretations of religious art change when it is moved into a secular context.
Translations of the Sublime
Contrary to widely held assumptions, the early modern revival of ps-Longinus' On the Sublime did not begin with the adaptation published by Boileau in 1674; it was not connected solely with the Greek editions that began to appear from 1554; nor was its impact limited to rhetoric and literature. Manuscript copies began to circulate in Quattrocento Italy, but very few have been studied. Neither have the ways the sublime was used, in rhetoric and literature, but also in the arts, architecture and the theatre been studied in any systematic way. The present volume is a first attempt to chart the early modern translations of Peri hupsous, both in the literal sense of the history of its dissemination by means of editions, versions and translations in Latin and vernacular languages, but also in the figurative sense of its uses and transformations in the visual arts in the period from the first early modern editions of Longinus until its popularization by Boileau. Contributors include Francis Goyet, Hana Gründler, Lydia Hamlett, Sigrid de Jong, Helen Langdon, Bram Van Oostveldt, Eugenio Refini, Paul Smith, and Dietmar Till.
Romantisierte Kunstwissenschaft
Tiecks Roman ist von höchstem Quellenwert für die Anfangsbedingungen, unter denen Kunstwissenschaft in der Folge des 19. Jahrhunderts zur Disziplin wird. Eine Wissenschaft, die beharrlich ihre literarischen Ursprünge verleugnet, denen sie sich verdankt. Das romantische Projekt, das sich in die Vergangenheit projiziert, um Zukunft entwerfen zu können, begreift Bilder auf neue Weise. Erst die romantische Lektüre lässt die Renaissance als Epoche lesbar, erfahrbar und im Folgenden zu dem Phantasma der Kunstgeschichte des 19. Jahrhunderts werden. Dabei erweist sich Tieck als Kunsthistoriker avant la lettre, der seinen Vasari besser zu lesen verstand als viele Fachleute nach ihm.
Nuove strategie per la traduzione del lessico artistico
Questa raccolta di saggi è incentrata sulla traduzione del linguaggio specialistico dell’arte e dei beni culturali in un’ampia varietà di testi dal Rinascimento ad oggi, secondo diversi approcci teorici e metodologici che spaziano dalla linguistica dei corpora alla lessicografia, alla terminologia e alla traduttologia. Il volume è rivolto a ricercatori e studenti delle lingue per scopi speciali, a traduttori professionisti e ad esperti per la comunicazione internazionale del patrimonio artistico. I contributi sono stati sviluppati nell’ambito del progetto di ricerca Lessico plurilingue dei Beni Culturali. Nato presso l’Università di Firenze, il progetto coinvolge numerose università italiane e straniere e ha come finalità la creazione di banche dati testuali e dizionari plurilingui attraverso corpora comparabili e paralleli.
Die Notizie de’ Professori del disegno von Filippo Baldinucci
Filippo Baldinucci, Maler und versierter Kunstkenner, setzte sich intensiv mit der Frage historiografischen Schreibens auseinander. Mit seiner monumentalen Biografiensammlung Notizie de' Professori del disegno (1681–1728) distanzierte er sich von der Vitenliteratur und verfasste auf quellenkritischer und naturwissenschaftlicher Grundlage eine wissenschaftlich fundierte, europäische Geschichte der Kunst nach enzyklopädischen Maßstäben. Bei einem close-reading der Notizie zeigt sich, dass Baldinucci keine Fortsetzung der Vite intendierte: Er findet harsche Worte für Vasari und obwohl er dessen Vorstellung vom Primat der Künste teilt, lässt er Vasaris teleologisches, auf normativen Setzungen beruhendes Modell einer Fortschrittsgeschichte hinter sich.
Raffael als Paradigma
Als Maler, aber auch als künstlerischem Rollenmodell wurde Raffael im 19. Jahrhundert eine einzigartige Stellung zugesprochen. Vorbereitet durch eine lange, schon im 16. Jahrhundert einsetzende Rezeptionsgeschichte, stand die Verehrung seines Werkes wie seiner Person um die Wende zum 19. Jahrhundert auf einem Höhepunkt. Der Raffael-Kult erfasste Kunstkritik und Kunstgeschichte ebenso wie Literatur und Musikgeschichte. Raffael wurde zum Paradigma: Auf ihn wurden nicht nur kunsttheoretische, sondern auch religiöse und gesellschaftliche Vorstellungen projiziert, welche die ideale Stellung des Künstlers und Menschen in seiner Zeit benannten. Die Raffael-Rezeption steht im 19. Jahrhundert unt...
Art's Realism in the Post-Truth Era
Arguing for the necessity of taking art's contribution to contemporary realism seriously, this edited collection intervenes on contemporary debates about realism by demonstrating that the arts do not simply illustrate philosophical theories. The significance of art's realism in times characterised by the normalisation of fake, manipulated and distorted representations of reality can only be fully understood by attending to the ways that the arts mediate, visualise and even shape reality. Each chapter features a different approach to realism and its aesthetic dimensions not only in the visual arts, but also in sound art, film, scientific imaging and literature.
