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The God behind the Marble
A history of Germans’ attempts to transform society through art in an age of revolution. For German philosophers at the turn of the nineteenth century, beautiful works of art acted as beacons of freedom, instruments of progress that could model and stimulate the moral autonomy of their beholders. Amid the Revolutionary and Napoleonic wars, Germans struggled to uphold these ideals as they contended with the destruction of art collections, looting, and questions about cultural property. As artworks fell prey to the violence they were supposed to transcend, some began to wonder how art could deliver liberation if it could also quickly become a spoil of war. Alice Goff considers a variety of works—including forty porphyry columns from the tomb of Charlemagne, the Quadriga from the Brandenburg Gate in Berlin, the Laocoön group from Rome, a medieval bronze reliquary from Goslar, a Last Judgment from Danzig, and the mummified body of an official from the Rhenish hamlet of Sinzig—following the conflicts over the ownership, interpretation, conservation, and exhibition of German collections during the Napoleonic period and its aftermath.
Gorey's Worlds
"Published on the occasion of the exhibition Gorey's Worlds, organized by the Wadsworth Atheneum Museum of Art."
Jewish Literatures and Cultures in Southeastern Europe
The volume offers an overview of the diverse Jewish experiences in Southeastern Europe from the 19th to the 21st centuries, and the various forms and strategies of their representation in literature, the arts, historiography and philosophy. Southeastern Europe is characterized by a high degree of ethnical, religious and cultural diversity. Jews, whether Sephardim, Ashkenazim or Romaniots – settling there in different periods – experienced divergent life worlds which engendered rich cultural production. Though recent scholarly and popular interest in this heterogeneous region has grown impressively, Jewish cultural production is still an under-researched area. The volume offers an overview of the diverse Jewish experiences in Southeastern Europe from the 19th to the 21st centuries, and the various forms and strategies of their representation in literature, the arts, historiography and philosophy, thus creating a dialogue between Jewish studies, Balkan studies, and current literary and cultural theories.
Art in Literature, Literature in Art in 19th Century France
The traditional relationship between painting and literature underwent a profound change in nineteenth-century France. Painting progressively asserted its independence from literature as it liberated itself from narrative obligations whilst interrogating the concept of subject matter itself. Simultaneously the influence of art on the writing styles of authors increased and the character of the artist established itself as a recurring motif in French literature. This book offers a panoramic review of the relationship between art and literature in nineteenth-century France. By means of a series of case studies chosen from key moments throughout the nineteenth century, the aim of this study is ...
Dreams and History
Dreams and History contains important new scholarship on Freud's Interpretation of Dreams (1900) and subsequent psychoanalytical approaches from distinguished historians, psychoanalysts, historians of science and anthropologists.
Potential Images
In Potential Images Dario Gamboni explores ambiguity in modern art, considering images that rely to a great degree on a projected or imaginative response from viewers to achieve their effect. Ambiguity became increasingly important in late 19th- and early 20th-century aesthetics, as is evidenced in works by such artists as Redon, Cezanne, Gauguin, Ensor and the Nabis. Similarly, the Cubists subverted traditional representational conventions, requiring their viewers to decipher images to extract their full meanings. The same device was taken up in the various experiments leading to abstraction. For example, it was Kandinsky's intention that his work could be interpreted in both figurative and non-figurative ways, and Duchamp's Readymades suggested the radical conclusion that 'it is the beholder who makes the picture'. These invitations to viewers to participate in the process of artistic communication had social and political implications, as they accorded artist and beholder symmetrical, almost interchangeable, roles.
Spectres of the Self
Spectres of the Self is a fascinating study of the rich cultures surrounding the experience of seeing ghosts in England from the Reformation to the twentieth century. Shane McCorristine examines a vast range of primary and secondary sources, showing how ghosts, apparitions, and hallucinations were imagined, experienced, and debated from the pages of fiction to the case reports of the Society for Psychical Research. By analysing a broad range of themes from telepathy and ghost-hunting to the notion of dreaming while awake and the question of why ghosts wore clothes, Dr McCorristine reveals the sheer variety of ideas of ghost seeing in English society and culture. He shows how the issue of ghosts remained dynamic despite the advance of science and secularism and argues that the ghost ultimately represented a spectre of the self, a symbol of the psychological hauntedness of modern experience.
Art and Subjecthood
"This book is based on the conference 'Art and subjecthood: the return of the human figure in semiocapitalism' ... organized by the Institut f'ur Kunstkritik on July 1, 2011, at the Staatliche Hochschule f'ur Bildende K'unste/St'adelschule in Frankfurt am Main"--P. 6.
Ästhetik der Rührung
Rührung ist ein vertrautes, aber nur selten reflektiertes Gefühl. Im doppelten Sinn ist es «wenig angesehen»: Nicht nur hat es bislang vergleichsweise wenig wissenschaftliche Aufmerksamkeit erfahren, es wird auch schnell – gerade wenn es im Kontext von Kunst auftritt – als Anzeichen für fehlende Tiefe gesehen. Roger Fayet sucht in seiner Auseinandersetzung mit möglicherweise rührenden Kunstwerken nach einem besseren Verständnis dieses Gefühls, das er im Kontext ästhetischer Erfahrung sowie im Licht historischer und gegenwärtiger Theorien betrachtet. Er erkundet sein Thema in einem weiten zeitlichen Horizont: von der Ästhetik der Antike bis in die Kunst und Kunsttheorie der Gegenwart.
