Theory of art Books
£19.57
£18.58
Jorge Pinto Books Education for Socially Engaged Art
Book SynopsisFor too long Social Practice has been the notoriously flimsy flipside of market-based contemporary art: a world of hand-wringing practitioners easily satisfied with the feeling of ''doing good'' in a community, and unaware that their quasi-activist, anti-formalist positions in fact have a long artistic heritage and can be critically dissected using the tools of art and theatre history. Helguera''s spunky primer promises to offer a much-needed critical compass for those adrift in the expanded social field. -Claire Bishop, Professor of Contemporary Art and Exhibition History, CUNY, and author of Artificial Hells: Participatory Art and the Politics of SpectatorshipThis is an extremely timely and thoughtful reference book. Drawn from empirical and extensive experience and research, it provides a curriculum and framework for thinking about the complexity of socially engaged practices. Locating the methodologies of this work in between disciplines, Helguera draws on histories of performance, pedagogy, sociology, ethnography, linguistics, community and public practices. Rather than propose a system he exposes the temporalities necessary to make these situations possible and resonant. This is a tool that will allow us to consider the difficulties of making socially engaged art and move closer to finding a language through which we can represent and discuss its impact.-Sally Tallant, Artistic Director, Liverpool BiennialHelguera has produced a highly readable book that absolutely needs to be in the back pocket of anyone interested in teaching or learning about socially engaged art -Tom Finkelpearl, Director of the Queens Museum, New York, and author of Dialogues in Public Art
£13.60
Springer Nature Switzerland AG The Photographic Uncanny: Photography,
Book SynopsisThis book argues for a renewed understanding of the fundamentally uncanny quality of the medium of photography. It especially makes the case for the capacity of certain photographs—precisely through their uncanniness—to contest structures of political and social dominance. The uncanny as a quality that unsettles the perception of home emerges as a symptom of modern and contemporary society and also as an aesthetic apparatus by which some key photographs critique the hegemony of capitalist and industrialist domains. The book’s historical scope is large, beginning with William Henry Fox Talbot and closing with contemporary indigenous photographer Bear Allison and contemporary African American photographer Devin Allen. Through close readings, exegesis, of individual photographs and careful deployment of contemporary political and aesthetic theory, The Photographic Uncanny argues for a re-envisioning of the political capacity of photography to expose the haunted, homeless, condition of modernity. Table of Contents1.A Political Uncanny: The Homelessness of Photographs.- 2.Eugene Atget’s Sacred Spaces: Uncanny Capitalism.- 3.August Sander’s Habitus.- 4.Walker Evans’s Emotions.- 5.Diane Arbus’s Uncanny Aura.- 6.Second Selves: Woodman, Meatyard, Allison.- 7.North American Uncanny: Shelley Niro.- 8.Ghosts of West Baltimore: Devin Allen.- 9.Conclusion: Revisiting the 18th-Century Visual Uncanny.
£66.49
Palgrave Macmillan The Long Picturesque or Unraveling the Rules of Art
Book SynopsisChapter I: Revising the History of Art.- Chapter II: A Fragile History of Art, A Malleable History of Art .- Chapter III: Dürer and Salvator Rosa as Early Picturesque Artists.- Chapter IV: The Qualities of Architectural Space as a Model for Aesthetics.- Chapter V: The Faults of Patrons.- Chapter VI: Judgment by the People.- Chapter VII: The Pleasure, and Terror, of Landscape.- Chapter VIII: Irreverence, Delight, and Ridicule in Relation to the Picturesque.- Chapter IX: The History of Art Reorganized.- Chapter X: Landscape and Western Art.
£113.99
Springer International Publishing AG Artistic Practices Participation and Politics
Book SynopsisChapter 1: Building of the Community Art Practices.- Chapter 2: The Studies.- Chapter 3: Final Reflections.
£104.49
Brill Between Jerusalem and Europe: Essays in Honour of Bianca Kühnel
Book SynopsisBetween Jerusalem and Europe: Essays in Honour of Bianca Kühnel analyses how Jerusalem is translated into the visual and material culture of medieval, early modern and contemporary Europe, and in what ways European encounters with the city have shaped its holy sites. The volume also demonstrates methodological shifts in the study of Jerusalem in Western art by mapping the diversity of concepts that underlie imaginations of the city as an earthly presence and a heavenly realization, as a physical and a mental space, and as a unique location which is multiplied and re-imagined in numerous copies elsewhere. Contributors are Lily Arad, Pnina Arad, Barbara Baert, Neta B. Bodner, Iris Gerlitz, Anastasia Keshman Wasserman, Katrin Kogman-Appel, Ora Limor, Galit Noga-Banai, Robert Ousterhout, Yamit Rachman-Schrire, Bruno Reudenbach, Alessandro Scafi, Tsafra Siew, and Victor I. Stoichita.Table of ContentsContents Acknowledgements vii List of Figures viii List of Contributors xiii xiv Introduction 1 Part 1 Crusader Jerusalem 1 The Cross and the Tomb: The Crusader Contribution to Crucifijixion Iconography 13 Anastasia Keshman Wasserman 2 ‘The King is Dead, Long Live the King’: Representing Transfer of Power in the Crusader Estoire de Eracles 34 Iris Gerlitz Part 2 Matter, Image and Body 3 Sinai Stones on Mount Zion: Mary’s Pilgrimage in Jerusalem 57 Yamit Rachman-Schrire 4 Earth from Jerusalem in the Pisan Camposanto 74 Neta B. Bodner 5 Permanent Ephemera: The ‘Honourable Stigmatisation’ of Jerusalem Pilgrims 94 Robert Ousterhout Part 3 Jerusalem in European Landscapes 6 Translations of the Jerusalem Pilgrimage Route at the Holy Mountains of Varallo and San Vivaldo 113 Ts afra Siew 7 Jerusalem in Galicia: From the Navel of the World to the Ends of the Earth 133 Lily Arad 8 Is Calvary Worth Restoring? The Way of the Cross in Romans-sur- Isère, France 154 Pnina Arad 9 Places of Remembrance : A Via Dolorosa in Berlin’s Bavarian Quarter 173 Galit Noga-Banai Part 4 Time and the End of Time 10 The Annunciation and the Senses: Ruach, Pneuma , Odour 197 Barbara Baert 11 Salvation History, Typology, and the End of Time in the Biblia Pauperum 217 Bruno Reudenbach 12 The Messianic Sanctuary in Late Fifteenth-Century Sepharad: Isaac de Braga’s Bible and the Reception of Traditional Temple Imagery 233 Katrin Kogman-Appel Part 5 Between the Real and the Ideal 13 Coping with Muslim Jerusalem between the Middle Ages and the Renaissance: Islam and the Holy City on Christian World Maps 257 Alessandro Scafiji 14 Placing an Idea: The Valley of Jehoshaphat in Religious Imagination 280 Ora Limor 15 Jerusalem Dreaming: Some Thoughts about Zurbarán’s Paintings for the Merced Calzada in Seville 301 Victor I. Stoichita Bibliography 311 Index 350
£196.80
Brill Landscape between Ideology and the Aesthetic: Marxist Essays on British Art and Art Theory, 1750–1850
Book SynopsisAt a time of growing interest in relations between Marxism and Romanticism, Andrew Hemingway’s essays on British art and art theory reopen the question of Romantic painting’s ideological functions and, in some cases, its critical purchase. Half the volume exposes the voices of competing class interests in aesthetics and art theory in the tumultuous years of British history between the American Revolution and the 1832 Parliamentary Reform Act. Half offers new perspectives on works by some of the most important landscape painters of the time: John Constable, J.M.W. Turner, John Crome, and John Sell Cotman. Four essays are hitherto unpublished, and the remainder have been updated and in several cases substantially rewritten for this volume.Trade Review"... the book has to be recommended not only as an impressive work of art historical rigour, but also as a timely reminder within the current conjecture that the stakes of Marxist art history not only concern which class controls the proper names of history, but whether our understanding of our own history, art and culture, and the class basis of them, is rational or ideological." - Richard Hudson-Miles, in: Marx & Philosophy Review of Books "This remarkable book on the complex, contradictory relations between aesthetics, politics and the art of landscape painting in the eighteenth and nineteenth centuries is the product of more than three decades' patient, perceptive thinking about their constellation. Its probing, historically nuanced interpretations of individual canvases and their ideological accretions are as elegant as they are rigorous; and its ongoing attempt to map the theoretical and political contours of Marxist theories of art and aesthetics, to which it represents a signal contribution itself, is commanding. Landscape between Ideology and the Aesthetic is a fascinating as well as fitting testament to Andrew Hemingway's influential career as an unapologetically Marxist art historian." – Matthew Beaumont, Professor of Nineteenth-Century Literature, University College London "Andrew Hemingway’s collection of essays on eighteenth-century aesthetics and Romantic landscape painting, written over many years, demonstrates vividly the contribution that Marxism has made to both subjects. The essays on Cotman, Crome, Constable and Turner are filled with powerful insights and provide richly persuasive interpretations of classic works by placing them within a cogent intellectual framework that involves astute readings of their historical and literary context." – David Bindman, Emeritus Professor of the History of Art, University College London "This exceptionally fine study offers a nuanced and profound historical analysis of varieties of late eighteenth- and early nineteenth-century British art. Wearing his learning lightly, Hemingway integrates the finest detail of close empirical research into an enjoyably readable narrative. He demonstrates conclusively how a critically-sophisticated Marxist approach opens up extraordinarily rewarding insights into a cultural history where the pictorial interplayed with the economic, literary, and political. He offers as outstanding an account of the ideas of the eighteenth-century Scottish philosophers as of the Norwich painters and along the way resoundingly demonstrates quite how much of actual value is to be had from the disciplined and multidisciplinary interrogation of historical art. One of the leaders of that group of scholars which reinvigorated the study of British historical art in the 1980s, Andrew Hemingway invites younger scholars now to take up the scholarly baton." – Michael Rosenthal, Emeritus Professor of the History of Art, University of WarwickTable of ContentsList of Illustrations ... vii Acknowledgements ... xi Sources and Occasions ... xii Introduction: Theoretical Apologia ... 1 Aesthetics and Ideology 1 The Science of Taste in the Eighteenth Century: Philosophical Criticism and the Scottish Historical School ... 41 2 Academic Theory versus Association Aesthetics: The Ideological Forms of a Conflict of Interests in the Early Nineteenth Century ... 86 3 Bourgeois Critiques of the Monopoly of Taste ... 114 4 Genius, Gender, and Progress: Benthamism and the Arts in the 1820s ... 150 5 Cultural Philanthropy and the Invention of the Norwich School ... 181 Landscape and Ideology 6 Meaning in Cotman’s Norfolk Subjects ... 217 7 Sheep as a Pictorial Motif: Pastoral and Counter-Pastoral ... 246 8 Artisanal Worldview in the Paintings of John Crome ... 297 9 John Crome’s ‘Local Scenery’: Iconography and the Ideology of the Picturesque ... 336 10 Constable and his Audience: An Argument for Iconography ... 387 11 The Field of Waterloo Exposed: Turner, Byron, and the Politics of Reaction ... 420 Coda: Regarding Art History ... 459 Bibliography ... 464 Index ... 492
£193.60
Brill The Philosophical Vision of Paul Klee
Book SynopsisExploring the relation between Paul Klee's philosophical thought and art, this book deals both with the impact of Klee's art on recent philosophy and with the relation between Klee's own theoretical writings and his art. Through various approaches the contributors show how Klee's ideas are realized in his art and how, conversely, his art serves to expand and develop his theoretical conceptions. Addressing temporality (Boehm); ascendancy and counterforce (Krell); artist as tree (Baracchi); visible space (Figal); nature sketches (Baumgartner); image of garden (Schmidt); prominence of rhythm (Barbarić); musical elements (Schuback); tragedy (Acosta); space of transformation (Vallega); Merleau-Ponty and Cézanne (Johnson)--these essays, taken comprehensively, mark a major contribution to the understanding of the philosophical depth of Klee's art and thought. This book is a reprint of Research in Phenomenology Volume 43, Issue 3.Table of ContentsIntroduction John Sallis Genesis: Paul Klee’s Temporalization of Form Gottfried Boehm The Way Back Down: Paul Klee’s Heights and Depths David Farrell Krell Paul Klee: Trees and the Art of Life Claudia Baracchi To the Margins. On the Spatiality of Klee’s Art Günter Figal Paul Klee. From Structural Analysis and Morphogenesis to Art Michael Baumgartner Klee’s Gartens Dennis J. Schmidt Rhythmic Movement Damir Barbarić In-between Painting and Music-or, Thinking with Paul Klee and Anton Webern Marcia Sá Cavalcante Schuback Tragic Representations: Paul Klee on Tragedy and Art, María del Rosario Acosta López Paul Klee’s Originary Painting Alejandro A. Vallega On the Origin(s) of Truth in Art: Merleau-Ponty, Klee, and Cézanne Galen A. Johnson Appendix
£48.33
Brill Faces of Charisma: Image, Text, Object in Byzantium and the Medieval West
Book SynopsisIn Faces of Charisma: Image, Text, Object in Byzantium and the Medieval West, a multi-disciplinary group of scholars advances the theory that charisma may be a quality of art as well as of person. Beginning with the argument that Weberian charisma of person is itself a matter of representation, this volume shows that to study charismatic art is to experiment with a theory of representation that allows for the possibility of nothing less than a breakdown between art and viewer and between art and lived experience. The volume examines charismatic works of literature, visual art, and architecture from England, Northern Europe, Italy, Ancient Greece, and Constantinople and from time periods ranging from antiquity to the beginning of the early modern period. Contributors are Joseph Salvatore Ackley, Paul Binski, Paroma Chatterjee, Andrey Egorov, Erik Gustafson, Duncan Hardy, Stephen Jaeger, Jacqueline E. Jung, Lynsey McCulloch, Martino Rossi Monti, Gavin Richardson, and Andrew Romig.
£155.20
Brill Usable Pasts: Social Practice and State Formation in American Art
Book SynopsisUsable Pasts addresses projects dating to two periods in the United States that saw increased financial support from the state for socially engaged culture. By analysing artworks dating to the 1990s by Suzanne Lacy, Rick Lowe and Martha Rosler in relation to experimental theatre, modern dance, and photography produced within the leftist Cultural Front of the 1930s, this book unpicks the mythic and material afterlives of the New Deal in American cultural politics in order to write a new history of social practice art in the United States. From teenage mothers organising exhibitions that challenged welfare reform, to communist dance troupes choreographing their struggles as domestic workers, Usable Pasts addresses the aesthetics and politics of these attempts to transform society through art in relation to questions of state formation.Trade Review"From Dance of the Washerwomen and Living Newspapers in the 1930s, to artist Rick Lowe’s collaborative reimagining of a defunded Black neighborhood in modern-day Houston, Larne Abse Gogarty’s Usable Pasts is exactly what it claims to be: a superbly narrated history of the socio-economic conditions that make today’s surge of socially engaged art possible. Working against cultural amnesia, Larne Abse Gogarty’s work is precisely that: a smart deep dive into the historical and structural conditions that make today’s surge of socially engaged art possible. To paraphrase Lucy R. Lippard: we would be a lot further along if we had more studies like Usable Pasts." – Professor Gregory Sholette, Queens College, Art Department, CUNY "Neither a partisan nor an opponent of aesthetic 'usefulness', Larne Abse Gogarty rather brings the concept into long-overdue dialectical focus. By showing its interrelationships with the state, law, social reproduction, race and urban rebellion as well as its own immanent 'non-contemporaneity' (Bloch), her book makes a major contribution both to a revived Marxist art theory and a communist art history freed from the blinkers of comfortable nostalgia. Full of insightful close analysis of art practices as well as big-picture argument, this book is for any reader looking to confront the realities of political artmaking in a world of ever more contradictions and determinations – and to leave behind the stale verities of formalism versus engagement." – Dr. Marina Vishmidt, Goldsmiths, University of London, author of [Speculation as a Mode of Production: Forms of Value Subjectivity in Art and Capital] (Brill, 2018)Table of ContentsAcknowledgments List of Figures Introduction: Historicising Social Practice 1 The New Deal Imaginary 2 The Stakes of Social Practice 3 Prevented Futures and Usable Pasts 1 Rehearsals for Real Life 1 Performance and Critical Realism 2 The Roof Is on Fire 3 Code 33 4 Injunction Granted 5 Conclusion: Legislation and Rehearsals 2 Social Practice / Social Reproduction 1 Introduction 2 Cells in Organisms/Cogs in Machines 3 Black and White at the Rockland Palace: The Body against the Belt 4 Dance and Domestic Labour 5 Expectations and Welfare Reform 6 ‘Each Week We started with the Body’ 7 Expectations at Capp Street Gallery 8 Conclusion: Reproducing Culture, Reproducing Life 3 Housing, Homelessness and Documentary 1 If You Lived Here … 2 One-Third of a Nation 4 Race, Nation and Usable Pasts 1 Documentary and Nationalism 2 Blackness and the Limits of a Usable Past 3 Project Row Houses Coda: Utility and Social Practice Bibliography Index
£125.60
Brill The Understanding of Ornament in the Italian Renaissance
Book SynopsisIn this paradigm shifting study, developed through close textual readings and sensitive analysis of artworks, Clare Lapraik Guest re-evaluates the central role of ornament in pre-modern art and literature. Moving from art and thought in antiquity to the Italian Renaissance, she examines the understandings of ornament arising from the Platonic, Aristotelian and Sophistic traditions, and the tensions which emerged from these varied meanings. The book views the Renaissance as a decisive point in the story of ornament, when its subsequent identification with style and historicism are established. It asserts ornament as a fundamental, not an accessory element in art and presents its restoration to theoretical dignity as essential to historical scholarship and aesthetic reflection.Trade Review“substantial, deeply learned study […] excellent book […]. One is grateful for the indexes of names, places and subjects which will guide consultation and re-reading. And the illustrations are so apt and so beautiful, and bring together so many of the theoretical and physical elements, that they form a harmonious accompaniment that is also a constant source of astonishment.” - Eiléan Ní Chuilleanáin, Trinity College Dublin (Emeritus), in: Óenach: JFMRSI Reviews 8.1 (2016), pp. 12-19Table of ContentsAbbreviations List of illustrations Acknowledgements Introduction PART ONE ANCIENT PROLEGOMENA Chapter 1 Kosmos Chapter 2 Rhetoric and Illusion Chapter 3 Cosmic Décor PART TWO FRAGMENT AND DESIGN Chapter 4 Architecture and the City Chapter 5 Garland and Mosaic in literary Humanism Chapter 6 Topics and Style Chapter 7 Ornament and Disegno, Colour and Perspective Chapter 8 The City recovered, Triumph and Time Chapter 9 The Emblematic Continuum Chapter 10 Spolia and Ornamental Design Chapter 11 The Grottesche Part 1. Fragment to Field Chapter 12 The Grottesche Part 2. Signs, Topography and the Dream of Painting Conclusion Bibliography Index
£258.40
Brill The Imaginary: Word and Image: L’imaginaire: texte et image
Book SynopsisThe imaginary as a critical concept originated in the twentieth century and has been theorized in diverse ways. It can be understood as a register of thought; the way we interpret the world; the universe of images, signs, texts, and objects of thought. In this volume, it is explored as it manifests itself in encounters between the verbal and the visual. A number of the essays brought together here explore the transposition of the imaginary in illustrations of texts and verbal renditions of images, as well as in comic books based on paintings or on verbal narratives. Others analyze ways in which books deal with film or television and investigate the imaginary in digital media. Special attention is paid to the imaginary of places and the relationship of the imaginary with memory. Written in English and French, these contributions by European and American scholars demonstrate the various concerns and approaches characteristic of contemporary scholarship in word and image studies.Table of ContentsINTRODUCTION SUMMARIES RÉSUMÉS TRANSPOSITIONS OF THE IMAGINARY IN WORD AND IMAGE: ILLUSTRATIONS TRANSPOSITIONS DE L’IMAGINAIRE EN TEXTE ET IMAGE: ILLUSTRATIONS Caroline Marie (Re-)Imaging the Imaginary of a Children's Story by Virginia Woolf: Nurse Lugton… through the Prism of Three Illustrators Eric T. Haskell Twentieth-Century Illustrations of Baudelaire's "La Mort des amants" Philippe Kaenel L’Illustration abstraite au XXe siècle: un paradoxe lessingien? TRANSPOSITIONS OF THE IMAGINARY IN WORD AND IMAGE: VERBALIZATIONS TRANSPOSITIONS DE L’IMAGINAIRE EN TEXTE ET IMAGE: VERBALISATIONS Nataliya Lenina L'Ekphrasis dans le roman de Georges Rodenbach Bruges-la-Morte Simone Grossman Textes et images dans L’Atelier des apparences Alexandra Catana The Play of Supports in the Poetics of Christian Dotremont RE-IMAG(IN)ING WORDS AND IMAGES IN THE COMIC BOOK RÉIMAGINER TEXTES ET IMAGES DANS LA BANDE DESSINÉE Lynn Bannon La Peinture par la bande: le cas de l’album citationnel Lucky Luke: l’artiste peintre France Lemoine The Representation of the Ineffable: Proust in Images Évelyne Deprêtre Une mélancolie mesurée: de Proust à Heuet Jean-Louis Tilleuil La Bande dessinee et ses imaginaires hegemoniques ou phagocytes: le cas de Gemma Bovery de Posy Simmonds THE IMAGINARY AND THE SCREEN: BOOKS, MOVIES, TELEVISION L’IMAGINAIRE ET L’ÉCRAN: LIVRES, FILMS, TÉLÉVISION Françoise Sammarcelli Haunted Places: Screening the Imaginary in A Night at the Movies, Or, You Must Remember This by Robert Coover Sonia Lagerwall Through the Looking-Glass with Chloe Delaume: The Imaginary of Television Read by the Autofictional Novel Arcana Albright To View or Not to View? Jean-Philippe Toussaint’s Televisual Imaginary IMAGINARIES IN DIGITAL MEDIA IMAGINAIRES DANS LES MÉDIAS NUMÉRIQUES Jan Baetens et Fred Truyen Le Portrait de l’écrivain: une mythologie pérenne? Anaïs Guilet Vers une littérature cyborg: l’hybridation médiatique du texte littéraire Caroline Bem Text as Image in the Digital Age: A Formalist Reading of Polyvore Sets THE IMAGINARY AND MEMORY L’IMAGINAIRE ET LA MÉMOIRE Liliane Louvel Suaires blancs et noirs, imag(inair)es en negatif: quand l’image “revient” comme empreinte et trace Claire Gheerardyn Iconoclasme textuel: mettre en mots le monument pour mieux le briser Maryse Ouellet Pour un imaginaire du présentisme: images du temps chez Claudio Parmiggiani et Hannah Arendt THE IMAGINARY OF PLACES L’IMAGINAIRE DES LIEUX Jorgelina Orftla On Art History and Meta-Images: Art Reproductions, Site Photographs, and Cezanne's Art Nathalie Roelens La Ville et ses prosopopées fabuleuses Eleonora Diamanti Detournement et magnification de l’imaginaire urbain dans les discours sociaux CONTRIBUTORS CONTRIBUTEURS INDEX
£110.40
Brill The Subject of Aesthetics: A psychology of art and experience
Book SynopsisHow does art influence us? In The Subject of Aesthetics, Tone Roald approaches aesthetics as a psychological discipline, showing how works of art challenge our habitual ways of perceiving the world. While aesthetics has traditionally been a philosophical discipline, Roald discusses how it is very much alive in the realm of psychology – a qualitative psychology of lived experience. But what actually constitutes an aesthetics of lived experience? The book answers that question by analyzing people’s own engagement with visual art. What emerges is that the object of aesthetics is indeed the subject.
£52.80
Brill Bourdieu in Question: New Directions in French Sociology of Art
Book SynopsisIn Bourdieu in Question: New Directions in French Sociology of Art, Jeffrey A. Halley and Daglind E. Sonolet offer to English-speaking audiences an account of the very lively Francophone debates over Pierre Bourdieu’s work in the domain of the arts and culture, and present other directions and perspectives taken by major French researchers who extend or differ from his point of view, and who were marginalized by the Bourdieusian moment. Three generations of research are presented: contemporaries of Bourdieu, the next generation, and recent research. Themes include the art market and value, cultural politics, the reception of artworks, theory and the concept of the artwork, autonomy in art, ethnography and culture, and the critique of Bourdieu on literature. Contributors are: Howard S. Becker, Martine Burgos, Marie Buscatto, Jean-Louis Fabiani, Laurent Fleury, Florent Gaudez, Jeffrey A. Halley, Nathalie Heinich, Yvon Lamy, Jacques Leenhardt, Cécile Léonardi, Clara Lévy, Pierre-Michel Menger, Raymonde Moulin, Jean-Claude Passeron, Emmanuel Pedler, Bruno Péquignot, Alain Quemin, Cherry Schrecker, Daglind E. Sonolet.Trade Review“Based on a series of conferences, working groups, and translations of classic French texts on the matter until now unavailable to the English-speaking reader, the book sheds light on the context of origin of some of Bourdieu’s most important contributions to the sociology of the arts and culture—its legacy, its aporias, and its debates with contemporaries, disciples and dissenters alike. […] The volume should be of interest not only to those working in the sociology of arts and literature, but also to those who wish to read about new currents in the French sociology of culture and French social theory at large.” -- Claudio E. Benzecry, Northwestern University, in: Contemporary Sociology 48/6 (2019) "[...] the importance of the book. It is a contribution to the sociological literature on Bourdieu, the sociology of art, as well as French studies generally. It also fills a translation gap in bringing a large number of works to the Anglophone reader. Its strength lies in its attention to theoretical as well as empirical work, as well as its avoidance of intellectual partisanship by exposing the reader to a range of perspectives on Bourdieu’s sociology of art, some positive, others unfavorable." -- Marnia Lazreg, in Sociological Forum, Vol. 34, No. 1 (04 March 2019) "[...] ein in Sammelbänden eher seltenes Kunststück: die einzelnen Beiträge beziehen sich aufeinander und reflektieren einander. Dadurch werden beim Lesen viele Verknüpfungen hergestellt und man verfällt leicht in einen Lesefluss. Ein weiterer Pluspunkt ist auch die Autor*innenauswahl: Im Band vertreten sind viele im französischsprachigen Raum renommierte Autor*innen, wie unter anderem Raymonde Moulin, Jean-Claude Passeron, Jean-Louis Fabiani, Pierre-Michel Menger, Emanuel Pedler und Marie Buscatto, die nun auch nicht-französisch sprechende Leser*innen kennen lernen dürfen. [...] Nicht zuletzt besticht der Sammelband durch die Vielfalt seiner Themen. [...] Auch die Vielschichtigkeit des Bandes ist besonders hervorzuheben.So werden etwa in einer historisch-soziologischen Darstellung die Entwicklungslinien Bourdieus nachgezeichnet, weniger prominenten/unbekannteren Positionen Bourdieus wird Aufmerksamkeit geschenkt und auch vereinzelte missing links in seinen Theorien aufgezeigt." -- Tamara Schwertel, Soziologie Blog, 23 July 2018Table of ContentsAcknowledgments List of Illustrations List of Contributors 1 Introduction Jeffrey A. Halley and Daglind E. Sonolet Part 1: Bourdieu’s Contemporaries: Raymonde Moulin, Howard S. Becker, Jean-Claude Passeron, Jacques Leenhardt 2 The Museum and the Marketplace: The Constitution of Value in Contemporary Art Raymonde Moulin 3 The Anglophone Reception of French Sociology: The Case of Bourdieu and Subsequent Scholarship Howard S. Becker 4 The Time Devoted to Observing Each Work of Art Jean-Claude Passeron and Emmanuel Pedler 5 What is Literature? Notes on The Rules of Art by Pierre Bourdieu Jacques Leenhardt Part 2: The Second Generation: Bruno Péquginot, Jean-Louis Fabiani, Pierre-Michel Menger, Nathalie Heinich, Martine Burgos, Yvon Lamy 6 The Issue of the Artwork: A Site under Construction in Pierre Bourdieu’s Theory Bruno Péquignot 7 Theory and Practice in French Sociology after Pierre Bourdieu Jean-Louis Fabiani 8 Inequalities in the Arts Pierre-Michel Menger 9 Bourdieu’s Culture Nathalie Heinich 10 Founding a Reading Group at a Library for the Young: The Story of Its Creation and Variations Martine Burgos 11 On a Contemporary Principle of Public Classification: Heritage Conversion of Cultural Property Yvon Lamy Part 3: The Next Generation: Emmanuel Pedler, Florent Gaudez, Alain Quemin, Laurent Fleury, Marie Buscatto, Clara Lévy and Cherry Schrecker, Cécile Léonardi 12 Musical Understanding and Cultural Misunderstanding: The Concert as a Site of Symbolic Confrontation Emmanuel Pedler 13 Empiricity and the Process of Production in Literature: The Text as the Field of Socio-Anthropological Investigation Florent Gaudez 14 How International is “International” Contemporary Art? An Empirical Survey of the Globalization of High Culture Alain Quemin 15 The Work of the Institution: The Democratization of Culture in the Light of the Legacy of the Théâtre National Populaire Laurent Fleury 16 Trying to Get in, Getting in, Staying in: The Three Challenges for Women Jazz Musicians Marie Buscatto 17 In What Way (or Not) is Bourdieu Useful to the Sociology of Literature? Clara Lévy, and Cherry Schrecker 18 The Art of Self-Reflecting Cécile Léonardi Part 4: Editors’ Contributions 19 Mondo Vino: Rationalization, Resistance, and Taste in the Wine World Jeffrey A. Halley 20 Literature and Modernity: Günther Anders, Hannah Arendt, and Theodor W. Adorno – Interpreters of Kafka Daglind E. Sonolet Index of Subjects Index of Names
£145.60
Brill Time and Trace: Multidisciplinary Investigations of Temporality
Book SynopsisTime holds an enduring fascination for humans. Time and Trace investigates the human experience and awareness of time and time’s impact on a wide range of cultural, psychological, and artistic phenomena, from reproductive politics and temporal logic to music and theater, from law to sustainability, from memory to the Vikings. The volume presents selected essays from the 15th triennial conference of the International Society for the Study of Time from the arts (literature, music, theater), history, law, philosophy, science (psychology, biology), and mathematics. Taken together, they pursue the trace of time into the past and future, tracing temporal processes and exploring the traces left by time in individual experience as well as culture and society. Contributors are: Michael Crawford, Orit Hilewicz, Rosemary Huisman, John S. Kafka, Erica W. Magnus, Arkadiusz Misztal, Carlos Montemayor, Stephanie Nelson, Peter Øhrstrøm, Jo Alyson Parker, Thomas Ploug, Helen Sills, Lasse C. A. Sonne, Raji C. Steineck, and Frederick Turner.Table of ContentsINTRODUCTION ACKNOWLEDGEMENTS Time and Traction: Blazing the Trail, Frederick Turner I. NARRATIVE TRACING: THE WORK OF CRITICISM The Chaotic Trace: Stoppard’s Arcadia and the Emplotment of the Past, Jo Alyson Parker Beyond the Forensic Imagination: Time and Trace in Thomas Pynchon’s Novels, Arkadiusz Misztal Time, Trace, and Movement in Stravinsky’s Three Japanese Lyrics, Helen Sills Tracing Space in Time: Morton Feldman’s Rothko Chapel, Orit Hilewicz II. LOOKING BACK: TRACING HISTORY Traces of Viking-Age Temporal Organization, Lasse C. A. Sonne Time and Memory in the Odyssey and Ulysses, Stephanie Nelson Time, Cognition, and Attic Performance: Tracing a New Approach to Theatre History’s “Vexing Question”, Erica W. Magnus III. THOUGHT TRACES: PHILOSOPHY, MEMORY, AND THE HUMAN MIND A. N. Prior’s Ideas on Keeping Track of Branching Time, Peter Øhrstrøm and Thomas Ploug Psychoanalysis and the Temporal Trace, John S. Kafka Memory: Epistemic and Phenomenal Traces, Carlos Montemayor IV. LEAVING TRACES: SOCIETY AND ETHICS Heredity in the Epigenetic Era: Are we Facing a Politics of Reproductive Obligations?, Michael Crawford The Trace of Time in Judicial Reasoning: A Case of Conflicting Argument in the High Court of Australia (Al-Kateb v. Godwin, 2004), Rosemary Huisman Time, Waste, and Enlightenment, or: On Leaving no Trace, Raji C. Steineck CONTRIBUTORS INDEX
£129.60
Brill Art and the Brain: Plasticity, Embodiment, and the Unclosed Circle
Book SynopsisIn her new book Art and the Brain: Plasticity, Embodiment and the Unclosed Circle, Amy Ione offers a profound assessment of our ever-evolving view of the biological brain as it pertains to embodied human experience. She deftly takes the reader from Deep History into our current worldview by surveying the range of nascent responses to perception, thoughts and feelings that have bred paradigmatic changes and led to contemporary research modalities. Interweaving carefully chosen illustrations with the emerging ideas of brain function that define various time periods reinforces a multidisciplinary framework connecting neurological research, theories of mind, art investigations, and intergenerational cultural practices. The book will serve as a foundation for future investigations of neuroscience, art, and the humanities.Table of ContentsTable of Contents Acknowledgements 1. Introduction 2. Framing Art and the Brain 3. Ancient Foundations 4. The Brain Exposed and Printed 5. The Soul of the Empirical Brain: Thomas Willis and René Descartes 6. The Empirical Brain in Context 7. The Wondrous Book of the Human Brain in 3-Dimensions 8. Art, Anatomy, and the Hunter Brothers 9. Art and Anatomy: Critics and Hired Hands 10. Electricity Sparks the Imagination 11. The Promethean Human 12. Human Autonomy and Light 13. Human Physiognomy, Psychology, and Brain Functions 14. Technological Innovations and the Nervous System 15. The Possible, Improbable, and Realization of the Magical 16. Perception and Frames of Reference Postscript: The Malleability of History Bibliography Index
£132.00
Brill Haecceities: Essentialism, Identity, and Abstraction
Book SynopsisHaecceities: Essentialism, Identity, and Abstraction is both an artistic and philosophical examination of the limits of Abstraction in art and of kinds of radical identity that are determined in the identification of those limits. Building on his work Subjects and Objects, Strayer shows how the fundamental conditions of making and apprehending works of art can be used, in concert with language, thought, and perception, as ‘material’ for producing the more Abstract and radical artworks possible. Certain limits of Abstraction and possibilities of radical identity are then identified that are critically and philosophically considered. They prove to be so extreme that the concepts artwork, abstraction, identity, and object in art, philosophy, and philosophy of art, have to be reconsidered.Trade Review"Strayer, in Haecceities, gives us a fascinating, extended intellectual meditation on the limits of abstraction in art, and does so with such a breathtaking relentlessness, that it is unlikely that anyone could ever write a more definitive book on the subject." - Phil Jenkins, Marywood University, in: Philosophy in Review 39.2 (2019)Table of ContentsAcknowledgments List of Haecceity Illustrations and Figures PART ONE Introduction 1. Theses of Abstraction. 2. The essential elements of an artistic complex and the idea of Essentialism or Essentialist Abstraction. 3. Radical identity. 4. Essence and Essentialism. 5. Consciousness. 6. Objects. 7. Summary and the goals and workings of Essentialism. PART TWO Space, Time, Language, and Objects and Particular Matters of General Relevance to Essentialism 8. The particularity of objects and the use of the term ‘haecceity’ in regard to Essentialist artworks. 9. Space, language, and the perceptual object. 10. Effects of the algorithm: visible and invisible, on and off the surface. 11. Time and the perceptual object. 12. Space, time, language, and the perceptual object. 13. Meaning, specification tokens, and matrices. 14. Time and the specified object. 15. Change and the perceptual object. 16. Interpretation. 17. The delimitation of logical space and a subject’s history of awareness. PART THREE Haecceities, Ideational Objects, and Identity 18. No artwork without an identity. 19. Traditional identity in the visual arts. 20. Essentialism and identity. 21. Haecceities and ideational objects. 22. Kinds of ideational identity. 23. Basic and sophisticated space, meaning, identity, and work. 24. Haecceity artwork identity: preliminary points. 25. Disseminated identity. 26. Distributed identity. 27. Disseminated and/or distributed identity. 28. Non-disseminated and non-distributed identity. 29. Aesthetic properties and basic and sophisticated space. 30. Homogeneous identity. 31. Heterogeneous identity. 32. Actuality and possibility and identity. 33. Possibilities of identity. 34. Identity and Abstraction. 35. Things that can complicate identity. 36. Thisness and Essentialism. 37. Egalitarian identity. 38. Summary of Essentialist identity. PART FOUR The Space of Apprehension and the Field of Understanding 39. Introduction. 40. Circles, matrices, and the space of apprehension. 41. Language and information in the Haecceities series. 42. Comprehending specifications. 43. The field of understanding. 44. The algorithm, matrices, parts and wholes, and relationships. 45. Ideational objects. PART FIVE Essentialist Determination of Some Limits of Abstraction and Kinds of Radical Identity: Selections from the Haecceities Series with Commentary 46. The language of Essentialism, identity, and the limits of Abstraction. 47. Haecceity 1.0.0. 48. Haecceity 1.1.0. 49. Haecceity 1.2.0. 50. Haecceity 2.0.3. 51. Haecceity 2.9.0. 52. Haecceity 2.10.1. 53. Haecceity 3.29.0. 54. Haecceity 4.7.0. 55. Haecceity 7.3.0. 56. Haecceity 12.0.0. PART SIX Appendices Appendix One: A Paradox of Identity? Appendix Two: Time and Understanding. Index
£177.60
Brill Lomazzo’s Aesthetic Principles Reflected in the Art of his Time: With a Foreword by Paolo Roberto Ciardi, an Introduction by Jean Julia Chai, and an Afterword by Alexander Marr
Book SynopsisLomazzo's Aesthetic Principles Reflected in the Art of his Time explores the work of the Milanese artist-theorist Giovanni Paolo Lomazzo (1538–92) and his influence on the circle of the Accademia della Val di Blenio and beyond. Following reflections on Lomazzo's fortuna critica, the accompanying essays examine his admiration of Gaudenzio Ferrari; Lomazzo’s painted oeuvre; his influence on printmaking with Giovanni Ambrogio Brambilla; on drawing and painting with Aurelio Luini; on the decorative arts and the embroideress Caterina Cantoni; his pupils Giovanni Ambrogio Figino and Girolamo Ciocca; grotesque sculpture outside Milan; and Lomazzo in England with Richard Haydocke’s translation of the Trattato. In doing so, this book takes an innovative approach—one which aims to bridge the scholarship, hitherto disjoined, between Lomazzo the artist and Lomazzo the theorist—while expanding our knowledge of a protagonist of Renaissance and early modern art theory. Contributors: Alessia Alberti, Federico Cavalieri, Jean Julia Chai, Roberto Paolo Ciardi, Alexander Marr, Silvia Mausoli, Mauro Pavesi, Rossana Sacchi, Paolo Sanvito, and Lucia Tantardini.Table of ContentsPreface Lucia Tantardini Foreword: Lomazzo's Temple Roberto Paolo Ciardi Acknowledgements List of Figures and Maps List of Abbreviations Notes on Contributors Notes Chronology of Lomazzo’s Life and Career Introduction: Lomazzo Studies: Getting the Whole Picture Jean Julia Chai 1 ‘Oh blessed, excellent mind and hands!’: Lomazzo’s Admiration for Gaudenzio Ferrari Rossana Sacchi 2 New Light on Lomazzo’s Artistic Career Mauro Pavesi 3 Giovanni Ambrogio Brambilla: Poet, Painter, Draughtsman, and Printmaker between Milan and Rome Alessia Alberti 4 Lomazzo vs. Luini: Comparative Aesthetics Lucia Tantardini 5 ‘De la gran Cantona i chiari honori’: Caterina Cantoni, Lomazzo, and the Accademia della Val di Blenio Silvia Mausoli 6 Lomazzo’s Two Pupils: ‘first is Figino, and then Ciocca’ Federico Cavalieri and Mauro Pavesi 7 Lomazzo’s Influence on Decorative Patterns in Sculptural Workshops Before and After 1600 Paolo Sanvito Afterword: Lomazzo's Shadow Alexander Marr Appendices Bibliography Index of Proper Names Index of Places
£121.60
Brill What is Art?: The Question of Definition Reloaded
Book Synopsis‘What is art?’ is one of the classic questions that philosophy has addressed over the ages, from the ancients to today. A discussion of the primary literature of the field introduces a series of considerations used to shift the problem of definition onto new plane, one that is able to respond to the challenges of the performing and participatory arts, which more than any other form of art present particularly unconventional ontologies.Table of ContentsContents What is Art? The Question of Definition Reloaded Tiziana Andina Abstract Keywords 1 The Problem of Definition: Classical Questions 2 Metaphysical Issues: The Transfiguration of a Box 3 Theories 4 What a Work of Art Is Bibliography
£71.44
Brill Religion and the Arts: History and Method
Book SynopsisIn Religion and the Arts: History and Method, Diane Apostolos-Cappadona presents an overview of the 19th century origins of this discrete field of study and its methodological journey to the present-day through issues of repatriation, museum exhibitions, and globalization. Apostolos-Cappadona suggests that the fluidity and flexibility of the study of religion and the arts has expanded like an umbrella since the 1970s - and the understanding that art was simply a visual exegesis of texts - to now support the study of material, popular, and visual culture, as well as gender. She also delivers a careful analysis of the evolution of thought from traditional iconographies to the transformations once scholars were influenced by response theory and challenged by globalization and technology. Religion and the Arts: History and Method offers an indispensable introduction to the questions and perspectives essential to the study of this field.Trade Review'This short monograph (...) can be especially recommended to anyone either conducting or contemplating postgraduate research within an increasingly complex subject area (...). More seasoned scholars, too, seeking to identify the provenance, current trends, and future direction of their own research, will learn much from a text which at a mere 80 pages, is a miracle of compressed clarity, cultural breadth, and long-fermented relection. It also includes a wide-ranging, thematic, and up-to-date bibliography.' Graham Howes, Trinity Hall, Cambridge, Art and Christianity 95, autumn 2018 'In the first volume of the new Brill Research Perspectives series, Religion and the Arts: History and Method, editor-in-chief Diane Apostolos-Cappadona presents the reader a remarkable introduction, an overview, and a plethora of future perspectives (...) Although initially appearing as a neatly boxed topic, the relationship between religion and the arts provides an almost endlessly expanding field. As such, this inaugural Brill Research Perspectives volume is a brave undertaking, as well as a welcome resource for scholars trying to find their way in this vast field of opportunity.' Lieke Wijnia, Groningen University and University College Tilburg, Reading Religion, January 2019.
£71.44
Brill The Crisis of Ugliness: From Cubism to Pop-Art
Book SynopsisMikhail Lifshitz is a major forgotten figure in the tradition of Marxist philosophy and art history. A significant influence on Lukács, and the dedicatee of his The Young Hegel, as well as an unsurpassed scholar of Marx and Engels’s writings on art and a lifelong controversialist, Lifshitz’s work dealt with topics as various as the philosophy of Marx and the pop aesthetics of Andy Warhol. The Crisis of Ugliness (originally published in Russian by Iskusstvo, 1968), published here in English for the first time, and with a detailed introduction by its translator David Riff, is a compact broadside against modernism in the visual arts that nevertheless resists the dogmatic complacencies of Stalinist aesthetics. Its reentry into English debates on the history of Soviet aesthetics promises to re-orient our sense of the basic coordinates of a Marxist art theory.Table of ContentsList of Illustrations Introduction. Mikhail Lifshitz: A Communist Contemporary David Riff Foreword 1 Myth and Reality: The Legend of Cubism ‘Scandal in Art’ Two Appraisals of Cubism G.V. Plekhanov and Cubism The Terms ‘Reactionary’ and ‘Bourgeois’ The Revolt against Things Fusion with Objects as an Ideal The Evolution of Cubism Painting in the Other World 2 The Phenomenology of the Soup Can: The Quirks of Taste The Economy of Painting Reflection’s Malaise Conclusion 3 Why am I Not a Modernist? References Index Illustration Section
£125.60
Brill Imagining Dewey: Artful Works and Dialogue about Art as Experience
Book SynopsisAwarded an Honorable Mention for the 2022 Society of Professors of Education Outstanding Book Award Imagining Dewey features productive (re)interpretations of 21st century experience using the lens of John Dewey’s Art as Experience, through the doubled task of putting an array of international philosophers, educators, and artists-researchers in transactional dialogue and on equal footing in an academic text. This book is a pragmatic attempt to encourage application of aesthetic learning and living, ekphrasic interpretation, critical art, and agonist pluralism. There are two foci: (a) Deweyan philosophy and educational themes with (b) analysis and examples of how educators, artists, and researchers envision and enact artful meaning making. This structure meets the needs of university and high school audiences, who are accustomed to learning about challenging ideas through multimedia and aesthetic experience. Contributors are: James M. Albrecht, Adam I. Attwood, John Baldacchino, Carolyn L. Berenato, M. Cristina Di Gregori, Holly Fairbank, Jim Garrison, Amanda Gulla, Bethany Henning, Jessica Heybach, David L. Hildebrand, Ellyn Lyle, Livio Mattarollo, Christy McConnell Moroye, María-Isabel Moreno-Montoro, María Martínez Morales, Stephen M. Noonan, Louise G. Phillips, Scott L. Pratt, Joaquin Roldan, Leopoldo Rueda, Tadd Ruetenik, Leísa Sasso, Bruce Uhrmacher, David Vessey, Ricardo Marín Viadel, Sean Wiebe, Li Xu and Martha Patricia Espíritu Zavalza.Trade Review“The ancients posited ‘a quarrel between poetry and philosophy’: yet centuries later, work occasionally arises that throws into dazzling relief the interplay between fact and value, stasis and process, sedimented past and the spark of innovation. With one foot firmly planted in Dewey’s Art as Experience and the other mid-step into our present day, Imagining Dewey mines Deweyan/American pragmatist ideas on creativity, innovation, truth, and flourishing. It provides a refreshing dialogue between threads of fields too often artificially separated, as it connects resources in American, continental, and postmodern traditions with foundational insights and concerns of Plato and Aristotle. As internationally, cultures struggle today to integrate STEM fields with MESH fields (media literacy, ethics, sociology & history), Imagining Dewey provides a tapestry of theories, practices, hyperlinks, illustrations, and case examples highlighting practices of creative innovation that offer direction for both personal development and democratic, sociopolitical growth. Its energy of analysis is akin to mid-20th c. critical social theory critiques of increasingly dominative configurations of media, economics, and power: but in the spirit of early U.S. pragmatism, the essays focus “a pedagogy and politics of possibility” on 21st c. dynamics for new directions and solutions.” – L. Ryan Musgrave, PhD, Rollins College, Florida, USA “Imagining Dewey takes up the philosopher's 1934 text, Art as Experience, and demonstrates its pertinence and thought-provoking power for our day. Maarhuis and Rud have assembled a wide-ranging set of essays that illuminate our aesthetic experience of contemporary artistic and non-artistic works of very different kinds. Their imaginative rediscovery of Dewey's insights and interests in the present will be revitalizing for scholars of aesthetic education.” – René V. Arcilla, PhD, New York University, New York, USA “Enter this book and fall into Dewey’s promises. Imagining Dewey by Maarhuis and Rud pulls together philosophy, pedagogy, and making to create a dialogic canvas of polyglossia on the aesthetics of unfolding life-learning. This collection bids for a reader response that experiences the art of living fully alive, in the halo of the present flash and flow, awake to the quickening of unity and dissonance of the real, the complexity of beauty, the freedom of harmony, the openness of rhythm. Experience the art of imagining here, cultivate a recovery of the soul. Read this and feel yourself change in the experience. A must-read for all graduate programs.” – Pauline Sameshima, PhD, Lakehead University, Ontario, Canada “Dewey scholars, arts-based researchers and arts-integrated teachers, progressive educators, and all people who like to view and discuss art will benefit from this vigorous presentation of artworks created and recreated through the aesthetic experience of explorations of the connecting links among artists and their audiences. The text provides multiple inroads to curricular innovation. It is profoundly pluralistic and, therefore, a treatise on the connecting link between the arts and social justice.” – Susan Finley, PhD, Washington State University, Washington, USATable of ContentsForeword Jim Garrison List of Figures Notes on Contributors Introduction Patricia L. Maarhuis and A. G. Rud Part 1: Art Is/Is Not Experience 1. Art as Experience, Experience as Art M. Cristina Di GreGori, Livio Mattarollo and Leopoldo Rueda 2. Travels through China in the Dewey and Barnes Letters: Arts, education, and politics Carolyn L. Berenato 3. Art Is (Not) Experience: Engaging Dewey in Reverse John Baldacchino Part 2: Performance & Happenings 4. The Aesthetics of Rehearsal Scott L. Pratt 5. Building Experience: Fiction Account as Narrative Support and Product of Artistic Investigation Martha Patricia Espíritu Zavalza 6. Collapsing Life and Art David Vessey 7. The Artworks of Women: Weaving in a Semiotic and Pragmatic Performative Action María-Isabel Moreno-Montoro Part 3: Encounters & Relationships 8. Dewey’s Art as Experience: A Guide in an Age of Personal Technology David L. Hildebrand 9. Images of Injustice: The Problem of Visual Culture in Dewey’s Aesthetics Jessica A. Heybach 10. Illumination: Teacher Education and the Aesthetic Encounter Sean Wiebe and Ellyn Lyle Part 4: Dissonance & Reflection 11. Experiencing Art and Social Science: A Multimodal Poetic Perception of Social Ecological Cohesion Adam I. Attwood 12. Aesthetic Experiences and Dewey’s Descendants: Poetic Inquiry as a Way of Knowing Amanda N. Gulla 13. “Art Is More Moral than Moralities”: Deweyan Reflections on Literature in/as Education James M. Albrecht 14. Father Catich and the Clean-Cut Christs: Re-presenting American Values Then and Now Tadd Ruetenik Part 5: Time, Space, & Nature 15. Eco-Aesthetic Experiences: A Deweyan Framework for Ecological Aims in Schools Christy McConnell Moroye and P. Bruce Uhrmacher 16. Temporality and Spatiality in Artwork: Dewey and Traditional Chinese Painting Li Xu 17. Articulation from an Aesthetic Environment: Experience of research A/r/tographic María Martínez Morales 18. Aesthetic Experiences of Making with Paper: The (Artist-Infused) Corner for Under Eight Year Olds Louise G. Phillips Part 6: Transformation & The Work of Art 19. Sincerity in the Work of Art Bethany N. Henning 20. Practicing the New School: Dewey, A/r/tography and the Intrusion of Poetics in Education Leísa Sasso 21. Arts Based Educational Research and Social Transformation: A Project of Social A/r/tography Ricardo Marín-Viadel and Joaquin Roldan 22. Imagination, Inquiry, and Voice: A Deweyan Approach to Education in a 21st Century Urban High School Amanda N. Gulla, Holly Fairbank, and Stephen Noonan Index
£126.40
Brill From Fountain to Moleskine: The Work of Art in the Age of its Technological Producibility
Book SynopsisPhotography was invented in the mid-nineteenth century, and ever since that moment painters have been asking what they are there for. Everyone has their own strategy. Some say they do not paint what is there, but their impressions. Others paint things that are not seen in the world, and therefore cannot be photographed, because they are abstractions. Others yet exhibit urinals in art galleries. This may look like the end of art but, instead, it is the dawn of a new day, not only for painting but – this is the novelty – for every form of art, as well as for the social world in general and for industry, where repetitive tasks are left to machines and humans are required to behave like artists.Table of ContentsFrom Fountain to Moleskine: the Work of Art in the Age of Its Technological Producibility Maurizio Ferraris Abstract Keywords 1 Pen, Pencil, Pen Drive 2 Mona Lisa. The Canon 3 Fountain. The Break 4 Brillo Box. The Reconciliation 5 Moleskine. The Fusion
£71.44
Brill Jacob Campo Weyerman and his Collection of Artists’ Biographies: An Art Critic at Work
Book SynopsisWeyerman’s collection of artists’ biographies (1729) is exceptional for three reasons. Firstly, he includes a great number of painters not mentioned elsewhere. Secondly, he does not limit his selection to good artists only; he also discusses failed painters and their abortive careers. Thirdly, he writes as an art critic who does not hesitate to pass judgments, sometimes severe, on his chosen subjects. In the process, Weyerman provides much information on the social and economic circumstances of art production. He found that a bohemian lifestyle was pernicious to a painter’s career, and argued that artists should live and think as merchants. In addition to analyzing Weyerman’s art critical terminology and his ideas on art theory, De Vries includes translations of two full chapters along with the original Dutch.Trade Review“Jacob Campo Weyerman and his Collection of Artists' Biographies is a great book. Not cheap, but the first 141 pages, Part One, will serve as a new benchmark in Weyerman Studies.” Peter Altena, in JCW 43.2 (Mededelingen van de Stichting Jacob Campo Weyerman) "The fact remains that, whatever [Weyerman's] motivations, he demonstrated (and de Vries amply acknowledges it) that he had an art critic training, that he mastered a technical vocabulary that deserves to be studied precisely because it is specific to a reality and an era and, in short, that he was a man fully immersed in his time. Probably these findings (and the many references to the situation of the art market in the Netherlands [...] would today satisfy more those who deal with social history of art, rather than history of art in the strict sense; however, they allow us to reconsider the importance of a work that, in Schlosser's time, seemed inevitably destined for oblivion and ignominy." Giovanni Mazzaferro, in: Letteratura artistica: Cross-cultural Studies in Art History Sources, August 2020Table of ContentsPreface List of Illustrations Introduction 1 Contents of the Levens-Beschryvingen 2 Weyerman’s Opinions 1 Painted and Written Genre Scenes 1 Urban Genre 2 Low Life Genre 3 Italianate Scenes 4 Large-Scale Genre Paintings 5 Fine Painting 2 Failed Artists 1 Pretentions of Nobility 2 Social Skills 3 Marriage 4 Painterly Studios 5 Intemperance 6 Mental Problems 7 Art Dealers and Their Victims 8 Copying 9 Antwerp’s Vrijdagsmarkt 10 Street Vendors and Itinerant Painters 3 Portraiture 1 London 2 The ‘Byway’ of Art 3 The Sitter’s Identity 4 Good Manners, Flattery and Beauty 5 The Netherlands 6 Other Group Portraits 4 Art in the Public Space 1 Altarpieces 2 Stained Glass Windows 3 Wall Tapestries 4 Princely Commissions 5 Government Commissions 6 Municipal Commissions 7 Festive Entries 8 Private Commissions 5 Art Criticism 1 Choice of Subject Matter 2 Composition 3 Human Figures 4 Pictorial Space 5 Reddering 6 Colouring 7 Handling of the Brush 8 Welstand 6 Pliny, Durand and Weyerman 1 Weyerman’s Ideas in Perspective 2 Beauty 3 Grace 4 Art and Nature 5 The Purpose of Art 6 Classification 7 Conclusion Epilogue Appendix 1: Biography of Willem de Fouchier Appendix 2: Disquisition on the Art of the Ancients Bibliography Index
£156.00
Brill The Culture of Boredom
Book SynopsisThe Culture of Boredom is a collection of essays by well-known specialists reflecting from philosophical, literary, and artistic perspectives, in which the reader will learn how different disciplines can throw light on such an appealing, challenging, yet still not fully understood, phenomenon. The goal is to clarify the background of boredom, and to explore its representation through forgotten cross-cutting narratives beyond the typical approaches, i.e. those of psychology or psychiatry. For the first time this experienced group of scholars gathers to promote a cross-border dialogue from a multidisciplinary perspective.Table of ContentsList of Illustrations Abbreviations Notes on Contributors emsp;Introduction: Humanities Still Have a Say in Boredom Studies emsp;emsp;Josefa Ros Velasco emsp;emsp;Part 1 Boredom and Society 1 Boredom and the Disciplinary Imaginary emsp;emsp;Elizabeth S. Goodstein 2 The Multitude Strikes Back? Boredom in an Age of Semiocapitalism emsp;emsp;Michael E. Gardiner 3 Boredom: a Political Issue emsp;emsp;George García Quesada 4 About Boredom: Hermeneutic Looks and Existential Analysis in Modernity emsp;emsp;Juan Diego Hernández Albarracín and Carlos Fernando Álvarez González 5 Too Much Time: Changing Conceptions of Boredom, Progress, and the Future among Young Men in Urban Ethiopia, 2003–2015 emsp;emsp;Daniel Mains emsp;emsp;Part 2 Boredom and Literature 6 Immersed in Boredom: the Architecture of Brisbane in Johnno emsp;emsp;Christian Rafael Parreño Roldán 7 The Presence of Literature: Georg Büchner’s Comedy Leonce und Lena emsp;emsp;Wolfram Malte Fues 8 Upper-Class Female Boredom in Marriage in 19th-Century Western Literature as a Manifestation of Socio-Cultural Pressures emsp;emsp;Josefa Ros Velasco and Nancy Provolt 9 Men Walking into Woods. Boredom, Nihilism, and the Characters of Erlend Loe emsp;emsp;Martin Demant Frederiksen Part 3 Boredom and Creativity 10 The Art of Boring (Oneself) emsp;emsp;Jorge Andrés Espinoza Cáceres 11 Perfect Boredom: From Disillusion to Creativity emsp;emsp;Sergio Velasco Caballero 12 A Cartography of Boredom: Reading for Affectivity in Contemporary Poetry emsp;emsp;Kristiine Kikas 13 Boredom and Institutional Critique emsp;emsp;Judy Freya Sibayan emsp;Postface Rhymed Reflections on Boredom emsp;emsp;Francisco Cardoso Gomes de Matos Index
£122.40
Brill Imagining Dewey: Artful Works and Dialogue about Art as Experience
Book SynopsisAwarded an Honorable Mention for the 2022 Society of Professors of Education Outstanding Book Award Imagining Dewey features productive (re)interpretations of 21st century experience using the lens of John Dewey’s Art as Experience, through the doubled task of putting an array of international philosophers, educators, and artists-researchers in transactional dialogue and on equal footing in an academic text. This book is a pragmatic attempt to encourage application of aesthetic learning and living, ekphrasic interpretation, critical art, and agonist pluralism. There are two foci: (a) Deweyan philosophy and educational themes with (b) analysis and examples of how educators, artists, and researchers envision and enact artful meaning making. This structure meets the needs of university and high school audiences, who are accustomed to learning about challenging ideas through multimedia and aesthetic experience. Contributors are: James M. Albrecht, Adam I. Attwood, John Baldacchino, Carolyn L. Berenato, M. Cristina Di Gregori, Holly Fairbank, Jim Garrison, Amanda Gulla, Bethany Henning, Jessica Heybach, David L. Hildebrand, Ellyn Lyle, Livio Mattarollo, Christy McConnell Moroye, María-Isabel Moreno-Montoro, María Martínez Morales, Stephen M. Noonan, Louise G. Phillips, Scott L. Pratt, Joaquin Roldan, Leopoldo Rueda, Tadd Ruetenik, Leísa Sasso, Bruce Uhrmacher, David Vessey, Ricardo Marín Viadel, Sean Wiebe, Li Xu and Martha Patricia Espíritu Zavalza.Trade Review“The ancients posited ‘a quarrel between poetry and philosophy’: yet centuries later, work occasionally arises that throws into dazzling relief the interplay between fact and value, stasis and process, sedimented past and the spark of innovation. With one foot firmly planted in Dewey’s Art as Experience and the other mid-step into our present day, Imagining Dewey mines Deweyan/American pragmatist ideas on creativity, innovation, truth, and flourishing. It provides a refreshing dialogue between threads of fields too often artificially separated, as it connects resources in American, continental, and postmodern traditions with foundational insights and concerns of Plato and Aristotle. As internationally, cultures struggle today to integrate STEM fields with MESH fields (media literacy, ethics, sociology & history), Imagining Dewey provides a tapestry of theories, practices, hyperlinks, illustrations, and case examples highlighting practices of creative innovation that offer direction for both personal development and democratic, sociopolitical growth. Its energy of analysis is akin to mid-20th c. critical social theory critiques of increasingly dominative configurations of media, economics, and power: but in the spirit of early U.S. pragmatism, the essays focus “a pedagogy and politics of possibility” on 21st c. dynamics for new directions and solutions.” – L. Ryan Musgrave, PhD, Rollins College, Florida, USA “Imagining Dewey takes up the philosopher's 1934 text, Art as Experience, and demonstrates its pertinence and thought-provoking power for our day. Maarhuis and Rud have assembled a wide-ranging set of essays that illuminate our aesthetic experience of contemporary artistic and non-artistic works of very different kinds. Their imaginative rediscovery of Dewey's insights and interests in the present will be revitalizing for scholars of aesthetic education.” – René V. Arcilla, PhD, New York University, New York, USA “Enter this book and fall into Dewey’s promises. Imagining Dewey by Maarhuis and Rud pulls together philosophy, pedagogy, and making to create a dialogic canvas of polyglossia on the aesthetics of unfolding life-learning. This collection bids for a reader response that experiences the art of living fully alive, in the halo of the present flash and flow, awake to the quickening of unity and dissonance of the real, the complexity of beauty, the freedom of harmony, the openness of rhythm. Experience the art of imagining here, cultivate a recovery of the soul. Read this and feel yourself change in the experience. A must-read for all graduate programs.” – Pauline Sameshima, PhD, Lakehead University, Ontario, Canada “Dewey scholars, arts-based researchers and arts-integrated teachers, progressive educators, and all people who like to view and discuss art will benefit from this vigorous presentation of artworks created and recreated through the aesthetic experience of explorations of the connecting links among artists and their audiences. The text provides multiple inroads to curricular innovation. It is profoundly pluralistic and, therefore, a treatise on the connecting link between the arts and social justice.” – Susan Finley, PhD, Washington State University, Washington, USATable of ContentsForeword Jim Garrison List of Figures Notes on Contributors Introduction Patricia L. Maarhuis and A. G. Rud Part 1: Art Is/Is Not Experience 1. Art as Experience, Experience as Art M. Cristina Di GreGori, Livio Mattarollo and Leopoldo Rueda 2. Travels through China in the Dewey and Barnes Letters: Arts, education, and politics Carolyn L. Berenato 3. Art Is (Not) Experience: Engaging Dewey in Reverse John Baldacchino Part 2: Performance & Happenings 4. The Aesthetics of Rehearsal Scott L. Pratt 5. Building Experience: Fiction Account as Narrative Support and Product of Artistic Investigation Martha Patricia Espíritu Zavalza 6. Collapsing Life and Art David Vessey 7. The Artworks of Women: Weaving in a Semiotic and Pragmatic Performative Action María-Isabel Moreno-Montoro Part 3: Encounters & Relationships 8. Dewey’s Art as Experience: A Guide in an Age of Personal Technology David L. Hildebrand 9. Images of Injustice: The Problem of Visual Culture in Dewey’s Aesthetics Jessica A. Heybach 10. Illumination: Teacher Education and the Aesthetic Encounter Sean Wiebe and Ellyn Lyle Part 4: Dissonance & Reflection 11. Experiencing Art and Social Science: A Multimodal Poetic Perception of Social Ecological Cohesion Adam I. Attwood 12. Aesthetic Experiences and Dewey’s Descendants: Poetic Inquiry as a Way of Knowing Amanda N. Gulla 13. “Art Is More Moral than Moralities”: Deweyan Reflections on Literature in/as Education James M. Albrecht 14. Father Catich and the Clean-Cut Christs: Re-presenting American Values Then and Now Tadd Ruetenik Part 5: Time, Space, & Nature 15. Eco-Aesthetic Experiences: A Deweyan Framework for Ecological Aims in Schools Christy McConnell Moroye and P. Bruce Uhrmacher 16. Temporality and Spatiality in Artwork: Dewey and Traditional Chinese Painting Li Xu 17. Articulation from an Aesthetic Environment: Experience of research A/r/tographic María Martínez Morales 18. Aesthetic Experiences of Making with Paper: The (Artist-Infused) Corner for Under Eight Year Olds Louise G. Phillips Part 6: Transformation & The Work of Art 19. Sincerity in the Work of Art Bethany N. Henning 20. Practicing the New School: Dewey, A/r/tography and the Intrusion of Poetics in Education Leísa Sasso 21. Arts Based Educational Research and Social Transformation: A Project of Social A/r/tography Ricardo Marín-Viadel and Joaquin Roldan 22. Imagination, Inquiry, and Voice: A Deweyan Approach to Education in a 21st Century Urban High School Amanda N. Gulla, Holly Fairbank, and Stephen Noonan Index
£45.60
Brill Grotesque and Caricature: Leonardo to Bernini
Book SynopsisGrotesque and Caricature: Leonardo to Bernini examines these two genres across Renaissance and Early Modern Italy. Although their origins stem from Antiquity, it were Leonardo da Vinci’s early teste caricate that injected fresh life into the tradition, greatly inspiring generations of artists. Critical among them were his Milanese followers, such as Giovanni Paolo Lomazzo, and also Michelangelo and Sebastiano del Piombo as well as, notably, Annibale Carracci, Guercino, and Bernini among others. Their artistic production—drawings, prints, paintings, and sculpture—reveals deep interest in physical, physiognomic, and psychological observations with a penchant for humour and wit. Written by an international group of established and emerging scholars, this volume explores new insights to these complementary artistic genres. Contributors include: Carlo Avilio, Ilaria Bernocchi, Christophe Brouard, Sandra Cheng, Susan Klaiber, Michael W. Kwakkelstein, Tod A. Marder, Rebecca Norris, Lucia Tantardini, Nicholas J. L. Turner, Mary Vaccaro, and Matthias Wivel.Table of ContentsPreface and Acknowledgements Lucia Tantardini, Rebecca Norris and Lucia Tantardini List of Figures Notes on Contributors Notes on the Text Monstrous Inventions: Caricature and the Grotesque in Early Modern Art Sandra Cheng 1 Leonardo da Vinci’s Drawings of Busts of Old Men and Women with Monstruous Faces: Satire as Moral Criticism Michael W. Kwakkelstein 2 Lomazzo’s Grotesque Heads Revisited Lucia Tantardini 3 Sebastiano del Piombo’s Caricatural Gesture and the Path to Idealism Matthias Wivel 4 Burlesque Irreverences: Domenico Campagnola and Ruzante in the Corte Cornaro Christophe Brouard 5 Carracci’s Ritrattini Carichi and the ‘Origins’ of Caricature Mary Vaccaro 6 Guercino’s Grotesque Heads and Caricatures Nicholas Turner 7 Deformation as Revelation: A Monstrous Portrait by Bartolomeo Passerotti Ilaria Bernocchi 8 Heavenly Bodies III: Bernini’s Caricatures and Copies Tod Marder 9 Rudolf Wittkower, Bernini’s Caricatures (1931) Translator Susan Klaiber 10 Jusepe de Ribera and the Grotesque: Between Science and Comedy Carlo Avilio Bibliography
£117.80
Brill Bourdieu in Question: New Directions in French Sociology of Art
Book SynopsisIn Bourdieu in Question: New Directions in French Sociology of Art, Jeffrey A. Halley and Daglind E. Sonolet offer to English-speaking audiences an account of the very lively Francophone debates over Pierre Bourdieu’s work in the domain of the arts and culture, and present other directions and perspectives taken by major French researchers who extend or differ from his point of view, and who were marginalized by the Bourdieusian moment. Three generations of research are presented: contemporaries of Bourdieu, the next generation, and recent research. Themes include the art market and value, cultural politics, the reception of artworks, theory and the concept of the artwork, autonomy in art, ethnography and culture, and the critique of Bourdieu on literature. Contributors are: Howard S. Becker, Martine Burgos, Marie Buscatto, Jean-Louis Fabiani, Laurent Fleury, Florent Gaudez, Jeffrey A. Halley, Nathalie Heinich, Yvon Lamy, Jacques Leenhardt, Cécile Léonardi, Clara Lévy, Pierre-Michel Menger, Raymonde Moulin, Jean-Claude Passeron, Emmanuel Pedler, Bruno Péquignot, Alain Quemin, Cherry Schrecker, Daglind E. Sonolet.Trade Review“Based on a series of conferences, working groups, and translations of classic French texts on the matter until now unavailable to the English-speaking reader, the book sheds light on the context of origin of some of Bourdieu’s most important contributions to the sociology of the arts and culture—its legacy, its aporias, and its debates with contemporaries, disciples and dissenters alike. […] The volume should be of interest not only to those working in the sociology of arts and literature, but also to those who wish to read about new currents in the French sociology of culture and French social theory at large.” -- Claudio E. Benzecry, Northwestern University, in: Contemporary Sociology 48/6 (2019) "[...] the importance of the book. It is a contribution to the sociological literature on Bourdieu, the sociology of art, as well as French studies generally. It also fills a translation gap in bringing a large number of works to the Anglophone reader. Its strength lies in its attention to theoretical as well as empirical work, as well as its avoidance of intellectual partisanship by exposing the reader to a range of perspectives on Bourdieu’s sociology of art, some positive, others unfavorable." -- Marnia Lazreg, in Sociological Forum, Vol. 34, No. 1 (04 March 2019) "[...] ein in Sammelbänden eher seltenes Kunststück: die einzelnen Beiträge beziehen sich aufeinander und reflektieren einander. Dadurch werden beim Lesen viele Verknüpfungen hergestellt und man verfällt leicht in einen Lesefluss. Ein weiterer Pluspunkt ist auch die Autor*innenauswahl: Im Band vertreten sind viele im französischsprachigen Raum renommierte Autor*innen, wie unter anderem Raymonde Moulin, Jean-Claude Passeron, Jean-Louis Fabiani, Pierre-Michel Menger, Emanuel Pedler und Marie Buscatto, die nun auch nicht-französisch sprechende Leser*innen kennen lernen dürfen. [...] Nicht zuletzt besticht der Sammelband durch die Vielfalt seiner Themen. [...] Auch die Vielschichtigkeit des Bandes ist besonders hervorzuheben.So werden etwa in einer historisch-soziologischen Darstellung die Entwicklungslinien Bourdieus nachgezeichnet, weniger prominenten/unbekannteren Positionen Bourdieus wird Aufmerksamkeit geschenkt und auch vereinzelte missing links in seinen Theorien aufgezeigt." -- Tamara Schwertel, Soziologie Blog, 23 July 2018Table of ContentsAcknowledgments List of Illustrations List of Contributors 1 Introduction Jeffrey A. Halley and Daglind E. Sonolet Part 1: Bourdieu’s Contemporaries: Raymonde Moulin, Howard S. Becker, Jean-Claude Passeron, Jacques Leenhardt 2 The Museum and the Marketplace: The Constitution of Value in Contemporary Art Raymonde Moulin 3 The Anglophone Reception of French Sociology: The Case of Bourdieu and Subsequent Scholarship Howard S. Becker 4 The Time Devoted to Observing Each Work of Art Jean-Claude Passeron and Emmanuel Pedler 5 What is Literature? Notes on The Rules of Art by Pierre Bourdieu Jacques Leenhardt Part 2: The Second Generation: Bruno Péquginot, Jean-Louis Fabiani, Pierre-Michel Menger, Nathalie Heinich, Martine Burgos, Yvon Lamy 6 The Issue of the Artwork: A Site under Construction in Pierre Bourdieu’s Theory Bruno Péquignot 7 Theory and Practice in French Sociology after Pierre Bourdieu Jean-Louis Fabiani 8 Inequalities in the Arts Pierre-Michel Menger 9 Bourdieu’s Culture Nathalie Heinich 10 Founding a Reading Group at a Library for the Young: The Story of Its Creation and Variations Martine Burgos 11 On a Contemporary Principle of Public Classification: Heritage Conversion of Cultural Property Yvon Lamy Part 3: The Next Generation: Emmanuel Pedler, Florent Gaudez, Alain Quemin, Laurent Fleury, Marie Buscatto, Clara Lévy and Cherry Schrecker, Cécile Léonardi 12 Musical Understanding and Cultural Misunderstanding: The Concert as a Site of Symbolic Confrontation Emmanuel Pedler 13 Empiricity and the Process of Production in Literature: The Text as the Field of Socio-Anthropological Investigation Florent Gaudez 14 How International is “International” Contemporary Art? An Empirical Survey of the Globalization of High Culture Alain Quemin 15 The Work of the Institution: The Democratization of Culture in the Light of the Legacy of the Théâtre National Populaire Laurent Fleury 16 Trying to Get in, Getting in, Staying in: The Three Challenges for Women Jazz Musicians Marie Buscatto 17 In What Way (or Not) is Bourdieu Useful to the Sociology of Literature? Clara Lévy, and Cherry Schrecker 18 The Art of Self-Reflecting Cécile Léonardi Part 4: Editors’ Contributions 19 Mondo Vino: Rationalization, Resistance, and Taste in the Wine World Jeffrey A. Halley 20 Literature and Modernity: Günther Anders, Hannah Arendt, and Theodor W. Adorno – Interpreters of Kafka Daglind E. Sonolet Index of Subjects Index of Names
£48.80
Brill Art and Material Culture in the Byzantine and Islamic Worlds: Studies in Honour of Erica Cruikshank Dodd
Book SynopsisDedicated to Erica Cruikshank Dodd, Art and Material Culture in the Byzantine and Islamic Worlds offers new perspectives on the Christian and Muslim communities of the east Mediterranean from medieval to contemporary times. The contributors examine how people from diverse religious backgrounds adapted to their changing political landscapes and show that artistic patronage, consumption, and practices are interwoven with constructed narratives. The essays consider material and textual evidence for painted media, architecture, and the creative process in Byzantium, Crusader-era polities, the Ottoman empire, and the modern Middle East, thus demonstrating the importance of the past in understanding the present. Contributors: Evanthia Baboula, Lesley Jessop, Anthony Cutler, Jaroslav Folda, John Osborne, Glenn Peers, Annemarie Weyl Carr, Mat Immerzeel, Bas Snelders, Angela Andersen, May Farhat, Marcus Milwright, Rico Franses.Table of ContentsErica Cruikshank Dodd Passion, Serendipity, Curiosity, and the Making of an Art Historian Lesley Jessop Bibliography of Erica Cruikshank Dodd Note on Transliteration and Dates List of Illustrations Contributors Introduction: Diversity and Identity in the Medieval Mediterranean and Beyond Evanthia Baboula and Lesley Jessop 1 The Anaphoric Icon Observations on Some Byzantine Metapictures Anthony Cutler 2 Two Icons of the Virgin and Child Hodegetria from St. Catherine’s Monastery on Mount Sinai Byzantine or Crusader? Jaroslav Folda 3 The Thirteenth-Century Expansion of the Narthex of San Marco, Venice A Space for Dead Doges? John Osborne 4 The Refectory of the Monastery of St. Mary in the Valley of Jehoshaphat, Jerusalem Crusader Painting at Crossroads Glenn Peers 5 Orthodox Monasteries under Lusignan Rule Relations with Others, Relations with Their Own Annemarie Weyl Carr 6 Church Embellishment in Medieval Egypt, Syria, and Cyprus Patronage and Identity Mat Immerzeel and Bas Snelders 7 The Tale of the Shared Church in Diyarbakir Narrative Traditions of the Co-Use of Places of Prayer by Muslims and Christians Angela Andersen 8 Beirut’s Great ʿUmari Mosque History, Memory and Post-War Reconstruction May Farhat 9 The Traditional Crafts of the Middle East and Central Asia in the Writings of European and North American Travellers Marcus Milwright 10 To Not Know God Geometrical Abstraction and Visual Theology in Islamic Art Rico Franses Index
£100.80
Brill The Real of Reality: The Realist Turn in Contemporary Film Theory
Book SynopsisThis book provides philosophical insight into the nature of reality by reflecting on its ontological qualities through the medium of film. The main question is whether we have access to reality through film that is not based on visual representation or narration: Is film—in spite of its immateriality—a way to directly grasp and reproduce reality? Why do we perceive film as “real” at all? What does it mean to define its own reproducibility as an ontological feature of reality? And what does film as a medium exactly show? The contributions in this book provide, from a cinematic perspective, diverse philosophical analyses to the understanding of the challenging concept of “the real of reality”.Table of ContentsAcknowledgements List of Illustrations Notes on Contributors Introduction Christine Reeh-Peters, Stefan W. Schmidt and Peter Weibel PART 1 The Rise of the Real 1 The Real in Film The Historical Real, the Optical Real, and the Material Real Hyun Kang Kim 2 The Being of Film Christine Reeh-Peters 3 What It Means to Imagine Imagination The Derrida–Searle Debate and the Poetic Ontology of Film Philip Freytag 4 Emerging Imaginations The Relation of Film and Reality from a Literary Perspective Karin Janker 5 Animated Visions of Reality The Real as Experimental Aesthetic in Anca Damian’s Animated Documentaries Zsolt Gyenge 6 Pasolini’s Pan-semiology or Reality as Code Peter Weibel PART 2 Experiencing the Real 7 The Cinematographic Experience Thinking Cinema through the Philosophy of E. Husserl Hanna Trindade 8 Reality Narrated through time Andrei Tarkovsky’s The Mirror Stefan W. Schmidt 9 Time and Film Maria-Teresa Teixeira 10 Mapping Film-World Relations to Reality A New Conceptual Cartography Atėnė Mendelytė 11 The Crisis of the Time-Image Montage in Postmodern Times Martin Stefanov 12 Think Future Cinema—with Photofilm as Its Basis Gusztáv Hámos PART 3 The Real Unsettling 13 The Bird’s Eye View—Ornithology and Ontology in Hitchcock’s The Birds Markus Gabriel 14 A Rough Sketch on the Real of Terrorism—Thoughts on Christopher Nolan’s Dark Knight Trilogy Ringo Rösener 15 Justifying a Philosophical Claim The Act of Killing and the Banality of Evil Thomas E. Wartenberg 16 Jauja and Meek’s Cutoff The Parallel American Ways of Rethinking Gilbert Simondon’s Role of Aesthetics in the Configuration of Humanity Román Domínguez Jiménez 17 Maya Deren’s Claim for the “Ritualistic” Film or Fusing the Sacred and the Profane for the Sake of the Real Patricia Feise-Mahnkopp
£137.60
Brill The Ground Zero of the Arts: Rules, Processes, Forms
Book SynopsisThis book proposes to investigate the arts from the inside, namely to consider, first and foremost, what artists do to create their works in order to proceed fruitfully in the direction of their evaluation and explanation. To this end, it develops a philosophical inquiry that examines the ground zero of the arts, their common foundations, namely the rules for artistic creation, the processes that involve artists in their activities, the forms that they can or cannot achieve. This proposal and its outline for a rule-based ontology of the arts addresses four themes: the relationship between human nature and artistic practices, the features of art-making, the conception of artworks as structures, and the social nature of the arts.Table of ContentsList of Illustrations Abstract Keywords Introduction: Investigating Art-Making as a Basis for Evaluation 1 Human Industriousness and the Evolution of the Arts 2 Making Art 3 Artistic Creations 4 Sharing the Arts Conclusion Acknowledgments References Index of Names and Works Thematic Index
£63.84
Brill The Social Lives of Chinese Objects
Book SynopsisThe Social Lives of Chinese Objects is the first anthology of texts to apply Arjun Appadurai’s well-known argument on the social life of things to the discussion of artefacts made in China. The essays in this book look at objects as “things-in-motion,” a status that brings attention to the history of transmissions ensuing after the time and conditions of their production. How does the identity of an object change as a consequence of geographical relocation and/ or temporal transference? How do the intentions of the individuals responsible for such transfers affect the later status and meaning of these objects? The materiality of the things analyzed in this book, and visualized by a rich array of illustrations, varies from bronze to lacquered wood, from clay to porcelain, and includes painting, imperial clothing, and war spoils. Metamorphoses of value, status, and function as well as the connections with the individuals who managed them, such as collectors, museum curators, worshipers, and soldiers are also considered as central to the discussion of their life. Presenting a broader and more contextual reading than that traditionally adopted by art-historical scholarship, the essays in this book take on a multidisciplinary approach that helps to expose crucial elements in the life of these Chinese things and brings to light the cumulative motives making them relevant and meaningful to our present time.Table of ContentsAcknowledgments List of Figures, Chart and Tables Notes on Contributors Introduction Alice Bianchi and Lyce Jankowski Part 1: Reconsidering Object Categories 1 The Afterlife of Mingqi: Relational Meaning in Underground Tombs Bonnie Cheng 2 From Ritual to Colonial Fantasies. Chinese Ritual Objects as Part of Western Collections of Asian Art in the First Half of the Twentieth Century Michaela Pejcochova 3 Contemporary Art and Colonial Collecting: Huang Yong Ping’s Reinstallation of J.J.M. de Groot’s Panthéon Chinois from the Lyon Musée des Confluences Francesca Dal Lago Part 2: Questioning the Narratives of Objects Biographies 4 Materiality as Objecthood in a Buddhist Clay Tablet: From Calligraphic Style to an Imaginary Encounter with Dunhuang Foong Ping 5 Chinese Zodiac: The Social Life of the Yuanming Yuan’s Circle of Animals Fountain Heads Ines Eben von Racknitz Part 3: Opening New Perspectives 6 Reevaluating Chinese Landscape Iconography: Painting and Poetry of Meditation during the Fifteenth and Sixteenth Centuries Cédric Laurent 7 A World Dotted with Kingfisher Blue: Feather Tributes and the Qing Court Wang Lianming 8 Portraits on China: Porcelain Portraits and Photoceramics from China in the Nineteenth and Twentieth Centuries Lee Wing Ki Bibliography Index
£117.60
Brill L'Infini Culturel: Théorie littéraire et fragilité du divers
Book SynopsisParler de l’infini est une entreprise impossible. Oui, mais nous savons qu’à l’impossible nul n’est tenu. Alors, allons-y, voyageons à travers les multiples cultures qui enrichissent notre planète ; tissons un lien théorique entre les littératures du monde ; abordons les conditions qui nous permettent de nous syntoniser les uns avec les autres. Talking about infinity is an impossible task. Yes, but we know that no one is bound to the impossible. So, let’s go and travel through the multiple cultures that enrich our planet; let’s weave a theoretical link between the literatures of the world; let's talk about the conditions that allow us to tune into each other.Table of ContentsRemerciements Liste de figures Notes 1 Infinies ouvertures 1 L’art du zoom selon monsieur et madame Eames 2 De la vie des araignées 3 Le street art ou comment faire le mur 4 Le timbre-poste et les circulations miniatures 5 Le mouvement éternel de ces espaces infinis 2 Apories focales 1 Illusions d’optique 2 Qui est je? 3 Le point de vue de l’araignée 4 Another Brick in the Wall 5 Culture et aporie 3 Bibliothèques alternatives 1 Imago Mundi 2 Le bréviaire des occasions perdues 3 Les sources de La Fontaine 4 La langue d’Esope 5 Le Singe de Wu Cheng’en 4 Asymétries planétaires 1 L’Unesco, le globe et la planète 2 Les indicateurs symboliques d’un oubli 3 L’oligopole à frange est-il un monstre marin ? La littérature de l’Afrique subsaharienne face au marché global 4 L’oligopole à frange et le cinéma: un remake 5 Grandeur et misère de la traduction 6 La mise à l’Index 5 Mécaniques universelles 1 La bataille des paradigmes 2 Born translated? 3 L’orchestique des mondes 4 La world literature à l’épreuve de l’infini culturel 5 Littérature-monde et déclosion 6 L’universalisme culturel ou la régionalisation du monde 6 Musées inachevés 1 Bild ou les musées inachevés 2 L’Atlas Mnémosyne, la topographie anecdotée du hasard et le musée du roman 3 L’infini et le je-ne-sais-quoi 4 Contiguïtés hétérotopiques 5 Que faire ? Qu’y faire ? Bibliographie Index
£47.20
Brill Cannibalizing the Canon: Dada Techniques in East-Central Europe
Book SynopsisThis rich, in-depth exploration of Dada’s roots in East-Central Europe is a vital addition to existing research on Dada and the avant-garde. Through deeply researched case studies and employing novel theoretical approaches, the volume rewrites the history of Dada as a story of cultural and political hybridity, border-crossings, transitions, and transgressions, across political, class and gender lines. Dismantling prevailing notions of Dada as a “Western” movement, the contributors to this volume present East-Central Europe as the locus of Dada activity and techniques. The articles explore how artists from the region pre-figured Dada as well as actively “cannibalized”, that is, reabsorbed and further hybridized, a range of avant-garde techniques, thus challenging “Western” cultural hegemony.Trade Review“Avant-Garde Critical Studies (AGCS) is not only since decades one of the leading academic platforms devoted to research in and reflection on the twentieth-century artistic avant-garde but also the oldest scholarly forum specifically devoted to artistic avant-gardism in the widest sense. […] The first eleven volumes [of AGCS] could for long only be found on bookshelves in libraries. These volumes have now been made available in digital form. They offer a monumental panorama of early avant-garde studies and may still serve today as major resource with fundamental contributions by eminent avant-garde scholars. […] The goal of the series, as set out in issue zero in 1987 by Fernand Drijkoningen, was – and still is today – to serve as a platform to transcend ‘traditional boundaries between disciplines and nationalities’ with ‘an “open” character’. In line with this ambition, the single volumes from the early years of the series all have a profound multifaceted character. Each volume combines essays on different artistic disciplines, be it literature, painting, sculpture, architecture, design, music, performance and film.” - Hubert van den Berg, Palacký University Olomouc, Czech RepublicTable of ContentsList of Illustrations Notes on Contributors Introduction: “Dada Is more than Dada” Oliver A. I. Botar, Irina Denischenko, Gábor Dobó and Merse Pál Szeredi Part 1:Topographies 1 An Exchange Point in a Network: Prague and Dada, 1918–1922 Jindrich Toman 2 Becoming Avant-Garde: Romanian Appropriations of Dada Techniques through East-Central European Networking Emanuel Modoc 3 Polish Responses to Dadaism: The Voices on Dada, Contacts and Interpretations Przemyslaw Strozek 4 The Dada Entr’acte of Dragan Aleksic Jasna Jovanov 5 Hungarian Dada: the Missing Link András Kappanyos Part 2: In/Exclusions 6 Céline Arnauld, the “Nomadic” Avant-Garde Writer: a Transnational Approach to Her Life and Work Iulia Dondorici 7 Two Mysterious “Mademoiselles”: Jeanne Rigaud and Maria Cantarelli A Multilingual Multi-Layered Dada Pun Unravelled? Hubert van den Berg 8 Dada as an Avant-Garde Movement and as Invective Károly Kókai 9 “Dada Is the Best Paying Concern of the Day”: Consumer Culture, Performativity, and the Avant-Garde in Romania Alexandra Chiriac Part 3: Performativities 10 Marcel Breuer and Dada Performance: Remade Readymade Self and Furniture Edit Tóth 11 Míra Holzbachová: Embodying the Avant-Garde Meghan Forbes 12 To Write with Dots or Not to Write at All? Dada Ideas in Polish Interwar Literature Michalina Kmiecik 13 Green Donkey Theatre: a Case Study on Theatrical Innovations in the Name of Dadaism Sára Bagdi and Judit Galácz Part 4: Trans(pos)itions 14 The Genesis of Dada: Futurist Influences in Germany, Romania and at the Cabaret Voltaire Günter Berghaus 15 Revolt and Authority: From Kassák to Erdély Dada in the Hungarian Avant-Garde and Neo-Avant-Garde Éva Forgács 16 Dadá, not Dáda: Moholy-Nagy in Berlin, 1920–1921 Oliver A. I. Botar 17 Words, Sounds, Images, Theories: the Authors of the Magazine IS in the Context of Dadaism Imre József Balázs 18 Self-Positioning in the International Avant-Garde: Kassák’s Strategic Use of Dada and Constructivism in the Book of New Artists Krisztina Zsófia Csaba Part 5: Hybridentities 19 Raoul Hausmann and the Welteislehre: Science and Identity Arndt Niebisch 20 Dada Lingua Franca: The Linguistic Fate of Tristan Tzara and Raoul Hausmann Alexandru Bar and Michael White 21 Crossovers and Transgressions: Dada as a Life Strategy in Emil Szittya’s Works Magdolna Gucsa 22 Android, Cyborg, Dandy and Woman Representations of the Body in the Decadent and Dada Imaginations: The Hungarian and International Contexts Györgyi Földes 23 The New Man, According to Sándor Bortnyik Merse Pál Szeredi Index
£133.76
Brill The Aesthetics of Taste: Eating within the Realm of Art
Book SynopsisWhen does eating become art? The Aesthetics of Taste answers this question by exploring the position of taste in contemporary culture and the manner in which taste meanders its way into the realm of art. The argument identifies aesthetic values not only in artistic practices, where they are naturally expected, but also in the spaces of everydayness that seem far removed from the domain of fine arts. As such, it seeks to grasp what artists – who offer aesthetic as well as culinary experiences – actually try to communicate, while also pondering whether a cook can be an artist.Table of ContentsList of Figures Introduction 1 The Antinomies of Taste 1 The Judgments of Taste: David Hume 2 Beauty: between the Subjective and the Universally Accepted 3 Eat/Know: Kant and Brillat-Savarin 4 Aesthetic Taste and Physiological Taste 5 The Nature of Physiological Taste 6 Eating as a Social Activity 7 Appetite, Reason, and Health 8 Sociability 2 Taste and Its Value: Cultural Hierarchies 1 Foods and Cooking Techniques 2 Popular and Erudite Cuisines 3 The Senses 4 The Senses and Gender 5 Towards Integration 6 Art and Life 3 Culinary Experience: a Pragmatist Perspective 1 Teaching by Cooking 2 The Rhythms of Life and Art 3 The Experience of Art 4 Educating Taste 5 An Experience 6 A Culinary Experience 7 Characteristics of Experience 8 Food as Art 4 Somaesthetics and the Art of Eating 1 Ambitions and Temptations 2 Somaesthetics as an Art of Living 3 The Art of Eating 4 Body Memory 5 The Kitchen: a World Next Door 1 The Female Cook 2 Martha Rosler: the Kitchen as the Prison of the Soul 3 Elżbieta Jabłońska: the Impossible Kitchen 4 Mierle Laderman Ukeles: the Art of Everyday Maintenance 5 Marina Abramović: the Holy Cook 6 The Women’s Place 7 The Laboratory 8 From Oppression to Terror: the Gastronomical Mother 9 Coda 6 Community around the Table 1 Conversations at the Table 2 Taste and Difference 3 Community in the Making 4 Impossible Community 5 Designing Community 6 Bridging the Gaps 7 The Taste of Authenticity 1 Out of the Comfort Zone 2 Food Tourism 3 Authenticity as a Commodity 4 Immersion 5 Returning Home 6 Appropriation 7 Avoiding Authenticity 8 Leftovers 1 Débris of the Meal 2 Tensions 3 Zoe en Stasei 4 Commentary on Life 5 The Restaurant 6 Consummation 9 Conclusion 1 The Diffusion of Beauty 2 The New Sensorium Bibliography Index
£43.20
Brill Somaesthetics and Design Culture
Book SynopsisDesign permeates every dimension of our lifeworld, from the products we consume and the built environments in which we live to the adorned and stylized beings that we are and the natural preserves where we seek relief from the stressful bustle of urban life. Design is where contrasting values of functionality and aesthetic pleasure converge. At the core of design is the human soma, an active, perceptive subjectivity that creates and evaluates design but is also its cultivated product. This collection of ten essays explores the somaesthetics of design in multiple fields: from ritual, craft, and healthcare to architecture, urbanism, and the new media of extended realities.Table of ContentsAcknowledgments List of Figures Notes on Contributors Introduction: Somaesthetics and Design Culture Richard Shusterman and Bálint Veres Part 1 Studies on Limitations 1 A World Is Born: Craftsmanship, Mediality, and the Somatic Implications of Plato’s Timaeus Bálint Veres 2 From Making to Lighting a Candle: On Functions, Meanings, and Bodies in Ritual Design Mădălina Diaconu 3 Can That Be Taught? Lessons in Embodied Knowledge from Memoir Writing for Craft and Design Education Jessica Hemmings 4 Soma and Symbol: The Bridging Function of Style in Design History and Culture Steven Leuthold Part 2 Bodies, Senses, and Power 5 Sensing Kalasatama: Design Culture and Neoliberal Bodyhood Guy Julier 6 Bodies Under the Weather: Selective Permeability, Political Affordances, and Architectural Hostility Matthew Crippen with Illustrations by Mareike Joleen Timm 7 Across the Threshold: A Somaesthetic Approach to the Design of Extended Realities Tom McGuirk and Alan Summers Part 3 Transformative Experiences 8 Bespoke Healthcare Design Dina Shahar and Jonathan Ventura 9 Sensory Activation in Design, Art, and Architecture – a Somaesthetic Perspective Else Marie Bukdahl 10 Designing for Somaesthetic Transformation Richard Shusterman and Dag Svanæs Index
£159.20
Brill Imago and Contemplatio in the Visual Arts and Literature (1400–1700): Festschrift for Walter S. Melion
Book SynopsisThis volume contains twenty-four essays, which, in their subjects and methodology, pay tribute to the scholarship of Walter S. Melion. The contributions are grouped under three categories: “Devotion,” “Art and Image Theory,” and “Vision and Contemplation.” The Devotion section addresses votive practices, theological theory and polemic literature. The Art and Image Theory section focuses on Jesuit image theory, the reflexive dimension of works, and artists’ reflections on the function of images. Finally, the Vision and Contemplation section discusses the ‘early modern eye’ as a tool for thoughtful, prolonged looking to ascertain visual wit, deception, self-assessment and friendship, sacred and profane allegories.Trade Review“Intersections is an eminently useful […] series that collects recent scholarly essays on topics of interest to nearly every subfield in early modern studies.” Anne Good, Reinhardt University. In: Itinerario, Vol. 35, No. 2 (August 2011), p. 106.Table of ContentsList of Figures Notes on the Editors Notes on the Contributors Introduction Stijn P.M. Bussels, Karl A.E. Enenkel, Michel Weemans, and Elliott D. Wise Part 1: Devotion 1 Expecting Efficacy John Decker 2 Deus ex machina – Remarks on Early-Netherlandish Art of Devotion Reindert L. Falkenburg 3 Mediating the Holy: A Living Saint and the Status of the Image in Pre-Modern Augsburg Ashley D. West 4 Panis Angelicus: The Christ Child among Angels in Early Sixteenth-Century Northern Art Larry Silver 5 Private Devotion within the Imperial Network Nicolas de Granvelle and Nicole Bonvalot as Followers of the Cult of The Seven Sorrows of the Virgin Dagmar Eichberger 6 The Stained Glass Windows of the Great Cloister of the Leuven Charterhouse: Between Memoria and Spiritual Edification? Ingrid Falque 7 Catechizing the Cross Lee Palmer Wandel 8 Temple Priests and Pharisees on Calvary: Anti-Judaism and Humanism in Maarten van Heemskerck’s Crucifixion (c.1549) Shelley Perlove 9 Rubens and the Virgin Mary Colette Nativel 10 ‘Vulnera Christi Medicina animarum’: The Pentalpha and the Five Wounds in Willem de Wael a Vronesteyn’s Corona sacratissimorum Iesu Christi vulnerum (1649) James Clifton 11 God’s Kiss to Humanity: Seeing the Incarnation through the Eyes of Francis de Sales Joseph F. Chorpenning Part 2: Art and Image Theory 12 Exemplum: Model Books, Memory, and Traces of Marian Devotion Circa 1400 C. Jean Campbell 13 Silver and Gold I Do Not Have: Lambert Suavius’s Saint Peter Healing the Paralytic Man (1553) and the Poor Beauty of Engraving Edward H. Wouk 14 All Cretans Lie: Pieter Bruegel’s ‘Misanthrope’ in a New Interpretation Jürgen Müller 15 Image and Honour: Nicholas Sander and the Council of Trent Wietse de Boer 16 Go from Fiction to the Truth!: Mennonitism and Humanism in Van Mander’s Theory of Painting Boudewijn Bakker 17 Homo in Imagine [Impressa] Ambulat, the Proof of the (Engraved) Image Ralph Dekoninck 18 The Problem of Ultraviolence in Modern Martyrology Narratives and Images, a Research Proposal Pierre-Antoine Fabre Part 3: Vision and Contemplation 19 Quinten Massys’s Deceptions in Plain Sight Bret L. Rothstein 20 Animal Fables of Contemplation Paul J. Smith 21 Self-reflection in a Troubled Age: Gillis Anselmo’s album amicorum and an Astrolabe Made by Michiel Coignet Christine Göttler 22 ‘As Did Bruegel’: David Vinckboons’ Agony in the Garden as Proleptic Sacred Landscape Art DiFuria 23 Notes on Galileo’s Moon Barbara Baert 24 Hermeneutics and Allegory in Desmarets de Saint-Sorlin’s Les Délices de l’esprit (1658): from Visual to Figural Exegesis Agnès Guiderdoni Bibliography Walter Melion Index Nominum
£142.88
Brill Art and Emancipation
Book SynopsisAcross a powerfully wide-ranging set of themes, theoretical registers and historical examples, John Roberts analyses the key problems that continue to confront art after conceptual art, in the light of art’s longstanding relationship to market and institution the commodity and mass culture: namely, artistic labour and technology, modernity and the ‘new’, art and negation, identity and subjectivity, agency and audience, form and value. In these terms, the book provides a rigorous and ambitious, examination of the limits and possibilities of art’s contribution to emancipatory discourse and practice.Trade Review“In this collection of brilliant, exciting, and often surprising essays on value, technique, and praxis, John Roberts proves that Marxist art criticism is alive and kicking in our contemporary moment. This writing is where I go when my spirits are down. For there is something uniquely invigorating and even joyful about its clarity, originality, and conceptual precision.” — Sianne Ngai, Andrew W. Mellon Professor of English, University of Chicago “A tour-de-force organised across challenging yet essential concepts for art history, philosophy, and emancipation as a trans-generational project: 'value', 'technique', 'praxis', 'image', 'history'. Nothing less was expected from one of Europe’s most incisive art theorists thinking through Marxism. From photography to unclassifiable artmaking to the alienation of capitalist modernity, the themes and threads of John Roberts’ essays help bring into focus an era of unreasonable hope: ours.” — Angela Dimitrakaki, University of Edinburgh “Through an exhilarating series of theoretical concatenations, Art and Emancipation restores the material conditions and formal categories of post-object art. In striking contrast to other accounts, however, Roberts proceeds not through the dubious rehabilitation of aesthetic experience but by grounding art in forms of labor and generalized social practices. There is no better work on art’s precarious but privileged status after the readymade.” — Devin Fore, Professor of German, Princeton University "Is another 'end of art' possible? John Roberts’ book Art and Emancipation points brilliantly towards art’s only horizon of emancipation through self-abolition. In capitalist modernity abolition, although immanent to art's technique, cannot be accomplished by art itself. The emancipation of art is, rather, inexorably entangled with the de-alienation of labour." — Angela Harutyunyan, Associate Professor of Modern Contemporary Art and Theory, American University of Beirut
£161.12
Brill Time, Narrative & the Fixed Image / Temps, narration & image fixe
Book SynopsisThis volume focuses on the relationship between time, narrative and the fixed image. As such, it highlights renewed interest in the temporality of the fixed image, probably one of the most important trends in the formal and semiotic analysis of visual media in the past decade. The various essays discuss paintings, the illustrated covers of books, comics or graphic novels, photo-stories, postcards, television and video art, as well as aesthetic practices that defy categorization such as Chris Marker’s masterpiece La Jetée. The range of works and practices examined is reflected in the different theoretical approaches and methods used, with an emphasis on semiology and narratology, and, to a lesser extent, aesthetics and psychoanalysis. The interest of this book, however, does not stem exclusively from the range and scope of the artefacts examined, or the methodological issues that are addressed; its fundamental importance rests in the contributors’ readiness to question the differentiation between fixed and moving images which all too often provides a convenient, if not altogether convincing, starting point for image analysis. . The originality and value of the contribution that Time, Narrative and the Fixed Image/Temps, Narration et image fixe makes to the body of theoretical writing on visual media lies in this challenging and comprehensive approach.Table of ContentsJan Baetens & Mireille Ribière: Foreword Jean-Marie Schaeffer: Narration visuelle et interprétation Karen Parna: Narrative, time and the fixed image Nicole Biagioli: Fantasme et narration dans la carte postale photographique Marc Lits: L'image comme couverture et ouverture Lut Pil: Clement Greenberg on narrative in painting Benoît Peeters: Le roman-photo : un impossible renouveau ? Thierry Groensteen: Le réseau et le lieu : pour une analyse des procédures de tressage iconique dans la bande dessinée Mireille Ribière: Maus. A Survivor's Tale by Art Spiegelman – a second-hand narrative in comic-book form François Jost: Énonciation narrative : image fixe et imageanimée Philippe Sohet: Fixations sur l'image Jan Baetens: Trois métalepses Charlie Mansfield: Identity and narration in Chris Marker's La Jetée Carole Baker: Circling Greyhounds Jan Baetens: Retour sur Muybridge : Lévriers faisant des tours de Carole Baker Bibliography/Bibliographie Illustrations
£82.37
Brill Sophistry and Twentieth-Century Art
Book SynopsisThis book deals with a rejection of the widespread fakeries that have emerged in twentieth-century art, which we call by their Platonic name, sophistry. The book also presents brief descriptions of some of the ideas of Martin Heidegger and Nicolas Berdyaev as to what constitutes a beautiful work of art, and how an authentic relation to the beauty in a work of art enhances human existence.Table of ContentsFOREWORD by Rina Shtelman INTRODUCTION ONE Heidegger on Truth and Art TWO The Longing for Truth and Beauty THREE Heidegger on Art, Truth, and Beauty FOUR Sophistry in Art and Indifference FIVE Berdyaev: Art and Personality SIX Berdyaev’s Personalism Versus Egocentricism in Art SEVEN Superficiality in Twentieth-Century Art EIGHT: Master, Slave, Free Person, and Art NINE Art as Interesting TEN Conclusion NOTES BIBLIOGRAPHY ABOUT THE AUTHORS INDEX
£40.59
Brill L’écriture hospitalière: L’espace de la croyance dans les Trois Contes de Flaubert
Book SynopsisL’Ecriture hospitalière porte sur la pratique intertextuelle des Trois Contes de Flaubert. C’est en particulier La Légende de saint Julien l’Hospitalier qui autorise cette investigation : plus qu’aucune autre œuvre de Flaubert en effet, ce conte obéit à une logique citationnelle. Le conte sacrifie l’originalité diégétique au profit de la transmission d’un récit traditionnel, imitant ainsi la posture du croyant vis-à-vis du message hagiographique qu’il contribue à mettre en circulation. Incorporer le texte référentiel (ou une parole sacrée), c’est s’abandonner à l’envahissement d’une puissance dévastatrice qui modifie profondément les contours de l’espace hospitalier. Le travail intertextuel s’inspire ici largement de l’accueil que réserve Julien au Christ à la fin du conte : l’invité est perçu comme un hôte monstrueux, étranger et terrifiant, qui force l’hospitalité plus qu’il ne la sollicite. Les Trois Contes sont donc porteurs de ce dieu mais accusent par là-même l’impuissance divine à se déployer sui generis. Les trois clausules des contes rappellent à leur manière la légende de saint Christophe qui, chez Flaubert, devient hôte, dans le sens le plus ambigu du terme : en acceptant la charge de l’enfant, Christophe fait naître un dieu qui lui réserve à son tour un espace céleste.Table of ContentsIntroduction I. L’Ecriture hospitalière II. Méduse en Machærous : Hérodias III. Une Croyance encore chargée de vaisselle : La Légende de saint Julien l’Hospitalier IV. Le Vestibule de la religion : Un Cœur simple V. Mesure du territoire En guise de conclusion Bibliographie Table des matières
£78.50
Brill Art and the Human Adventure: André Malraux’s Theory of Art
Book SynopsisAndré Malraux was a major figure in French intellectual life in the twentieth century. A key component of his thought is his theory of art which presents a series of fundamental challenges to traditional explanations of the nature and purpose of art developed by post-Enlightenment aesthetics. For Malraux, art – whether visual art, literature or music – is much more than a locus of beauty or a source of “aesthetic pleasure”; it is one of the ways humanity defends itself against its fundamental sense of meaninglessness – one of the ways the “human adventure” is affirmed. Here for the first time is a comprehensive, step by step exposition, supported by illustrations, of Malraux’s theory of art as presented in major works such as The Voices of Silence and The Metamorphosis of the Gods. Suitable for both newcomers to Malraux and more advanced students, the study also examines critical responses to these works by figures such as Maurice Merleau-Ponty, Maurice Blanchot, Pierre Bourdieu, and E. H. Gombrich, and compares Malraux’s thinking with aspects of contemporary Anglo-American aesthetics. The study reveals that an account of art which Gombrich once dismissed as “sophisticated double-talk” is in reality a thoroughly coherent and highly enlightening system of thought, with revolutionary implications for the way we think about art.Table of ContentsList of illustrations Acknowledgements English translations of titles of Malraux’s works Introduction The Years before 1934 The Human Adventure Art: A Rival World Art and Creation The Emergence and Transformation of “Art” Art and Time The First Universal World of Art The Anti-Arts Art, History, and the Human Adventure Conclusion Bibliography Index
£113.31
Brill Dada and Beyond, Volume 2: Dada and its Legacies
Book SynopsisInternational, iconoclastic, inventive, born out of the institutionalised madness of the First World War, Dada erupted in cities throughout Europe and the USA, creating shock waves that offended polite society and destabilised the cultural and political status quo. In spite of its sporadic and ephemeral character, its rich and diverse legacy is still powerfully felt nearly a century later. Following on from Dada and Beyond Volume 1: Dada Discourses, the sixteen essays in this collection provide critical examinations of Dada, placing particular emphasis on the ongoing impact of its creative output. The chapters examine its pivotal figures as well as its more peripheral protagonists, their different geographic locations, and the extraordinary diversity of their practices that included poetry, painting, printmaking, dance, performance, theatre, textiles, readymades, photomontage and cinema. As the book’s authors reveal, Dada not only anticipates Surrealism but also foreshadows an extraordinary array of more recent tendencies including action painting, conceptual art, outsider art, performance art, environmental and land art. In its privileging of chance and automatism, its rejection of formal artistic institutions, its subversive exploitation of mass media and its constant self-reconstitution and self-redefinition, Dada deserves to be seen as a cultural phenomenon that is still powerfully relevant in the twenty-first century.Table of ContentsList of Illustrations Elza Adamowicz and Eric Robertson: Preface Dada Performance Jill Fell: Zurich Dada Dance Performance and the Role of Sophie Taeuber Catherine Dufour: L’Acte Dada Kerstin Sommer: ‘Dada is Dead – Long Live Dada’: The Influence of Dadaism on Contemporary Performance Art Dada and Cinema Jennifer Wild: Francis Picabia, Stacia Napierkowska, and the Cinema: The Circuits of Perception Kim Knowles: Patterns of Duality – Between/Beyond Dada and Surrealism: Man Ray’s Emak Bakia (1926) Ramona Fotiade: Spectres of Dada: From Man Ray to Marker and Godard Dada Cultures Dafydd Jones: The Location of Dada Culture: Revising the Cultural Coordinates Nadia Ghanem: Le Cabaret Voltaire en perspective Patrick Suter: Dada et la fonction écologique de l’art (à partir de Fountain de Duchamp) Dada Legacies Nathalie Roelens: Dans le sillage de Dada: Dubuffet, Michaux, Alechinsky et autres ‘périphériques’ Paul Cooke: The Critical Reception of René Crevel: The 1920s and Beyond Andrea Oberhuber: Enfants naturels ou filles spirituelles? À propos de quelques réflexions sur l’esprit de filiation Dada dans les pratiques ‘autographiques’ des auteures-artistes surréalistes John Goodby: ‘The Rimbaud of Cwmdonkin Drive’: Dylan Thomas as Surrealist Beyond Dada Olivier Salazar-Ferrer: Tararira de Benjamin Fondane et l’héritage subversif du Dadaïsme Alfred Thomas: Dada and its Afterlife in Czechoslovakia: Jan Švankmajer’s The Flat and Vera Chytilová’s Daisies Stephen Forcer: The Importance of Talking Nonsense: Tzara, Ideology, and Dada in the 21st Century
£99.39
Brill Art and Identity: Essays on the Aesthetic Creation of Mind
Book SynopsisArt has the capacity to shape and alter our identities. It can influence who and what we are. Those who have had aesthetic experiences know this intimately, and yet the study of art’s impact on the mind struggles to be recognized as a centrally important field within the discipline of psychology. The main thesis of Art and Identity is that aesthetic experience represents a prototype for meaningful experience, warranting intense philosophical and psychological investigation. Currently psychology remains too closed-off from the rich reflection of philosophical aesthetics, while philosophy continues to be sceptical of the psychological reduction of art to its potential for subjective experience. At the same time, philosophical aesthetics cannot escape making certain assumptions about the psyche and benefits from entering into a dialogue with psychology. Art and Identity brings together philosophical and psychological perspectives on aesthetics in order to explore how art creates minds.Trade Review"Art and Identity is a book any scholar working the field of art or psychology should read. Those invested in the visual arts and the psychology of emotions and experience will find in it a wealth of sources and material. For those invested in literature, this book will prove resourceful as a stepping stone to further their research." - Aleksandar Kordis, in: The European Legacy, 21:5-6Table of ContentsTone Roald and Johannes Lang: Introduction Mark Johnson: Identity, Bodily Meaning, and Art Ciarán Benson: Acts not Tracts! Why a Complete Psychology of Art and Identity Must Be Neuro-cultural Gerald C. Cupchik: I Am, Therefore I Think, Act, and Express both in Life and in Art Simo Køppe: Sense, Modality, and Aesthetic Experience Judy Gammelgaard: Reading Proust: The Little Shock Effects of Art Kasper Levin: Becoming Worthy of What Happens to Us: Art and Subjectivity in the Philosophy of Gilles Deleuze Bjarne Sode Funch: Art and Personal Integrity Hans Ulrich Gumbrecht: Steady Admiration in an Expanding Present: On Our New Relationship to Classics List of Contributors Index Acknowledgements
£82.37
Brill Neue Sachlichkeit and Avant-Garde
Book SynopsisOne of the aims of the book is to shed more light on the notion Neue Sachlichkeit in its appearance in a variety of fields as painting, architecture, music, photography and literature, in order to get a clearer idea of its scope. Several contributions will do so by analysing the heterogeneity in the use of the term concerning its function in the fight for recognition in the art-fields around 1930 - in other words, Neue Sachlichkeit will be analysed as a positioning strategy. Especially its participation in the broader discourse on modernity, as well as its international and intermedial dimension will be highlighted, often using the historical avant-garde as point of reference. From this perspective, the present volume wants to be read as a plea for a differentiated description of the many shared aspects and some differences between the avant-garde and Neue Sachlichkeit.Table of ContentsRalf Grüttemeier, Klaus Beekman and Ben Rebel: Neue Sachlichkeit and Avant-Garde. An Introduction I. Neue Sachlichkeit and the Discourse on Modernity Gillis J. Dorleijn: Challenging the Autonomous Realm of Literature: Nieuwe Zakelijkheid and Poetry in the Dutch Literary Field Kees van Wijk: “Yesterday Art Today Reality”. The Discourse on Neue Sachlichkeit in i 10 Marieke Kuipers: Rietveld and Nieuwe Zakelijkheid in Architecture Mathijs Sanders: Nieuwe Zakelijkheid as Positioning Strategy: The Case of Albert Helman II. The International and Intermedial Dimension of Neue Sachlichkeit Ben Rebel: The Appearance and Disappearance of the Term Nieuwe Zakelijkheid in Dutch Modern Architecture Klaus Beekman: The Terms Nieuwe Zakelijkheid, Neue Sachlichkeit and Nieuw Realisme in Art Criticism of the Dutch paper De Groene Amsterdammer Nils Grosch: Neue Sachlichkeit, Mass Media and Matters of Musical Style in the 1920s Hans Anten: “A book such as ‘Automobile’ is only written once in a lifetime”. Ilja Ehrenburg’s The life of the automobile as benchmark in the discussion of New Objectivity in Dutch literature Ralf Grüttemeier: The Function of Ilja Ehrenburg Concerning the Dutch prose of the Nieuwe Zakelijkheid Steve Plumb: Continuity Through ‘Inner Emigration’: Neue Sachlichkeit, National Socialism, and Aspects of the Work of Otto Dix 1933-1935 III. Neue Sachlichkeit and Avant-Garde Sabine Kyora: Concepts of the Subject in the Avant-Garde Movements of the 1910s and Neue Sachlichkeit Jaap Goedegebuure: The Reception of Neue Sachlichkeit among Dutch Authors and Critics Lut Missinne: Objectivity and Emotion, the Challenge of the Nieuwe Zakelijkheid: Albert Kuyle As a Test Case Rainer Grübel: New Objectivity in the Work of the Russian-German Artist Nikolai Zagrekov/Nikolaus Sagrekow Willem G. Weststeijn: Aleksei Gan’s Constructivism and its aftermath
£132.66
Brill Decentring the Avant-Garde
Book SynopsisDecentring the Avant-Garde presents a collection of articles dealing with the topography of the avant-garde. The focus is on different responses to avant-garde aesthetics in regions traditionally depicted as cultural, geographical and linguistic peripheries. Avant-garde activities in the periphery have to date mostly been described in terms of a passive reception of new artistic trends and currents originating in cultural centres such as Paris or Berlin. Contesting this traditional view, Decentring the Avant-Garde highlights the importance of analysing the avant-garde in the periphery in terms of an active appropriation of avant-garde aesthetics within different cultural, ideological and historical settings. A broad collection of case studies discusses the activities of movements and artists in various regions in Europe and beyond. The result is a new topographical model of the international avant-garde and its cultural practices.Table of ContentsPer Bäckström / Benedikt Hjartarson: Rethinking the Topography of the International Avant-Garde. Introduction Rethinking the Dichotomy of Centre-Periphery Partha Mitter: Modern Global Art and Its Discontents Éva Forgács: Romantic Peripheries. The Dynamics of Enlightenment and Romanticism in East-Central Europe Daina Teters: Peculiarities in the Use of the Concepts Centre and Periphery in Avant-Garde Strategies Laura Winkiel: Postcolonial Avant-Gardes and the World System of Modernity / Coloniality Piotr Piotrowski: Avant-Garde Art in Post-Communist Central Europe Impact of the Periphery on the Centre Malte Hagener: Mushrooms, Ant Paths and Tactics. The Topography of the European Film Avant-Garde Thomas Hunkeler: Claiming Dada for the French Vojtěch Lahoda: Migration of Images. Private Collections of Modernism and Avant-Garde and the Search for Cubism in Eastern Europe Thomas Hackner: Worlds Apart? The Japan-Europe Historical Avant-Garde Relationship Central Role(s) of the Periphery Lisa Otty: “An Eccentric Homespun Avant-Gardist”. Hugh MacDiarmid, ‘Northern’ Radicalism, and the Scottish Renaissance Movement Hanna Horsberg Hansen: Sami Artist Group 1978–1983. Otherness or Avant-Garde? Benedikt Hjartarson: Anationalism and the Search for a Universal Language. Esperantism and the European Avant-Garde Konstantin Dudakov-Kashuro: Revising the Aporias of the Avant-Garde Contributors Index
£99.39
November Editions The Invention of Expressionism: Critical Writings 1910-1913
£11.68