New edition of this key guide to art history, which takes a critical reading of the field's most innovative and influential texts over the past two centuries, including the most important new writing on the most recent work in a variety of new media.
New edition of this key guide to art history, which takes a critical reading of the field's most innovative and influential texts over the past two centuries, including the most important new writing on the most recent work in a variety of new media.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Author of a dozen books on art, architecture, museology, and critical and cultural theory, Donald Preziosi received his doctorate in art history from Harvard and has been a professor of art history at Yale, MIT, UCLA, and Oxford, where he was the Slade Professor of Fine Art in 2000-2001. He is a member of the History Faculty at Oxford University and Emeritus Professor of Art History and Critical Theory at UCLA. In 2005-2006 he was an Andrew Mellon Foundation Distinguished Emeritus Faculty Fellow and in 2007 a MacGeorge Fellow at the University of Melbourne, Australia. He is currently working on a study of the complex relations between art and religion in the Western tradition.
Inhaltsangabe
* Introduction to the New Edition * Art History: Making the Visible Legible * 1. Art as History * Introduction * Preface to Part III of 'The Lives' * Reflections on the Imitation of Greek Works in Painting and Sculpture * Winckelmann Divided: Mourning the Death of Art History * Patterns of Intention * 2. Aesthetics * Introduction * What is Enlightenment? * Philosophy of Fine Art * Impure Mimesis, or the Ends of the Aesthetic * Fetish * 3. Form, Content, and Style * Introduction * Principles of Art History * Style * 'Form', Nineteenth-Century Metaphysics, and the Problem of Art Historical Description * 'Style' * 4. Anthropology and/or Art History * Introduction * Leading Characteristics of the Late Roman 'Kunstwollen' * Images from the Region of the Pueblo Indians of North America * Warburg's Concept of 'Kunstwissenschaft' and its Meaning for Aesthetics * Silent Moves: On Excluding the Ethnographic Subject from the Discourse of Art History * 5. Mechanisms of Meaning * Introduction * Iconography and Iconology: An Introduction to the Study of Renaissance Art * Semiotics and Iconography * Semiotics and Art History: A Discussion of Contexts and Senders * Meaning/Interpretation * 6. The Limits of Interpretation * Introduction * The Temptation of New Perspectives * The Origin of the Work of Art * The Still Life as a Personal Object - a Note on Heidegger and van Gogh * Restitutions of the Truth in Pointing [Pointure] * 7. Authorship and Identity * Introduction * What is an Author? * The Discourse of Others: Feminists and Postmodernism * Re-Viewing Modernist Criticism * Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory * Postmodern Automatons * 'Every Man Knows How Beauty Gives Him Pleasure': Beauty Discourse and the Logic of Aesthetics * Queer Wallpaper * 8. Globalization and its Discontents * Introduction * Orientalism and the Exhibitionary Order * The Museum as Ritual * The Work of Art in the Age of its Technological Reproducibility (Third Version) * Can Our Values be Objective? On Ethics, Aesthetics, and Progessive Politics * Visual Culture Studies: Questions of History, Theory, and Practice * 'Life-Like': Historicizing Process in Digital Art * Epilogue: The Art of Art History * Coda: Plato's Dilemma and the Tasks of the Art Historian Today
* Introduction to the New Edition * Art History: Making the Visible Legible * 1. Art as History * Introduction * Preface to Part III of 'The Lives' * Reflections on the Imitation of Greek Works in Painting and Sculpture * Winckelmann Divided: Mourning the Death of Art History * Patterns of Intention * 2. Aesthetics * Introduction * What is Enlightenment? * Philosophy of Fine Art * Impure Mimesis, or the Ends of the Aesthetic * Fetish * 3. Form, Content, and Style * Introduction * Principles of Art History * Style * 'Form', Nineteenth-Century Metaphysics, and the Problem of Art Historical Description * 'Style' * 4. Anthropology and/or Art History * Introduction * Leading Characteristics of the Late Roman 'Kunstwollen' * Images from the Region of the Pueblo Indians of North America * Warburg's Concept of 'Kunstwissenschaft' and its Meaning for Aesthetics * Silent Moves: On Excluding the Ethnographic Subject from the Discourse of Art History * 5. Mechanisms of Meaning * Introduction * Iconography and Iconology: An Introduction to the Study of Renaissance Art * Semiotics and Iconography * Semiotics and Art History: A Discussion of Contexts and Senders * Meaning/Interpretation * 6. The Limits of Interpretation * Introduction * The Temptation of New Perspectives * The Origin of the Work of Art * The Still Life as a Personal Object - a Note on Heidegger and van Gogh * Restitutions of the Truth in Pointing [Pointure] * 7. Authorship and Identity * Introduction * What is an Author? * The Discourse of Others: Feminists and Postmodernism * Re-Viewing Modernist Criticism * Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory * Postmodern Automatons * 'Every Man Knows How Beauty Gives Him Pleasure': Beauty Discourse and the Logic of Aesthetics * Queer Wallpaper * 8. Globalization and its Discontents * Introduction * Orientalism and the Exhibitionary Order * The Museum as Ritual * The Work of Art in the Age of its Technological Reproducibility (Third Version) * Can Our Values be Objective? On Ethics, Aesthetics, and Progessive Politics * Visual Culture Studies: Questions of History, Theory, and Practice * 'Life-Like': Historicizing Process in Digital Art * Epilogue: The Art of Art History * Coda: Plato's Dilemma and the Tasks of the Art Historian Today
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