West of Eden: A History of Art and Literature of Yosemite

1986 ◽  
Vol 10 (1) ◽  
pp. 61
Author(s):  
Michael P. Cohen ◽  
David Robertson
Keyword(s):  
Art And Literature ◽  
History Of Art ◽  
History Of

scholarly journals Ben Jonson and the Classical School

PMLA ◽  
1898 ◽  
Vol 13 (2) ◽  
pp. 221-249
Author(s):  
Felix E. Schelling
Keyword(s):  
Ben Jonson ◽  
Classical Literature ◽  
Fixed Element ◽  
Art And Literature ◽  
Classical Element ◽  
History Of Art ◽  
History Of ◽  
Of Greece

“The words, classical and romantic, although, like many-other critical expressions, sometimes abused by those who have understood them vaguely or too absolutely, yet define two real tendencies in the history of art and literature. The ‘classic’ comes to us out of the cool and quiet of other times, as the measure of what a long experience has shown will at least never displease us. And in the classical literature of Greece and Rome, as in the classics of the last century, the essentially classical element is that quality of order in beauty, which they possess, indeed, to a pre-eminent degree. It is the addition of strangeness to beauty, that constitutes the romantic character in art; and the desire of beauty being a fixed element in every artistic organisation, it is the addition of curiosity to this desire of beauty that constitutes the romantic temper.”

scholarly journals Sted, landskab, rum

2018 ◽  
pp. 67-80
Author(s):  
Dan Ringgaard
Keyword(s):  
Sense Of Place ◽  
Point Of View ◽  
Prose Poems ◽  
Place And Space ◽  
Place Theory ◽  
Art And Literature ◽  
History Of Art ◽  
History Of ◽  
Modern Era

The article discusses matters concerning place by way of three prose poems byDanish writer Louis Jensen. The readings understand place by way of the neighbouring concepts of landscape and space. They set out from a phenomenological understanding of place, presenting basic insights of this approach (especially using the works of Edward S. Casey) and proceeds by way of the challenges given by the prose poems to a critique of phenomenological place theory. The critique points out that it tends to marginalize historic and semiotic aspects of place and questions its insistence on continuity between experience and knowledge. Instead the article suggests that a global sense of place involves discontinuity between place and space, and further more it is argued that the idea in Casey that place has been overruled by space in the modern era, might by correct from the point of view of philosophy, but it is not in accordance with the history of art and literature.

The History of Art

1876 ◽  
Vol 2 (46supp) ◽  
pp. 733-734
Keyword(s):  
History Of Art ◽  
History Of

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

Technology «culture of dialogue» in education specialists in history of art

2017 ◽  
Vol 4 ◽  
pp. 179-183
Author(s):  
Anna Yur’evna Demshina ◽  
Keyword(s):  
History Of Art ◽  
History Of

Marxism and the History of Art

2015 ◽  
Keyword(s):  
History Of Art ◽  
History Of

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

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