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Confronting Images: Questioning the Ends of a Certain History of Art

Pennsylvania State University Press (2005)

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  1. Architecture.Nele De Raedt - 2016 - Encyclopedia of Renaissance Philosophy.
    During the Renaissance in Europe, between roughly 1300 and 1650, a number of intellectual discourses and practices helped shape the discipline of architecture. This article is not about canonical buildings or the evolution of distinctive stylistic characteristics but rather six key topics within an overall threefold structure: heritage and rupture with the tradition, innovative and original aspects, and impact and legacy. The six topics are geometry as the scientific foundation of architecture; humanism, antiquarianism, and the recovery of ancient architecture; architectural (...)
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  • The Auto-Deconstructive Image: Of Vestigial Places.Alena Alexandrova - 2008 - Bijdragen 69 (3):321-336.
    Jean-Luc Nancy considers art to be of a great importance in his project of a deconstruction of Christianity. This article focuses on his analysis of the monotheist provenance of the notions of image and representation. According to Nancy, art and monotheism can be thought of as cooriginary. Art, or the image, gives monotheism invisibility as a negative and yet paradoxically sensible modality of the withdrawal of God. In turn, monotheism gives art the internal opening towards indefinite sense that results from (...)
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  • The Image: Historical, Conceptual, Aesthetic, Moral.Alison Ross - 2013 - Critical Horizons 14 (3):265-270.
    The concept of ‘the image’ can be given historical, conceptual, aesthetic and moral specifications. This essay sets out some of the scholarly issues in the dense semantic field of ‘the image’. In particular, the essay considers how the meaning of the image is often determined in relation to the opposition between sensible form and intelligible idea. Specific attention is given to Kantian aesthetics, which inaugurates a specific way of understanding the sensible form as a mode of processing moral ideas.
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  • Understanding Each Other: The Case of the Derrida-Searle Debate.Stanley Raffel - 2011 - Human Studies 34 (3):277-292.
    This paper revisits the Derrida-Searle debate, an exchange that, unfortunately, did not lead to much, if any, mutual understanding. I will suggest that this failure can be traced back to key features of their respective theories. In that Searle and Derrida use their own theories of speech as resources in trying to understand each other, their unsuccessful communication can be used to reveal a great deal about the limitations of both their theories. My paper tries to draw out these limitations (...)
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  • Merging philosophical traditions for a new way to research music: On the ekphrastic description of musical experience.Andrzej Krawiec - 2024 - British Journal of Aesthetics 64 (1):107-125.
    This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed (...)
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  • Cold Comfort: Empathy and Memory in an Archaic Funerary Monument from Akraiphia.Seth Estrin - 2016 - Classical Antiquity 35 (2):189-214.
    Focusing on a single funerary monument of the late archaic period, this paper shows how such a monument could be used by a bereaved individual to externalize and communalize the cognitive, perceptual, and emotional effects of loss. Through a close examination of the monument’s sculpted relief and inscribed epigram, I identify a structural framework underlying both that is built around a disjunction between perception and cognition embedded in the self-identified function of the monument as a mnema or memory-object. Through the (...)
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  • What Makes Things Banal.Lukáš Makky - 2020 - Espes. The Slovak Journal of Aesthetics 9 (2):94-104.
    In this paper, I investigate the origins of banality and the reasons why some phenomena appear banal to us. I discuss the issue by analysing three interrelated areas of aesthetic investigation: artworks, everyday objects, and banal things. By identifying the source of banality, my goal is to understand what makes banal things different from other kinds of things. I consider the following questions: 1) when, why, and how does an object become banal?; 2) what happens when something becomes banal?; 3) (...)
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