This essay examines Giambattista Vico’s philology as a contribution to democratic legitimacy. I outline three steps in Vico’s account of the historical and political development of philological knowledge. First, his merger of philosophy and philology, and the effects of that merge on the relative claims of reason and authority. Second, his use of antiquarian knowledge to supersede historicist accounts of change in time and to position the plebian social class as the true arbiters of language. Third, his understanding of philological (...) knowledge as an instrument of political change, and a foundational element in the establishment of democracy. By treating the philological imagination as a tool for bringing about political change, Vico’s plebian philology is radically democratic, and a crucial instrument in the struggle against the elite, from antiquity to the present. -/- . (shrink)

When does art history begin? Art historiographers typically point to the Renaissance (Vasari) or, alternatively, to Hellenism (Pliny the Elder). But such origin stories become increasingly disconnected from contemporary disciplinary practices, especially as the latter try to rise to the challenge of conducting art history in a more diversified and global way. This essay provides an alternative account of art history’s origin, one that does not try to alleviate the sense of disconnect, but rather develops a global, non-Eurocentric account. The (...) account focuses less on genealogy and more on what necessitates something like an art-historical awareness or attention in the first place. Relying on examples from ancient Mesopotamia, it argues that art-historical thought can be identified whenever and wherever material objects are attended to or produced for their potential to manifest visibly and over time their meaning. (shrink)