El abordaje especulativo de los problemas artísticos realizado por el philosophe Denis Diderot (1713-1784) a lo largo de su carrera, desde sus tempranos Pensamientos filosóficos (1746) hasta El sobrino de Rameau –obra póstuma que fascinó a Goethe– ha sido objeto de estudio de una bibliografía vastísima, algunas de cuyas tesis no dejan de sorprender al estudioso: no tanto por el carácter original o provocativo que presentan sino por el mucho más simple hecho de que, a menudo, suelen contradecirse entre sí.Esto (...) resulta evidente cuando se revisa el modo en que nuestro autor, en consonancia con las preocupaciones epocales, concibe y elabora la relación entre las artes particulares, específicamente, entre la pintura y la poesía. En efecto –y aquí está lo que nos ha llamado la atención en nuestra investigación– críticos e historiadores del arte y de la literatura que han abordado desde una perspectiva histórica y teórica las implicancias del tópico ut pictura poesis en la tradición estética occidental toman frente a Diderot. (shrink)

RESUMO O ensaio busca apresentar como as caracterizações da alegoria, em Winckelmann, ultrapassam a mera tentativa de se compreender um modo de figurar, nos moldes de uma iconologia, configurando uma espécie de metodologia geral para a compreensão da História da arte dos antigos e para a própria apreensão do ideal das artes. Tal possibilidade é dada num ambiente de debates artísticos que antecede a distinção canônico-romântica entre símbolo e alegoria. ABSTRACT This essay aims to show how the central characteristics that (...) Winckelmann gave to the allegory surpass the very range of the modes of figuration and became an original method to understand arts in History and in its ideal. This way of thinking took place in an age that the distinction between allegory and symbol was not canonic and it is very distant from the core of this opposition that became clear in romantic thought. (shrink)

En contra de Sartre, el paralelismo que Merleau-Ponty establece entre literatura y pintura en su escrito El lenguaje indirecto y las voces del silencio es una manifestación de su ontología indirecta. Este texto, que puede ser leído como una reconsideración de la frase horaciana ut pictura poesis ―la pintura es como la poesía―, pretende entonces poner en claro cómo es posible la relación interartística entre la literatura ―arte cuyo material es el lenguaje― y la pintura ―arte que se (...) sirve de formas y colores―. Para el filósofo francés la literatura y la pintura comparten el hecho de ser expresiones de una realidad pre-objetiva. Ahora bien, puesto que la obra de Merleau-Ponty es un intento incesante por incluir esa realidad, el arte, como expresión privilegiada de la misma, adquiere un papel fundamental en el pensamiento filosófico. (shrink)

A poesia, em seu sentido mais amplo, surge como ponto de partida para todos os conhecimentos acerca do homem e do mundo. Assim, o poeta não é apenas um artista que produz versos, mas o que busca uma intermediação entre o humano e o divino. Este artigo tem como proposta estudar a poesia e a arte de Michelangelo Buonarroti a partir do conceito de “Figura”, definido na obra de Auerbach, analisando o poético na obra do artista italiano a partir de (...) suas relações com o profético. Tanto na pintura dos afrescos da Capela Sistina, quanto na escrita de seus poemas, Michelangelo nos revela a luta do artista para atribuir à obra sentidos transcendentais, transformando a Arte em revelação divina, que exige uma interpretação dos seus leitores. Seguindo essa ideia, o gênio italiano passa a unir figuras pagãs e cristãs, como sibilas greco-romanas e profetas judaico-cristãos, para reler o passado, interpretar o presente e prenunciar o futuro.Palavras-chave: Poesia; Profético; Michelangelo; Auerbach.Poetry, in its broadest sense, emerges as a starting point for all knowledge about man and the world. The poet is not only an artist that writes verses, but one who seeks to intercede between the human and the divine. This article aims at studying the poetry and art of Michelangelo Buonarroti taking the concept of "Figure", as defined in the work of Auerbach, and analyzing the poetic work of the Italian artist and how it relates to prophetic themes. Both in the painting of the frescoes of the Sistine Chapel and in his poems, Michelangelo reveals the battle of the artist to assign a sense of transcendence, transforming Art in a divine revelation, which will require an interpretation of their readers. Grounded on this idea, the Italian genius blends Christian and pagan figures, such as Greco-Romans Sybils and Judeo-Christian prophets, to reread the past, interpret the present and foreshadow the future.Keywords: Poetry; Prophetic; Michelangelo; Auerbach.- DOI: 10.5752/P.2175-5841.2012v10n25p75. (shrink)

What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass (...) media. (shrink)

Dans cet article, on examine quelques aspects de la réception philosophique de la découverte par Kepler des « peintures » rétiniennes, en s’interrogeant sur le sens du dictum képlérien « ut pictura, ita visio ». En quel sens peut-on dire que la vision est semblable à la peinture physiologique formée au fond de l’œil? On montre qu’il existe sur cette question une tension interprétative assez rarement soulignée entre deux options théoriques : l’une fait de la peinture physiologique (rétinienne ou (...) cérébrale) l’objet proximal, interne, de la perception, inspectée par l’âme à même le corps du voyant ; l’autre considère que la vision, quoiqu’indexée sur la peinture, n’est jamais dirigée sur elle, la peinture n’étant que l’antécédent causal d’un acte de perception direct du monde extérieur. (shrink)

This may be an especially favorable moment in intellectual history to come to some understanding of notions like “abstraction” and “the abstract,” if only because these terms seem so clearly obsolete, even antiquated, at the present time. The obsolescence of abstraction is exemplified most vividly by its centrality in a period of cultural history that is widely perceived as being just behind us, the period of modernism, ranging roughly from the beginning of the twentieth century to the aftermath of the (...) Second World War.1art is now a familiar feature of our cultural landscape; it has become a monument to an era that is passing from living memory into history. The experiments of cubism and abstract expressionism are no longer “experimental” or shocking: abstraction has not been associated with the artistic avant-garde for at least a quarter of a century, and its central masterpieces are now firmly entrenched in the tradition of Western painting and safely canonized in our greatest museums. That does not mean that there will be no more abstract paintings, or that the tradition is dead; on the contrary, the obsolescence we are contemplating is in a very precise sense the precondition for abstraction’s survival as a tradition that resists any possible assault from an avant-garde. Indeed, the abstract probably has more institutional and cultural power as a rearguard tradition than it ever did as an avant-garde overturning of tradition. For that very reason its self-representations need to be questioned more closely than ever, especially its account of its own nature and history. This seems important, not just to set the record straight about what abstract art was, but to enable critical and artistic experimentation in the present, and a more nuanced account of both pre-and postmodern at, both of which are in danger of being swallowed up by the formulas of abstract formalism. If art and criticism are to continue to play an oppositional and interventionist role in our time, passive acceptance and reproduction of a powerful cultural tradition like abstract art will simply not do. 1. I define modernism and “the age of abstraction” here in familiar art historical terms, as a period extending from Kandinsky and Malevich to Jasper Johns and Morris Louis. There are other views of this matter which would trace modernism back to the emergence of an avant-garde in the 1840s , or to romanticism , or to the eighteenth century . My claim would be that “the abstract” as such only becomes a definitive slogan for modernism with the emergence of abstract painting around 1900. W. J. T. Mitchell, editor of Critical Inquiry, is professor of English and a member of the Committee on Art and Design at the University of Chicago. His most recent book is Iconology: Image, Text, Ideology. (shrink)

La doctrine picturale du classicisme instituait le parallèle de l’image et du verbe, elle adoptait pour maxime la formule extraite d’Horace « Ut pictura poesis » (« Il en est d’une poésie comme d’une peinture »). Gotthold Ephraïm Lessing réfute cette conception dans son Laocoon en opposant les propriétés du lisible à celles du visible, et en affirmant l’impossibilité d’établir une équivalence entre elles. Il met en crise la lisibilité de l’œuvre plastique en opérant une distinction fondamentale entre (...) l’image et le mot, avec pour conséquence de séparer nettement la finalité essentielle de la peinture et celle de la poésie. Lessing défend l’idée que les moyens de la peinture correspondent aux limites de la poésie, et que les moyens de la poésie correspondent aux limites de la peinture. Ce chiasme se résout dans le théâtre qui, unissant les pouvoirs du verbe et de l’image, surmonte les limites expressives de la poésie et de la peinture en conjuguant leurs pouvoirs respectifs. (shrink)

Leonardo Bruni’s De intepretatione recta has recently produced a growing body of literature which has improved our knowledge of the genesis, background and content of the work, as well as its pivotal role in the early history of translation and the humanist intellectual agenda. This article focuses on the conceptual metaphor which shapes Bruni’s understanding of the art of translation: the ‘Translation as Painting’ model. Drawing on a theoretical framework which stresses the cognitive value of metaphors, this article highlights the (...) structural function of the ut pictura metaphor in Bruni’s treatise, eliciting both its classical sources, its resonance in the early fifteenth century and its semantic-pragmatic force in characterising translation. Bruni’s novel conceptual template maps onto the larger cultural background of early humanist thought on interpretatio, imitatio and the visual arts. (shrink)

Die Paragonefrage, erstmals ausgiebig von Leonardo diskutiert, besitzt im gesamten Quattrocento eine rege Vorgeschichte, die bei allen frühen Impulsen durch Petrarca als die entscheidende Phase der Formierung der Debatte betrachtet werden muss. Spektakuläre Textfunde der Humanisten, Kunsttraktate, auch eigenhändig von Malern oder Bildhauern verfasst, die Blüte an Vielfachbegabungen, öffentlichen Künstlerwettbewerben und gattungsmäßigen Grenzüberschreitungen verliehen dem wertenden Vergleich der Künste im Italien des 15. Jahrhunderts sein ganz eigenes Gepräge. Erstmals steht dieses - mitsamt dem Fundus an eruierten Quellen - im Zentrum (...) einer grundlegenden Monographie. Leonardos argumentativer Eigenanteil gewinnt ebenso Konturen wie die Genese der Diskussion. Vorweg zweiseitig bemalte Bildnistafeln wie Leonardos Porträt der Ginevra de ́ Benci bieten mit Steinimitationen und Versen spannungsreiche "Übergriffe" in die Nachbargattungen. Für Piero della Francesca waren sie Programm, als er das vierteilige Landschaftspanorama im buchartigen Montefeltro-Diptychon zum Ariadnefaden einer poetischen Erzählung machte. (shrink)

Uma leitura da raízes históricas da relação entre pintura e retórica, no seio do discurso clássico, desde a marginalização da imagem na metafísica platônica até a dessublimação da idéia de belo – via influência aristotélica –, chegando ao Ut pictura poesis, de Horácio, tendo em vista a revisitação dos conceitos de história-arte e história-ciência à luz da arqueologia foucaultiana, por meio da comparação entre o quadro A Fábula de Aracne, de Diego de Velázquez, e o livro VI das (...) "Metamorfoses", de Ovídio. (shrink)

Für die Ästhetik des 18. Jahrhunderts bezeichnet G.E. Lessings Laokoon: oder über die Grenzen der Mahlerey und Poesie (1766) einen markanten Höhe- und Wendepunkt. In Dichtung und Wahrheit äußert sich Goethe rückblickend: "Man muß Jüngling sein, um sich zu vergegenwärtigen, welche Wirkung Lessings Laokoon auf uns ausübte, indem dieses Werk uns aus der Region eines kümmerlichen Anschauens in die freien Gefilde des Gedankens hinriß. Das so lange mißverstandene ut pictura poesis war auf einmal beseitigt, der Unterschied der bildenden (...) und Redekünste klar, die Gipfel beider erschienen nun getrennt, wie nah ihre Basen auch zusammenstoßen mochten." Der Band verfolgt das Anliegen, im interdisziplinären Dialog die produktive Offenheit dieser 'unordentlichen Collectanea' (Laokoon, Vorrede) als konstitutives Element der Lessing'schen Ästhetik neu herauszuarbeiten. Lessing will keine systematische Ästhetik vorlegen, sondern 'fermenta cognitionis', die in ihrer Summe jedoch nichts weniger als ein umfassendes Panorama der ästhetischen, kunst- und kulturhistorischen Problemlagen der Zeit bieten. (shrink)

Neste artigo esboçaremos alguns vínculos conceituais entre palavra e imagem, que se evidenciam em uma obra literária de Alfredo Taunay e na produção pictórica de Hipólito Caron. Evidenciamos tais ligações recuperando um antigo paralelo entre a pintura e a literatura, cuja origem remonta à doutrina ut pictura poesis de Horácio no século I, que coloca a poesia em relação à pintura. Em seguida, demonstramos que o paralelo das artes está implicado na criação das Academias de Belas Artes e (...) na valorização do desenho mediante a noção de desígnio no Renascimento. Por último, chegamos à discussão quanto à verossimilhança no romance e na pintura do século XIX, ligando-a diretamente às características do romance de Taunay e às pinturas de Caron.Palavras-chave: Pintura de Paisagem. Hipólito Caron. Narrativa. Alfredo Taunay. Paralelo das Artes. (shrink)

Gotthold Ephraim Lessing’s Laocoon saw that the signification of art cannot be dissociated from its media. A visual work of art and a literary work originates in different spatial and temporal conditions, Lessing argued, serving thereby to liberate art from the tradition of ut pictura poesis. Lessing’s impact has been discussed in the tradition of modernism through Babbitt, Eisenstein and Greenberg, and there been associated with the notion that the work of art is autonomous. In Lessing’s own text, (...) however, there is no clear conception of a work of art “an sich”. Instead, the work of art is characterized in an indirect manner, through the sense perception of the reader or viewer. Lessing’s Laocoon can be rethought from the perspective of affect. In his text, the human body has a central place, and Lessing’s investigation into the signification of the Laocoon can be formulated as the question: How does the embodied mind respond to the image of a human body? Departing from this concern, Lessing’s text does not only look at the object of aesthetics; it constructs an aesthetic subject, in which the embodied conditioning of sense perception and the question of affect is central. Making the statue of Laocoon a primary example in his study, Lessing inserts himself in a long tradition of the study of affects where Laocoon represents the most pain that a human can bear, whether that pain is corporeal or emotional. (shrink)

This book offers a comprehensive description of how writers, in particular poets in nineteenth-century France, became increasingly aware of the visual element in writing from the point of view both of content and of the formal organisation of the words in the text. This interest encouraged writers such as Baudelaire, Mallarme and Rimbaud to recreate in language some of the vivid, sensual impact of the graphic or painterly image. This was to be achieved by organising texts according to aesthetic criteria (...) so that as far as possible the form of the text as visually perceived would be closely interrelated to its content as reconstructed through the reading process. The result of this development was a radical redefinition of the scope and function of poetry, raising important general questions about the nature of the relationship between language and the visual image that are still very much of concern today. (shrink)

A review of Peter Steele’s Plenty, a book in which each poem is faced by a colour plate of the painting or object which sparked it off. Hollander’s ecphrasis and Krieger’s ekphrasis are held in – possibly unresolvable – dialectic by Steele’s poems. The only resolution which one can find is one of wit rather than of philosophy.

This comparative and interdisciplinary study focuses on a cluster of epoch-making themes that emerged in the late sixteenth century. Michelangelo and Giordano Bruno are taken as the founding fathers of the Baroque, and we see that beyond the Alps their lessons were echoed in Montaigne, Cervantes, and the Counter-Reformation culture of the Mediterranean basin. Maiorino shows that the common denominator that links the origins of the Baroque to its maturity is the concept of form as &"process,&" which is then articulated (...) into chapters on the formative unity of the arts, art forms at the threshold, and the development from humanist perfection to Baroque perfectibility. Such an evolution in literature and the arts is situated in relation to the age of explorations (Columbus), scientific inventions (the telescope), and the fundamental shift from the enclosed Ptolemic system to the open universe of the Copernican revolution. At the Baroque point of origin, the inner vitality of Michelangelo's emphasis on creation as &"process&" rather than completed act taught a crucial lesson to Baroque artists. Their response to the infinite and open universe of the &"New Science&" was one that took part to be as dynamic and metamorphic as life itself. It is in the context of &"open&" forms within an &"open&" universe that this study moves from Michelangelo to Bruno. His poetics of immeasurable abundance set &"process&" at the very core of the Baroque art, thought, and science. Applied to the forms of art, growth and metamorphosis are linked to what Maiorino calls (borrowing from Mikhail Bakhtin) the Baroque chronotope of formation, which refers to forms responding to the dynamics of space-time interactions. Such interactions were exhaustive and even tested the boundaries between reality and fiction, creation and denial, conformity and criticism from picaresque Spain to middle-class Holland. And it is the painting of a Dutch artist&—Rembrandt's Aristotle Contemplating the Bust of Homer&— that is taken as a symbol of the Baroque reconciliation of humanist learning with human or humane understanding. Such a humanizing attitude also marked the final transformation of humanist ideals of perfection into the Baroque experience of human perfectibility. This book will be of importance to all scholars concerned with the history of ideas, cultural history, and the Baroque in literature and art. (shrink)

This overview of the "sister arts" of the nineteenth century by younger scholars in art history, literature, and American studies presents a startling array of perspectives on the fundamental role played by images in culture and society. Drawing on the latest thinking about vision and visuality as well as on recent developments in literary theory and cultural studies, the contributors situate paintings, sculpture, monument art, and literary images within a variety of cultural contexts. The volume offers fresh and sometimes extended (...) discussions of single works as well as reevaluations of artistic and literary conventions and analyses of the economic, social, and technological forces that gave them shape and were influenced by them in turn. A wide range of figures are significantly reassessed, including the painters Charles Willson Peale, Washington Allston, Thomas Cole, George Caleb Bingham, Fitz Hugh Lane, and Mary Cassatt, and such writers as James Fenimore Cooper, Nathaniel Hawthorne, Henry David Thoreau, and William Dean Howells. One overarching theme to emerge is the development of an American national subjectivity as it interacted with the transformation of a culture dominated by religious values to one increasingly influenced by commercial imperatives. The essays probe the ways in which artists and writers responded to the changing conditions of the cultural milieu as it was mediated by such factors as class and gender, modes of perception and representation, and conflicting ideals and realities. (shrink)

In recent years, the United Nations has taken a lead in advocating public-private partnerships (PPPs), and various UN entities actively seek partnerships and alliances with transnational corporations and other companies. Although there has been a rapid growth of PPPs, relatively little is known about their contribution to basic UN goals associated with inclusive, equitable and sustainable development. In response to this situation, there are increasing calls for impact assessments. This article argues that such assessments need to recognize the range of (...) ideational, institutional, economic and political factors and forces underpinning the turn to PPPs, and the very different logics and agendas involved, some of which seem quite contradictory from the perspective of equitable development and democratic governance. The article examines these different forces and logics, focusing on (a) the institutional turn towards "good governance", (b) economic contexts that relate to the very mixed "fortunes" of UN agencies and corporations, (c) structural determinants associated with "corporate globalisation" and (d) political drivers that relate to the struggle for hegemony and legitimisation. The article ends by reflecting critically on the tendency within mainstream development institutions and some strands of academic literature to highlight logics associated with good governance and pragmatism, and to disregard those associated with the strengthening of corporate interests and the neoliberal policy regime. It is argued that knowledge networks associated with the UN need to go beyond "best practice learning" and embrace "critical thinking", which has waned within UN circles since the 1980s. (shrink)

Evidence for incubation effects in problem-solving is increasing, but the mechanisms that underlie incubation are unclear. An experiment tested two hypotheses about incubation: Spreading activation and opportunistic assimilation. Participants solved easy or difficult remote associates tasks without incubation period, or with an incubation period filled with high or low cognitive load tasks. A lexical decision task with cue and neutral words was given either before or after a second problem attempt. When solving difficult problems, the low-load incubation group benefitted more (...) from the presence of a cue than the high-load incubation group, and the opposite was found with easy problems. Neither incubation nor an initial problem attempt affected lexical decision times to cue words. The results favour opportunistic assimilation as an explanation of incubation effects. They also suggest a differential role for attentional allocation depending on problem difficulty, easy problems benefitting from focused attent.. (shrink)

This article presents an impact assessment framework that allows for the evaluation of positive and negative local-level impacts that have resulted from "responsible trade" interventions such as fair trade and ethical trade. The framework investigates impact relating to (1) livelihood impacts on primary stakeholders; (2) socio-economic impacts on communities; (3) organizational impacts; (4) environmental impacts; (5) policies and institutional impacts; and (6) future prospects. It identifies relevant local-level stakeholders and facilitates the analysis of conflicting interests. The framework was developed in (...) the context of, and is applied in this article to, the fair trade coffee industry in northern Nicaragua. It was designed, however, so that it can be applied across commodity sectors and responsible trade initiatives. It is able to do this by accommodating for differences in the social, environmental, political and institutional contexts of different areas, and by taking into account the distinct nature of an initiative's overall objectives, different levels of intervention, and the full range of stakeholders involved. (shrink)

Plagiarism in higher education has become widespread among students in Vietnam. This paper aims to examine the seriousness of the problem by comparing the severity of plagiarism in two universities, one of which uses Turnitin software to check its student reports. For that purpose, 977 samples have been drawn from 1434 required graduation reports written by senior undergraduates in the economics and management field from 2013 to 2015. Turnitin’s “Similarity Index” was used to check for alleged plagiarism, which was found (...) to be more widespread at the university not using Turnitin. At that university, 91.7% of the graduation reports were defined as plagiarized, while 61.7% of the reports were plagiarized at the university using the software. The main source of this problem was the use of information from the internet without citing the original authors. (shrink)