22 found
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  1. History and Her Siblings.Stephen Bann - 1988 - History of the Human Sciences 1 (1):5-21.
  2. Review : Michael Ann Holly, Past Looking: Historical Imagination and the Rhetoric of the Image. Ithaca, NY: Cornell University Press, 1996. X + 214 Pp. [REVIEW]Stephen Bann - 1998 - History of the Human Sciences 11 (1):147-149.
  3. Reviews : Denise Le Dantec and Jean-Pierre Le Dantec, Reading the French Garden: Story and History, Cambridge, Mass.: MIT Press, 1990, $24.95, 288 Pp. Paul Rabinow, French Modern: Norms and Forms of the Social Environment, Cambridge, Mass.: MIT Press, 1989, $35.00, X +447 Pp. [REVIEW]Stephen Bann - 1991 - History of the Human Sciences 4 (2):299-301.
  4. Art History in Perspective.Stephen Bann - 1989 - History of the Human Sciences 2 (1):1-18.
  5.  95
    Reviews : Louis Marin, Portrait of the King, Trans. Martha M. Houle, Foreword by Tom Conley, London: Macmillan, 1988, £29.50, 290 Pp. Wendy Steiner, Pictures of Romance: Form Against Context in Painting and Literature, London: University of Chicago Press, 1988, £22.50, 218 Pp. [REVIEW]Stephen Bann - 1990 - History of the Human Sciences 3 (2):301-305.
  6.  8
    The Clothing of Clio. A Study of the Representation of History in Nineteenth-Century Britain and France.Linda Orr & Stephen Bann - 1985 - History and Theory 24 (3):307.
  7.  15
    Towards a Critical Historiography: Recent Work in Philosophy of History.Stephen Bann - 1981 - Philosophy 56 (217):365 - 385.
    A British historian might be excused for looking slightly askance at any collection of recent books relating to the philosophy of history. This is because we have been told, several times over and by distinguished members of the profession, that such speculative and analytic activity has little, if anything, to do with the actual business of historiography. One of the most forthright warnings was delivered on the very first page of Professor G. R. Elton's The Practice of History (1967), when (...)
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  8.  44
    Two Kinds of Historicism: Resurrection and Restoration in French Historical Painting.Stephen Bann - 2010 - Journal of the Philosophy of History 4 (2):154-171.
    The historicist approach is rarely challenged by art historians, who draw a clear distinction between art history and the present-centred pursuit of art criticism. The notion of the 'period eye' offers a relevant methodology. Bearing this in mind, I examine the nineteenth-century phase in the development of history painting, when artists started to take trouble over the accuracy of historical detail, instead of repeating conventions for portraying classical and biblical subjects. This created an unprecedented situation at the Paris Salon, where (...)
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  9.  15
    Panofsky and the Foundations of Art History.Stephen Bann & Michael Ann Holly - 1986 - History and Theory 25 (2):199.
  10.  22
    Arcadia as Utopia in Contemporary Landscape Design: The Work of Bernard Lassus.Stephen Bann - 2003 - History of the Human Sciences 16 (1):109-121.
    This article considers the concept of the utopia from the point of view of garden design. It begins with an evocation of the `Jardin de Julie', the literary garden described in Rousseau and acutely analysed by Louis Marin. It then passes to a series of actual gardens created by the French contemporary designer Bernard Lassus, in which the use of landscape effects is seen as achieving similar dislocations of space and incitements to the imagination.
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  11.  17
    “When I Was a Photographer”: Nadar and History.Stephen Bann - 2009 - History and Theory 48 (4):95-111.
    This paper takes as its point of departure Roland Barthes’s proposition in La Chambre claire that the nineteenth century “invented History and Photography,” that the era of photography is one of revolutions, and that the photograph’s “testimony” has diminished our capacity to think in terms of “duration.” Barthes also asserts that the French photographer Nadar is “the greatest photographer in the world,” but takes no account of Nadar’s acute receptivity to the history of the nineteenth century. The paper argues that, (...)
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  12.  7
    The Empire Unpossess'd: An Essay on Gibbon's Decline and Fall.Stephen Bann & Lionel Gossman - 1983 - History and Theory 22 (2):199.
  13.  11
    The Odd Man Out: Historical Narrative and the Cinematic Image.Stephen Bann - 1987 - History and Theory 26 (4):47-67.
    Goya's and Manet's painted images, and Jean Renoir's cinematic image of historical executions have the power under the ideology of the image to reveal the truth of a moment outside of historical narrative. At the same time, these images are pulled back into the narrative from which they have been removed. The works of these three artists can be used to trace changes in the relationship of the image to historical narrative and its connection to photography and cinema. Goya, working (...)
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  14.  7
    Interpreting Contemporary Art.Stephen Bann & William Allen - 1992 - Journal of Aesthetics and Art Criticism 50 (3):265-267.
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  15.  6
    A new orientalism?Stephen Bann - 2010 - History and Theory 49 (1):130-138.
    Jean-Louis Schefer's study takes as its point of departure Uccello's predella, Profanation of the Host. The painting in question has generally been interpreted within the context of medieval anti-Semitism. However, Schefer argues that the meaning of the work, and of numerous other representations of this particular miracle, must be referred ultimately to the codification by Charlemagne of the dogma of the Real Presence. Uccello's painting in effect makes manifest the requirement that the profaned host should reveal its nature through the (...)
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  16.  10
    Cinema and the Rescue of Historicity.Stephen Bann - 2002 - History and Theory 41 (4):124–133.
  17.  1
    Romanticism and the Rise of History.Susan Dunn & Stephen Bann - 1996 - History and Theory 35 (3):384.
  18.  3
    Mourning, Identity, and the Uses of History.Stephen Bann - 1998 - History and Theory 37 (1):94–101.
  19. Der Reproduktionsstich als Übersetzung.Stephen Bann - 2002 - In Vorträge Aus Dem Warburg-Haus, Band 6. Akademie Verlag. pp. 41-76.
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  20. Experimental Painting: Construction, Abstraction, Destruction, Reduction.Stephen Bann - 1970 - London: Studio Vista.
     
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  21. Vorträge Aus Dem Warburg-Haus, Band 6.Stephen Bann - 2002 - Akademie Verlag.
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  22. Contributions and Correspondence Should Be Sent to the Editorial Assistant at University of Durham Centre for the History of the Human Sciences.Robin Williams, Roger Smith, Donna Harris, Hans Aarsleff, Svetlana Alpers, Stephen Bann, Gillian Beer, Seyla Benhabib, Roy Boyne & William Connolly - 1990 - History of the Human Sciences 3 (2):158.
     
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