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An overview of the art historical antecedents to virtual reality and the impact of virtual reality on contemporary conceptions of art.
A total of eleven essays written mostly by the middle and young generations of authors will deal with those aspects of the art of Peter Brandl that have either not been trated in their totality. As the first comprehensive publication on this artist from the death of J. Neumann, this volume will reflect the results of that scholar's research, with the use of the recently discovered artworks and archival material.
The iconography of the four continents dates back to 16th and early 17th centuries, at a time when Europe's vision of the world was changed dramatically by discovery and conquest of the New World. Its peak of dissemination was reached in the 18th century. The late Baroque claims a special role for two reasons: The first is the large number of reproductions and applications during this period, the second is the multifaceted significance these allegories enjoyed. They could be inserted into religious and liturgical settings as well as into political language or that of the history of civilization and mankind. "Language" in this sense means that the continent allegories were less the object of an art historical interpretation than being considered a formative part of religious, liturgical, political, historical and other discourses. As pictorial language they were interwoven with text, dogmas, narratives and stereotypes. Thus the authors of this volume inquire what the allegories of the four continents actually meant to people living in the Baroque age. Die Ikonografie der vier Erdteile geht auf das 16. und 17. Jahrhundert zuruck. Ihre Entstehung verdankt sich der Entdeckung Amerikas und den damit einhergehenden Veranderungen in Europas Bild von der Welt. Rasch fand die Ikonografie Verbreitung und erreichte mit der Eroberung der Dorfkirche im 18. Jahrhundert eine bis heute einzigartige Dichte in Zentraleuropa. Ihre Verwendung reichte von religiosen und liturgischen Kontexten uber die politische Bildsprache bis hin zu zivilisationsgeschichtlichen Narrationen. Die Erdteilallegorien "sprechen" als formative Teile religioser, liturgischer, politischer, historischer und anderer Diskurse. Als Bildsprache wurden sie mit Texten, Dogmen, Erzahlungen und Stereotypen verknupft. Die Beitrage dieses Bandes gehen aus unterschiedlichen historisch-kulturwissenschaftlichen Perspektiven der Frage nach, welche Bedeutung die Erdteilallegorien fur die Menschen des 18. Jahrhunderts hatten.
What is the history of knowledge? This engaging and accessible introduction explains what is distinctive about the new field of the history of knowledge (or, as some scholars say, ‘knowledges in the plural’) and how it differs from the history of science, intellectual history, the sociology of knowledge or from cultural history. Leading cultural historian, Peter Burke, draws upon examples of this new kind of history from different periods and from the history of India, East Asia and the Islamic world as well as from Europe and the Americas. He discusses some of the main concepts used by scholars working in the field, among them ‘order of knowledge’, ‘situated knowledge’ and ‘knowledge society’. This book tells the story of the transformation of relatively raw ‘information’ into knowledge via processes of classification, verification and so on, the dissemination of this knowledge and finally its employment for different purposes, by governments, corporations or private individuals. A concluding chapter identifies central problems in the history of knowledge, from triumphalism to relativism, together with attempts to solve them. The only book of its kind yet to be published, What is the History of Knowledge? will be essential reading for all students of history and the humanities in general, as well as the interested general reader.
"In this authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original and accessible account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. The book shows that the pioneering chroniclers of the Italian Renaissance--Lorenzo Ghiberti and Giorgio Vasari--measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however--Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich--struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history."--from book jacket
What is European in the history of Europe? In order to answer this question, Wolfgang Schmale uses two approaches. Firstly, he develops the concept of a performative speech act into what he defines as a "collective historical speech act". Secondly, he looks at European history from a gender point of view. Europe was generally thought to be male - considering the former Republic of Letters' definition of Europe as a male civilization. However, the 18th-century's performative speech act presently loses its binding force as European civilization develops from 'male' to diversity and plurality, yet right wing parties try to defend and to repeat the historical performative speech act by ignoring the fundamental switch in European civilization. This will only produce violent conflicts. This book considers developments and consequences in a post-performative epoch.