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Erudite Eyes explores the network of the Antwerp cartographer Abraham Ortelius (1527-1598), a veritable trading zone of art and erudition. Populated by such luminaries as Pieter Bruegel, Joris Hoefnagel, Justus Lipsius and Benedictus Arias Montanus, among others, this vibrant antiquarian culture yielded new knowledge about local antiquities and distant civilizations, and offered a framework for articulating art and artistic practice. These fruitful exchanges, undertaken in a spirit of friendship and collaboration, are all the more astonishing when seen against the backdrop of the ongoing wars. Based on a close reading of early modern letters, alba amicorum, printed books, manuscripts and artworks, this book situates Netherlandish art and culture between Bruegel and Rubens in a European perspective.
Erudite Eyes explores the network of the Antwerp cartographer Abraham Ortelius (1527-1598), a veritable trading zone of art and erudition. Populated by such luminaries as Pieter Bruegel, Joris Hoefnagel, Justus Lipsius and Benedictus Arias Montanus, among others, this vibrant antiquarian culture yielded new knowledge about local antiquities and distant civilizations, and offered a framework for articulating art and artistic practice. These fruitful exchanges, undertaken in a spirit of friendship and collaboration, are all the more astonishing when seen against the backdrop of the ongoing wars. Based on a close reading of early modern letters, alba amicorum, printed books, manuscripts and artworks, this book situates Netherlandish art and culture between Bruegel and Rubens in a European perspective.
Our House is a cross-disciplinary collection of essays taking as its focus both the prospect and the possibility of ‘the house’. This latter term is taken in its broadest possible resonance, encompassing everything from the great houses so beloved of nineteenth-century English novelists to the caravans and mobile homes of the latterday travelling community, and all points in between. The essays are written by a combination of established and emerging scholars, working in a variety of scholarly disciplines, including literary criticism, sociology, cultural studies, history, popular music, and architecture. No specific school or theory predominates, although the work of two key figures – Gaston Bachelard and Martin Heidegger – is engaged throughout.
This collection engages with a number of key issues raised by the increasingly troubled relationship between the cultural (built) and natural environments in the contemporary world.
Our House is a cross-disciplinary collection of essays taking as its focus both the prospect and the possibility of ‘the house’. This latter term is taken in its broadest possible resonance, encompassing everything from the great houses so beloved of nineteenth-century English novelists to the caravans and mobile homes of the latterday travelling community, and all points in between. The essays are written by a combination of established and emerging scholars, working in a variety of scholarly disciplines, including literary criticism, sociology, cultural studies, history, popular music, and architecture. No specific school or theory predominates, although the work of two key figures – Gaston Bachelard and Martin Heidegger – is engaged throughout.
This collection engages with a number of key issues raised by the increasingly troubled relationship between the cultural (built) and natural environments in the contemporary world.
Botz-Bornstein’s study takes up Sesemann’s idea of experience as a dynamic, constantly self-reflective, ungraspable phenomenon that cannot be objectified. Through various studies, the author shows how Sesemann develops an outstanding idea of experience by reflecting it against empathy, Erkenntnistheorie (theory of knowledge), Formalism, Neo-Kantianism, Freudian psychoanalysis, and Bergson’s philosophy. Sesemann’s thought establishes a link between Formalist thoughts about dynamics and a concept of Being reminiscent of Heidegger.
The book contains also translations of two essays by Sesemann as well as of an essay by Karsavin.
Botz-Bornstein’s study takes up Sesemann’s idea of experience as a dynamic, constantly self-reflective, ungraspable phenomenon that cannot be objectified. Through various studies, the author shows how Sesemann develops an outstanding idea of experience by reflecting it against empathy, Erkenntnistheorie (theory of knowledge), Formalism, Neo-Kantianism, Freudian psychoanalysis, and Bergson’s philosophy. Sesemann’s thought establishes a link between Formalist thoughts about dynamics and a concept of Being reminiscent of Heidegger.
The book contains also translations of two essays by Sesemann as well as of an essay by Karsavin.
The letters give an engaging picture of mutual help within the community of scholars, Dutch, German, English, and French, including Huguenot exiles like Le Clerc and Bayle.
Ménage’s are full of information from Paris; while Wetstein’s, forthright and humorous, concentrate on publishing details in a sometimes stormy relationship. The great Diogenes edition encountered an extraordinary range of problems: difficulties at every stage of publication, hazardous wartime communications, and, not least, a bizarrely eccentric collaborator in Marcus Meibomius. The two correspondences provide a fascinating case-study of the practical working of international scholarly publishing in time of war, and the European network of learned correspondence in the later seventeenth century.
Each letter is printed in full, accompanied by a summary, detailed commentary, and extensive annotations.
The letters give an engaging picture of mutual help within the community of scholars, Dutch, German, English, and French, including Huguenot exiles like Le Clerc and Bayle.
Ménage’s are full of information from Paris; while Wetstein’s, forthright and humorous, concentrate on publishing details in a sometimes stormy relationship. The great Diogenes edition encountered an extraordinary range of problems: difficulties at every stage of publication, hazardous wartime communications, and, not least, a bizarrely eccentric collaborator in Marcus Meibomius. The two correspondences provide a fascinating case-study of the practical working of international scholarly publishing in time of war, and the European network of learned correspondence in the later seventeenth century.
Each letter is printed in full, accompanied by a summary, detailed commentary, and extensive annotations.
There is a strain of postmodern Canadian historical fiction in which myth actually forms a complement not only to postmodernism's suspicion of master-narratives but also to its privileging of those marginal and at times ignored areas of history. The fourteen works of Canadian fiction considered demonstrate a doubled impulse which at first glance seems contradictory. On the one hand, they go about demythologizing - in the Barthesian sense - various elements of historical discourse, exposing its authority as not simply a natural given but as a construct. This includes the fact that the view of history portrayed in the fiction has been either underrepresented or suppressed by official historiography. On the other hand, the history is then re-mythologized, in that it becomes part of a pre-existing myth, its mythic elements are foregrounded, myth and magic are woven into the narrative, or it is portrayed as extraordinary in some way. The result is an empowering of these histories for the future; they are made larger than life and unforgettable.
There is a strain of postmodern Canadian historical fiction in which myth actually forms a complement not only to postmodernism's suspicion of master-narratives but also to its privileging of those marginal and at times ignored areas of history. The fourteen works of Canadian fiction considered demonstrate a doubled impulse which at first glance seems contradictory. On the one hand, they go about demythologizing - in the Barthesian sense - various elements of historical discourse, exposing its authority as not simply a natural given but as a construct. This includes the fact that the view of history portrayed in the fiction has been either underrepresented or suppressed by official historiography. On the other hand, the history is then re-mythologized, in that it becomes part of a pre-existing myth, its mythic elements are foregrounded, myth and magic are woven into the narrative, or it is portrayed as extraordinary in some way. The result is an empowering of these histories for the future; they are made larger than life and unforgettable.
The object that cannot be accessed through a concept, a meaning or a sign, the thing-in-itself, is generally rejected by philosophy as being outside the realm of its concerns. This rejection is surveyed in a number of philosophical discussions, from Kant to Hilary Putnam. Turning to the psychoanalytic object, an object inexhaustible in terms of its external existence, or in terms of its conceptual status or meaning (the object is always suppressed, partly known, inaccessible), another notion of the object. The Real is suggested as what can neither be contained in language nor reduced to a linguistic referent. This solution does not lead away from philosophical interests but rather exposes this dilemma about the object of representation as fundamentally philosophical.
Cases of artistic realism discussed range from perspective painting to abstract art, from tragedies to the literary representation of minds.
The object that cannot be accessed through a concept, a meaning or a sign, the thing-in-itself, is generally rejected by philosophy as being outside the realm of its concerns. This rejection is surveyed in a number of philosophical discussions, from Kant to Hilary Putnam. Turning to the psychoanalytic object, an object inexhaustible in terms of its external existence, or in terms of its conceptual status or meaning (the object is always suppressed, partly known, inaccessible), another notion of the object. The Real is suggested as what can neither be contained in language nor reduced to a linguistic referent. This solution does not lead away from philosophical interests but rather exposes this dilemma about the object of representation as fundamentally philosophical.
Cases of artistic realism discussed range from perspective painting to abstract art, from tragedies to the literary representation of minds.