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Essays on Pockets, Pouches and Secret Drawers
Volume Editors: , , and
This essay collection focuses on enclosure, deception and secrecy in three spatial areas – the body, clothing and furniture. It contributes to the study of private life and explores the micro-history of hidden spaces. The contents of pockets may prove a surer index to their owner’s real thoughts than anything they say; a piece of furniture with ingenious mechanisms created to conceal secrets may also reveal someone’s attempts to break in and thus give away as much as it holds. Though the book’s focus is on particular material or imagined objects, taken as a whole it exemplifies a range of interdisciplinary encounters between history, literary criticism, art history, philosophy, psychoanalysis, sociology, criminology, archival studies, museology and curating, and women’s studies.
The Myth of Hercules and Omphale in the Visual Arts, 1500–1800
The book examines the myth of Hercules and Omphale/Iole which became an important topic in the visual arts, 1500–1800. It offers an analysis of the iconography from the perspective of the history of emotions, classical and Neo-Latin philology, reception and gender studies. The early modern inventions of the myth excel in a skilful display of mixed and compound emotions, such as the male character's psychopathology, and of the theatrical performance of emotions by the female character.
Writings on Aesthetics and Visual Culture from the Avantgarde to Postsocialism
This volume presents a selection of aesthetic and art theoretical writings by the internationally renowned philosopher Aleš Erjavec from the 1990s to the present. Erjavec was an active participant in the artistic revolt in Slovenia throughout the 1980 and became one of the most notable international theorists of late- and post-socialist developments in art. His work also extended to new, emergent forms of contemporary art and visual culture in global art and culture networks. The diverse contexts and artists with which he has engaged gives him a unique critical perspective on major debates in philosophical aesthetics and art theory.
The present volume explores for the first time the concept of synagonism (from “σύν”, “together” and “ἀγών”, "struggle”) for an analysis of the productive exchanges between early modern painting, sculpture, architecture, and other art forms in theory and practice. In doing so, it builds on current insights regarding the so-called paragone debate, seeing this, however, as only one, too narrow perspective on early modern artistic production. Synagonism, rather, implies a breaking up of the schematic connections between art forms and individual senses, drawing attention to the multimediality and intersensoriality of art, as well as the relationship between image and body.
Current neuroscience discloses that all emotional feeling originates as movement. Kinesthesia, our sixth sense, begins with movement of muscle cells and ends as emotion. Depth perception, which depends on movement, is always feeling-laden. To be expressive, art must somehow move our bodies.
Studies of expressive dance demonstrate that we unconsciously model observed movements, duplicating in ourselves the feelings that generated the dancer's movements. The art of landscape creates choreography for a walk. But each of the fine arts play a role in landscape design. Here, then, is a new theory of landscape that easily extends to all the fine arts, explaining our enjoyment in landscape, as well as aesthetic enjoyment more generally.