Edited by Shai Biderman and Michael Weinman
Affective Triggers in Aesthetic Forms and Cultural Practices
Edited by Ernst van Alphen and Tomáš Jirsa
Contributors: Ernst van Alphen, Mieke Bal, Maria Boletsi, Eugenie Brinkema, Pietro Conte, Anne Fleig, Bernd Herzogenrath, Tomáš Jirsa, Matthias Lüthjohann, Susanna Paasonen, Christina Riley, Jan Slaby, Eliza Steinbock, Christiane Voss.
Metaphor, Myth, Memory
With a Translation of the Wenyi xinlixue 文藝心理學 (The Psychology of Art and Literature)
Edited by Elisa Levi Sabattini
Realms of the Visible
Edited by Laura Petican
The Music of Protest and Hope in Jane Addams's Chicago
Graham Cassano, Rima Lunin Schultz and Jessica Payette
With an afterword by Jocelyn Zelasko.
The Truth as Non-Reference
A Philosophical Autobiography of a Philosopher, Artist, and Musician
This essay offers a critical reflection on the central concept of “famous painting” as expounded in Zhang Yanyuan’s Lidai minghua ji (历代名画记, A Record of Famous Paintings of All Dynasties). Building upon the past scholarship, this essay will proceed in the following three steps. I propose to distinguish the concept of “famous painting” from the common understanding of painting. I argue that it is the former that plays a central role in the entire text of the Lidai minghua ji. As a result of this new approach, I will outline an intentional and discernable structure formed by the fifteen essays in the first three books. I proceed with discussing the relationship between famous paintings and famous painters so as to demonstrate Zhang Yanyuan’s implicit intention and considerations in selecting and evaluating painters and their works. Finally, I examine the basic formats of famous painting and further elucidate the historical dimension embedded within the concept of famous painting that constituted and changed the very idea under consideration.