In what way do we benefit from speaking of things indirectly? How does such a distancing allow us better to discover—and describe—people and objects? How does distancing produce an effect? What can we gain from approaching the world obliquely? In other words, how does detour grant access?
This book introduces to an English-language audience the writings of the so-called New Vienna School of art history. In the 1930s Hans Sedlmayr (1896-1984) and Otto Pächt (1902-1988) undertook an ambitious extension of the formalist art historical project of Alois Riegl (1858-1905). Sedlmayr and Pächt began with an aestheticist conception of the autonomy and irreducibility of the artistic process. At the same time they believed they could read entire cultures and worldviews in the work of art.
What do biologists mean when they say that to live is to react? Why was the term abreaction invented and later abandoned by the first generation of psychoanalysts? What is meant by reactionary politics? These are but a few of the questions the internationally renowned scholar Jean Starobinski answers in his conceptual history of the word pair, action and reaction.
Though the genocide of 1994 catapulted Rwanda onto the international stage, English-language historical accounts of the Great Lakes region of Eastern Africa—which encompasses Burundi, eastern Congo, Rwanda, western Tanzania, and Uganda—are scarce. Drawing on colonial archives, oral tradition, archeological discoveries, anthropologic and linguistic studies, and his thirty years of scholarship, Jean-Pierre Chrétien offers a major synthesis of the history of the region, one still plagued by extremely violent wars.
Siegfried Kracauer's biography of the composer Jacques Offenbach is a remarkable work of social and cultural history. First published in German in 1937 and in English translation in 1938, the book uses the life and work of Offenbach as a focal point for a broad and penetrating portrayal of Second Empire Paris. Offenbach's immensely popular operettas have long been seen as part of the larger historical amnesia and escapism that pervaded Paris in the aftermath of 1848. But Kracauer insists that Offenbach's productions must be understood as more than glittering distractions.
Athens, 403 B.C.E. The bloody oligarchic dictatorship of the Thirty is over, and the democrats have returned to the city victorious. Renouncing vengeance, in an act of willful amnesia, citizens call for—if not invent—amnesty. They agree to forget the unforgettable, the "past misfortunes," of civil strife or stasis. More precisely, what they agree to deny is that stasis—simultaneously partisanship, faction, and sedition—is at the heart of their politics.
A picture universally recognized, endlessly scrutinized and described, incessantly copied, adapted, lampooned: does Leonardo's near-ruined Last Supper still offer anything new to be seen or to be said? This book is a resounding Yes to both questions. With direct perception—-and with attention paid to the work of earlier scholars and to the criticism embodied in the production of copyists over the past five hundred years—Leo Steinberg demonstrates that Leonardo's mural has been consistently oversimplified.
The four studies in this book center on the Western obsession with the nature of personal identity. Focusing on the twelfth and thirteenth centuries, but with an eye toward antiquity and the present, Caroline Walker Bynum explores the themes of metamorphosis and hybridity in genres ranging from poetry, folktales, and miracle collections to scholastic theology, devotional treatises, and works of natural philosophy.
The Na of China, farmers in the Himalayan region, live without the institution of marriage. Na brothers and sisters live together their entire lives, sharing household responsibilities and raising the women's children. Because the Na, like all cultures, prohibit incest, they practice a system of sometimes furtive, sometimes conspicuous nighttime encounters at the woman's home.
Although the work of Pierre Francastel (1900-1970) has long carried the label "sociology of art," it bears little resemblance to anything conventionally sociological. For too long Francastel has been unavailable to English-language readers, and hence known only through erroneous and secondhand characterizations. This translation of Art and Technology should open the way for a rediscovery and reconsideration of this brilliant, often misunderstood thinker.
Culture in Practice collects the academic and political writings from the 1960s through the 1990s of anthropologist Marshall Sahlins. More than a compilation, Culture in Practice unfolds as an intellectual autobiography. The book opens with Sahlins's early general studies of culture, economy, and human nature. It then moves to his reportage and reflections on the war in Vietnam and the antiwar movement, the event that most strongly affected his thinking about cultural specificity.
The sharing of a sexual partner between relatives has always been taboo. In this stunning work, anthropologist Françoise Héritier charts the incest prohibition throughout history, from the strict decrees of Leviticus to modern civil codes, and finds a secondary type of incest, which she calls the incest of two sisters. The term refers not to incest between two sisters, or between two sisters and their mother, but to a love triangle of sorts in which the transfer of bodily fluids among sexual partners, two of whom are related to each other, creates undeniable bonds.
At the heart of medical history is a deep enigma. The true structure and workings of the human body are, we casually assume, everywhere the same, a universal reality. But then we look into the past, and our sense of reality wavers: accounts of the body in diverse medical traditions often seem to describe mutually alien, almost unrelated worlds.
"Crossing Boundaries is not only characteristic of the physical moves I have undertaken (or had to undertake) in the course of my life: it is also distinctive of the interdisciplinary travels I have engaged in ever since I started to write." —Albert O. Hirschman, from Crossing Boundaries
In France at the end of the nineteenth century, progress and material prosperity coincided with widespread alarm about disease and decay. The obsessions of our own culture as the twentieth century came to a close resonate strikingly with those of the last fin-de-siècle: crime, pollution, sexually transmitted diseases, gender confusion, moral depravity, alcoholism, and tobacco and drug use were topics of popular discussion then as now.
Wonders and the Order of Nature is about the ways in which European naturalists from the High Middle Ages through the Enlightenment used wonder and wonders, the passion and its objects, to envision themselves and the natural world. Monsters, gems that shone in the dark, petrifying springs, celestial apparitions—these were the marvels that adorned romances, puzzled philosophers, lured collectors, and frightened the devout.
Irresistibly charming or shamelessly deceitful, remarkably persuasive or uselessly verbose, everything one loves to hate—or hates to love—about "French lovers" and their self-styled reputation can be traced to eighteenth-century libertine novels. Obsessed with strategies of seduction, speculating endlessly about the motives and goals of lovers, the idle aristocrats who populate these novels are exclusively preoccupied with their erotic life.
The Culture of the Copy is an unprecedented attempt to make sense of our Western fascination with replicas, duplicates, and twins. In a work that is breathtaking in both its synthetic and critical achievements, Hillel Schwartz charts the repercussions of our entanglement with copies of all kinds, whose presence alternately sustains and overwhelms us.