The essays in this book present a complex theme at the heart of the philosophy of Gilles Deleuze, what in his last writing he called simply "a life." They capture a problem that runs throughout his work—his long search for a new and superior empiricism. Announced in his first book, on David Hume, then taking off with his early studies of Nietzsche and Bergson, the problem of an "empiricist conversion" became central to Deleuze's work, in particular to his aesthetics and his conception of the art of cinema.
The work of Alois Riegl (1858-1905) has been highly influential in art history of the modern age. Riegl, the most important member of the so-called Vienna School, developed a refined technique of visual or formal analysis that departed from the iconological method, which emphasized decoding motifs through recourse to texts.
In this first full-length study of a largely forgotten optical device from the eighteenth century, Arnaud Maillet reconfigures our historical understanding of visual experience and meaning in relation to notions of opacity, transparency, and imagination. Many are familiar with the Claude glass as a small black convex mirror used by artists and spectators of landscape to reflect a view and make tonal values and areas of light and shade visible.
At a time when almost any victimless sexual practice has its public advocates and almost every sexual act is fit for the front page, the easiest, least harmful, and most universal one is embarrassing, discomforting, and genuinely radical when openly acknowledged. Masturbation may be the last taboo. But this is not a holdover from a more benighted age. The ancient world cared little about the subject; it was a backwater of Jewish and Christian teaching about sexuality.
Imagine a world without things. There would be nothing to describe, nothing to explain, remark, interpret, or complain about. Without things, we would stop speaking; we would become as mute as things are alleged to be. In nine original essays, internationally renowned historians of art and of science seek to understand how objects become charged with significance without losing their gritty materiality.
Aby Warburg (1866-1929) is best known as the originator of the discipline of iconology and as the founder of the institute that bears his name. His followers included such celebrated art historians of the twentieth century as Erwin Panofsky, Edgar Wind, and Fritz Saxl. But his heirs developed, for the most part, a domesticated iconology based on the interpretation of symbolic material. As Phillippe-Alain Michaud shows in this important book, Warburg's own project was remote from any positivist or neo-Kantian ambitions.
Already translated into six languages, Francois Jullien's In Praise of Blandness has become a classic. Appearing for the first time in English, this groundbreaking work of philosophy, anthropology, aesthetics, and sinology is certain to stir readers to think and experience what may at first seem impossible: the richness of a bland sound, a bland meaning, a bland painting, a bland poem. In presenting the value of blandness through as many concrete examples and original texts as possible, Jullien allows the undifferentiated foundation of all things—blandness itself—to appear.
Destroyed faces, dissolved human shapes, invisible enemies: violence and anonymity go hand in hand. The visual representation of extreme physical violence makes real people nameless exemplars of horror—formless, hideous, defaced. In Defaced, Valentin Groebner explores the roots of the visual culture of violence in medieval and Renaissance Europe and shows how contemporary visual culture has been shaped by late medieval images and narratives of violence.
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.
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. The woman's partners—she frequently has more than one—bear no economic responsibility for her or her children, and "fathers," unless they resemble their children, remain unidentifiable.
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.
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.
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