Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the (...) few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art. (shrink)

The article is dedicated to analyzing the nature of genius in the context of the development of fiction about artists. From the biographies of the famous Renaissance artists by G. Vasari, who made one of the first attempts at chronicling the lives of geniuses of his time, to modern fictionalized biographies of genius artists – we can trace the desire of writers to comprehend the nature of the artists and sculptors’ genius. The foundation of the concept (...) of genius can be found in Immanuel Kant’s works, which synthesized theories developed previously and influenced the understanding of genius by future generations. The paper analyses the consonance of Kant’s aesthetics with the concept of genius in fictionalized biographies of F. Goya, M. Bashkirtseva, V. van Gogh, P. Gauguin, O. Novakivskyi, K. Bilokur, P. Picasso, V. Tsymbal, S. Karaffa-Korbut and other artists, while focusing on the Ukrainian texts of the 20th–early 21st centuries. The research attempts to single out and analyze elements of conceptualizing the notion of genius in novels, including the concepts of the beautiful and the sublime in art, recognition of genius in society, the gender aspect of genius, the issues of heredity, and others. The representation of the image of genius in visual arts, iconography, and the cult of genius are discussed within an intermedial framework. The research relies on literary and art criticism methodology and comparative and intermedial studies. (shrink)

What happened when creative biographers took on especially creative subjects in Greek and Roman antiquity? Creative Lives in Classical Antiquity examines how the biographical traditions of ancient poets and artists parallel the creative processes of biographers themselves, both within antiquity and beyond. Each chapter explores a range of biographical material that highlights the complexity of how readers and viewers imagine the lives of ancient creator-figures. Work in the last decades has emphasized the likely fictionality of nearly all of the (...) ancient evidence about the lives of poets, as well as of other artists and intellectuals; this book now sets out to show what we might nevertheless still do with the rich surviving testimony for 'creative lives' - and the evidence that those traditions still shape how we narrate modern lives too. (shrink)

Abstract Biography is usually distinguished from history and, in comparison, looked down upon. R. G. Collingwood's view of biography seems to fit this statement considering that he says it has only gossip-value and that “history it can never be“. His main concern is that biography exploits and arouses emotions which he excludes from the domain of history. In the paper I will try to show that one can salvage a more positive view of biography from within Collingwood's work and claim (...) that his explicit attacks against biography target specifically the sensationalist kind. First, I will show that Collingwood, in his later writings, allowed that, not only thought, but also relevant emotions can be the subject matter of history, which means that even if one takes biography to deal with emotions, it can still qualify as history. Second, I will argue, based mainly on Collingwood's Principles of Art , that biography can be compared to portrait painting, in which case, it can be redeemed as a work of art and not just craft and, thus, have more than entertainment value. It can also be part of history, and more specifically part of the history of art which Collingwood endorses, if one takes the life of an individual, recounted by a biographer, to be an artistic creation, as Collingwood seems to suggest. (shrink)

An artistic interpretation of historical facts is quite relevant in the literature and non-fiction of a post-totalitarian society. Prose works on historical themes are valuable and interesting in that they create an illusion for readers to be present in a certain period of historical time, and it is the artistic modeling of events that makes priceless facts of history completely disappear. The historical past is an inexhaustible material that word artists have been referring to for centuries, creating the best (...) examples of fiction. Prose texts of historical subjects are perceived by each next generation in a new way, historical events and phenomena are interpreted from different angles, the activities of famous figures of the past are widely covered. Non-fiction literature is a kind of literature that is on the verge of artistry and documentary. The main non-fiction genres are a diary, autobiography, biography, memoirs, confession, letters, etc. On the one hand, non-fiction literature claims to recognize the author’s subjective truth about him in her texts; on the other hand, only the reader can either, demonstrating full confidence in the author, call this text documentary, or admit the presence of poetry and aesthetics in the work and tilt the scales in the direction of artistry. The material for observation and research of the phenomenon of artistic modeling are works that allow us to trace the most common, in our opinion, models of correlation of historical and artistic consciousness in postmodern literature and non-fiction of a post-totalitarian society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Intertextual Biography in the Rivalry of Cratinus and AristophanesZachary P. BilesMore than a decade ago, Malcolm Heath provided an influential explanation for charges of plagiarism between comic poets when he posited a growing store of ideas that were recycled as quickly as they were invented. As a result, "Anything put on stage in a comedy would become public property and be absorbed into the repertoire, so that all comic (...) poets contributed to it; and all drew on it, although each would aim to give a new and original twist to the material which he borrowed, so that the repertoire constantly evolved. If this was so, then any poet could lay claim to originality... and any rival could make a counterclaim of plagiarism."1 These remarks have important implications for the study of Old Comedy, not least in exposing the irony of such assertions as that of Antiphanes (Poiēsis, fr. 189 K-A), which overstates generic distinctions between tragedy and comedy on the score of originality. Beyond merely acknowledging comedy's essentially adaptive nature, Heath's position suggests that a certain degree of allusiveness was, as it were, built into the genre. Unfortunately there are few opportunities to test the potential insights that follow from Heath's general proposition since the corpus of comic fragments poses so many questions of plot, context, attribution, and-always important for this kind of study-chronology.There is one sequence of plays, however, that has attracted attention since antiquity as an example of comic poets responding to one another and for which valuable insights can still be gained by building on Heath's thesis. In 423 Cratinus took the prize against Aristophanes' Clouds with Pytine, a play in which Cratinus boldly portrayed himself as the hero while borrowing heavily from Aristophanes' caricature of him in Knights the previous year. While interest in the relationship of these plays has been renewed in recent years, the convergence of issues pertaining to adaptation, intertextuality, and rivalry has not been fully explored. Besides discussing these ideas as they relate to Knights and [End Page 169] Pytine, I shall extend the thread of artistic borrowing at either end, first by positing a stage autobiography of Cratinus that both predates and inspired Knights, and then by tracing elements of intertextuality between Wasps and Pytine. Generally speaking Heath's model proves to be of great value; however, my study makes an important modification by treating competition as a vital aspect of comic poetry.2 The intertextuality of these plays primarily depends on poetic biography, and the notion of competition is central to my understanding of stage biography as comic poets employed it either to assert their own superiority or malign their rivals. After examining the biographical interplay in the rivalry of Cratinus and Aristophanes, I end by applying the intertextual model more generally to Wasps, a play that advertises itself as a competitive response and whose intertextual relationship with Pytine can be viewed as a function of competitive strategy.IThe trail of evidence begins with a scholion on Knights 400. Commenting on the chorus's elusive response to Cleon ("If I don't despise you, may I become a blanket in Cratinus' house!"), the scholiast writes:(= Pytine test. ii K-A)3 [End Page 170]Certain errors about Cratinus' retirement aside,4 the scholiast shows himself to be a reliable witness to the play by his knowledge of the plot and ability to cite the text in the continuation of his commentary (fr. 193). Thus, with the exception of treating the more fully developed caricature of Cratinus as a drunk in the Knights parabasis as the actual source of inspiration for his self-portrayal in Pytine, generations of scholars have followed the scholiast's characterization of Pytine as a redemptive play, however exaggerated this biographical (mis)representation may have been in both plays. Two recent studies have raised objections to the traditional understanding of Knights and Pytine. Troubled by a certain feeling of allusiveness in the jokes about Cratinus in Knights and Acharnians, Keith Sidwell hypothesizes a source for the audience's familiarity with details of Cratinus' life by arguing that his stage "biography " was not an Aristophanic... (shrink)

This review essay emphasizes the distinction between academic art history, based ultimately on the model of scientific research, and the sort that Roberto Calasso practices in his 2009 study Tiepolo in Pink. It is difficult to locate the book's genre, and the reviewer rejects identifying it as a biography (of the sort practiced by Irving Stone, Somerset Maugham, and Dimitri Merejkovski), since Calasso, like most other writers on Tiepolo, stresses how little we know about his personality, which was elusive, and (...) about his private life, which was undramatic. What chiefly interests both Calasso and the reviewer is whether Tiepolo, whose ceiling frescoes are without gravity—their “antigravity” draws the painted figures upward—is an artist without gravitas. The reviewer supports Calasso's argument that the thirty-two etchings comprising the Capricci and Scherzi make it absurd to consider Tiepolo artistically, intellectually, or morally frivolous. “Scientific” art historians have applied the category of “decoration” to these somber etchings, with their incomprehensible allegories, but Calasso, himself an artist (a novelist), approaches these pictures without scientific prejudice. The reviewer traces the dour attitude of mainstream art historians toward Tiepolo to his rivalry for commissions in the 1760s with Anton Raphael Mengs, a representative of the rising Enlightenment cult of virtue and the austere aesthetics of a rising neoclassicism. From that time on, art historians have treated Tiepolo's work as unhealthy, lightweight, and bizarre, but this review supports Calasso's claim that his work is actually sober and moving. The review concludes that there are artists whom the narrow sensibility of standard art historians will never be able to accommodate, Tiepolo being only one among several. (shrink)

If we set aside personal edification, what reasons remain for a philosopher of science to study the intellectual biography of a famous (or infamous) scientist? This question raises familiar and perhaps tired arguments about the relationship between history of science and philosophy of science, but it is also practical: why take the time to digest almost 600 pages devoted to the controversial German zoologist Ernst Haeckel? A preliminary answer is the author. The historical investigations of Robert Richards have been of (...) ongoing interest to philosophers, whether it be evolutionary explanations of mind and behavior in the nineteenth century (Dennett 1989) or his contentious claims—reinvigorated in the present volume—about Darwin’s commitment to embryonic recapitulation (Lennox 1994). Richards has a knack for unearthing details germane to conceptual reflection, in no small part because of his own philosophical predilections (e.g., a selection model of scientific theory development). Here I entertain three more reasons to follow the injunction tolle lege: the prescient synthesis exemplified in Haeckel’s evolutionary theorizing, the impact of model organism choice, and the critical role of pictures in scientific reasoning accented by Haeckel’s artistic proclivities. (shrink)

The thematic structure of Fyodor Dostoyevsky’s novel ‘Netochka Nezvanova‘ is revealed in the article through the system of leitmotifs rising to elementary semantic oppositions. The topical opposition of high and low is traced throughout the semantics of space. The periphery of the story - the estate of a landowner, a music-lover, and its sacral centre - the ’sunny’ home of Prince H. in St. Petersburg are brought together by the main character’s lifelong way. In Yegor Efimov’s biography, this is predetermined (...) in the same way as the initiation of a fairytale hero is predestined. It should be emphasized that the unique temporal structure of ‘Netochka Nezvanova‘ is analyzed in this aspect for the first time. Like many other Dostoyevsky’s works, this particular story displays signs of ‘inoculations‘ from different poetic systems and other texts which form a complicated system of intertextual connections. The leading motif of the story belongs to the circle of the basic mythopoetic topic: Man’s temptation by Satan. The demon’s intrusion into Efimov’s life is especially well traced in his friendship with the Italian conductor and in inheriting the latter’s violin. The history of the violin is accompanied by the marginal demonic background created by the stable mythologem - ‘the Satan’s violin‘. Within the borders of mythopoetic concept of music, an artist is a medium, a person who has the power to influence other people in the name of good or evil by supernatural forces. In this respect, the life story of Efremov the violinist can be compared to the adventures of a mythological ‘cultural hero‘ presented as a non-stop chain of events: meeting a magical sorcerer, receiving a magic weapon from him as a gift and the ensuing sequence of dreadful ordeals. Yegor Efimov’s life story is shown in the article against the background of the mythopoetic concept of music, as Man’s temptation by Satan, and in the historical and cultural context, as shattering a romantic myth about ‘a demonic artist‘. (shrink)

How is a philosophical tradition created? What role does literary biography play in the formation of intellectual reception history? Through a detailed analysis of the lives and works of post-Avicennan philosophers, this monograph traces the intellectual history and development of the Avicennan tradition from the fifth/eleventh to the eighth/fourteenth century. Section 1 investigates the genres of Arabo-Islamic biobibliographical and prosopographical writings as a source for the history of Arabic philosophy, delineating their literary topoi, the construction of philosophical authority, and the (...) relationship of Sunnī and Twelver-Šīī Islam to Aristotelian logic and philosophy. Section 2 presents fourteen discrete biobibliographical studies with a critical inventory of the works, including those written in the neglected exegetical genres of commentary, supercommentary, gloss, and supergloss, of Avicenna's immediate disciples and the following generations of philosophers who created the Avicennan philosophical heritage in the Islamicate world.--Provided by Publisher. (shrink)

I argue that biographical information is akin to other non-aesthetic, social, historical, or political information. As such, artist’s biographies are always relevant and important when interpreting art. While the meaning and value of a piece of art is not determined by any single piece of contextual information, neither is its meaning and value ever entirely separated from context. In some cases, however, a piece of art that is technically magnificent may be experienced as repugnant when the artist has committed egregious (...) acts. (shrink)

The northern creative trips of the People's Artist of the USSR Vladimir Alexandrovich Igoshev (1921-2007) represent important and vivid pages in his creative biography. The object of this research is the creative heritage of the artist V.A. Igoshev. The subject of the study is the creative trips of the artist V.A. Igoshev to the North (Sverdlovsk and Tyumen regions) of the 1950s and 1960s. The purpose of this study is to reconstruct the overall picture of the northern creative trips of (...) the artist V.A. Igoshev of the 1950s–1960s on the basis of paintings and graphic works of the early "northern cycle", archival materials, exhibition catalogues, Soviet periodicals, individual scientific articles and information from informants. The novelty of the research lies in the most complete and detailed consideration at the moment of the issue of the northern creative trips of the artist V.A. Igoshev in the 1950s and 1960s. Previously, this topic has not received special coverage. Modern researchers of the creative heritage of the artist V.A. Igoshev in their review articles practically did not touch on this problem, limiting themselves to mentioning individual episodes from the creative biography of the master. The author of the study provides historical facts related to specific dates of trips, introduces a list of paintings and graphic works, with all the circumstances of their creation and further exposure at major art exhibitions of the 1950s and 1960s. (shrink)

In this book, international experts from Europe and the United States address Lullism as a remarkable and distinctive method of thinking and experimenting. The origins and impact of Ramon Llull's oeuvre as a modern thinker are presented, and their interdisciplinary and intercultural implications, which continue to this day, are explored. Ars combinatoria, generative and permutative generation of texts, the epistemic and poetic power of algorithmic systems, plus the principle of unconditional dialogue between cultural groups and their individual members, are the (...) most important coordinates of this combinatorial-dialogical media and communication theory, which appeared very early in the history of science, technology, and art. It was developed in the work of Ramon Llull during the transition from the thirteenth to the fourteenth century when Arab-Islamic, Jewish, and Christian cultures intersected. The legacy of Lullism lives on in poetry and in the visual and electronic-based arts, as well as in research on the history of informatics, formal logic, and media archaeology. The primary idea of Llull's teachings--to enable rational and therefore trustworthy dialogue between cultures and religions through a universally valid system of symbols--is today still topical and of great relevance, especially in the tensions prevailing in globalized spaces of possibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 116-120 [Access article in PDF] Art History in the Age of Bellori: Scholarship and Cultural Politics in Seventeenth-Century Rome, edited by Janis Bell and Thomas Willette. Cambridge: Cambridge Universtiy Press, 2002, 396 pp. Giovan Pietro Bellori is a name familiar to all who have studied seventeenth-century Italian art. His magisterial book, The Lives of the Modern Painters, Sculptors, and Architects (Le vite (...) de' pittori, scultori, ed architetti moderni), published in Rome in 1672, continued in the grand tradition of artists' biographies established by Giorgio Vasari in the sixteenth century, while at the same time espousing a classical theory of artistic creation that has often been seen as the foundation of academic classicism, popular well into the nineteenth century. He is, in other words, an immensely significant figure, as a source of information on artists' lives, and, more importantly, as a cogent, early spokesperson for one of the dominant aesthetic modes of Western European culture.Given this importance, the relative dearth of publications dedicated toBellori, especially in the Anglo-American world, is surprising. PerhapsBellori's famously negative assessment of Caravaggio, or his complete avoidance of two of the most successful Italian artists of the seventeenth century, Pietro da Cortona and Gian Lorenzo Bernini, account for the scarcity ofscholarly treatments, or maybe his supposed insistence that all great art should be grounded in rules is to blame. The reasons are hard to pin down, but the volume of essays under consideration here goes some significant way towards rectifying the situation. Stemming from a 1996 conference organized by the Association for Textual Scholarship in Art History and held at the American Academy in Rome, the volume is divided into two roughly equal sections, one on "Bellori and the Republic of Letters in Seventeenth-Century Rome," and the other on "Bellori's Lives: History, Criticism, Theory." It comprises twelve essays, including a long and very useful introduction by Janis Bell, one of the editors of the book. The overall goal of the collection is to treat Bellori's activity as a whole, rather than focus single-mindedly on the Lives. After all, as Bell points out, the preponderance of Bellori's publishing was not dedicated to aesthetic theory, or even artists' biographies, but to antiquarian studies. In this, the present volume is very different from the other major new work on Bellori, a two-volume cataloguepublished in 2000 to accompany anexhibition held at the Palazzo delle Esposizioni in Rome, L'idea del Bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. The exhibition did acknowledge Bellori's antiquarian interests, but was aimed principally at something else: making visible his aesthetic theory. Unfortunately, the authors of Art History in the Age of Belloriwere not able to take into account fully [End Page 116] the conclusions of this important study,although it should be noted that several authors are represented in both publications.The first group of essays in the book, six in number, treats a wide range of themes, with the intention of crafting a context, both literary and political, for understanding Bellori's achievement. Giovanna Perini's essay, the first of section one, describes Bellori's career trajectory, and, more significantly, how this path had an impact on his life as a scholar. Bellori did not come from the wealthiest stratum of society. On the contrary, he was of relatively modest means, which meant that he had to rely on employment income. One implication of being economically beholden to his employers was that his writing had to conform to their political agendas. The Vite, for instance, are famous for lionizing the French artist Nicolas Poussin, of obvious appeal to his Francophile patrons. Diego Velázquez, however, was not included in the Vite, perhaps because he was Spanish and would thus have appealed to the opposing political faction in Rome at the time, which was linked to Spain. At the same time, Perini convincingly argues that Bellori's own voice was not drowned out in the process... (shrink)

This article is devoted to the work of Józef Czapski, a Polish painter, writer, epistolographer and diarist who died in Maisons-Laffitte in 1993. The artist was also engaged in the matters of human life and politics. The article deals solely with his paintings. After a short presentation of Czapski’s artistic biography, a more in depth analysis of his works is provided. The article uses the artist’s letters and memoirs on top of the basic literature. The analysis shows that the Czapski’s (...) artistic work constitutes a closed whole; no new work, neither drawing nor painting will be added to his legacy, but, at the same time it is open because the threads of Czapski’s art remain unclosed. Czapski’s works constitute a logical whole in the sense that one can draw a circle around which they are arranged, except that the beginning of the journey does not coincide with the end. Czapski abandoned his first, rather inept expressionist works to take up in the broad sense a challenge of Post-Impressionism. However, not satisfied with the vision of Post-Impressionism and the painting focused on pure color delectations, he returned to his initial interest in de l’horreur de la vie, absorbing the lessons and experiences that his life gave him, digesting and consequently abandoning Post-Impressionism. To him, color is understood not as Impressionism understood it, but rather, as it was treated by Expressionism, howewer, he tempered it according to the school of Post-Impressionism and the French art. Czapski’s painting completes the full circle: his journey begins with “the scary head”, experiences post-impressionism, and blossoms with paintings depicting l’horreur de la vie and anxiety hidden in the stark colors of his late landscapes. The author describes Józef Czapski’s art as the great one, what is ultimately determined by the whole output, which, like a keystone brings together all the themes: of the painter, of the writer and of the man devoted to public affairs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Achieving Social and Cultural Educational Objectives through Art Historical Inquiry PracticesJacqueline Chanda (bio)Some overburdened art or generalist teachers may ask: "With all the things we have to know and do these days, why should we be interested in art history inquiry processes? What educational value is there in promoting the use of art history inquiry processes in teaching and learning?" The answer to the first question lies in art (...) history's relationship to the humanities and the visual arts. The humanities is the branch of learning concerned with human thought and relations. We turn to the humanities when we wish to understand the human condition, social and cultural values, and ourselves. But some might say that historical inquiry methods do the same thing. What distinguishes art historical inquiry from general historical inquiry is the focus on the visual arts. Visual arts are in the branch of learning that deal with the production and study of visual imagery and material objects. In the context of art history inquiry, visual imagery and material objects are the primary data used for the study of changes in ourselves; religious, social, and cultural values; and human conditions. Visual imagery is one of the universal ways that the human condition and social and cultural values of the past and present are expressed. It is one of the fundamental means by which humans communicate feelings, emotions, ideas, ideologies, etc.Art educators have acknowledged for a long time the importance of the study of images and visual elements in the lives of children and the field of art education. This is even more evident today as the discipline moves to embrace notions of "visual culture," which emphasize exploring and studying all the things that visibly shape our lives. The acknowledgment of art history as an inquiry process rather than simply the study of facts about past artworks developed in the discipline-based arts education (DBAE) [End Page 24] movement of the 1980s and 1990s.1 In spite of the recommendations that art history be explored as a discipline of inquiry, much of the art history investigations that take place in the classroom today focus on understanding the artist through his/her biography and understanding the work of art through analysis of style and formal description.2 While the artist biography brings to light the artist's intention and a formal description examines what one can see in the work and makes reference to aspects of style and formal elements, the two approaches do not provide enough information to generate meaning and speculate about what social and cultural elements may have caused the work of art to look the way it does or the effects it may have had at the time of its creation. Unfortunately, many educators are not aware of how to extend their investigations to uncover these levels of analysis.Erickson provides one definition of inquiry as describing, attributing (determining who created the work), reconstructing (determining what the object originally looked like), and interpreting the artwork.3 While these aspects are all a part of an art historical investigation, they do not go far enough into the practices utilized by art historians when exploring a work of art. Therefore, in the context of this article the phrase "art historical inquiry processes" refers to the use of authentic activities (asking questions, collecting and analyzing data, interpreting, speculating about cause or effect, and disseminating knowledge) and approaches that art historians use when studying works of art; this approach goes beyond what is clearly seen in visual imagery in order to reveal not only the denotative but also the connotative meanings that are relevant to the historical and cultural context of the artwork. These authentic activities incorporate approaches related to structural analysis (that is, contemporary analysis—iconography, iconology semiotics, feminism, etc.—that draws from literary reading skills to generate meaning) and explore, examine, and facilitate the drawing of conclusions about the significance and place of visual imagery and material objects in the societies from which they come.4 The purpose of this article is to discuss the value of studying visual images and material objects using authentic art history inquiry processes to uncover meanings, and by extension... (shrink)

Why does the language of art commentary often seem so theoretically sophisticated while jargonistically empty? Introducing the puzzle of a computer generated artistic biography, this essay uses the sociological aesthetics of German theorist Arnold Gehlen to answer this question and account for the ‘algorithmic example.’ Since art commentary deals with the translation of images into words, the first section discusses the tradition of ekphrasis and isolates three developments – professionalization, marketization, abstraction – in its conditions of production. Emphasizing the ‘crisis (...) of ekphrasis,’ set off by non-representational art, the essay continues with its key witness Arnold Gehlen. Adumbrating his approach of ‘philosophical anthropology,’ the article connects (t)his wider circle of thought to his aesthetic theory with the idea of modern and contemporary art’s “Kommentarbedürftigkeit” (need of commentary) in the center. The conclusion uses this concept, combines it with a linguistic argument concerning International Art English, and thus offers a critical explanation for and a pessimistic diagnosis of the language of art commentary today. (shrink)

The article sets out to explore two plays by contemporary playwrights, one American, the other Ukrainian, focusing on William Shakespeare and Lesia Ukrainka, respectively, within the framework of “the author as character” subgenre of fictional biography. Accordingly, the article considers the correlation between the factual and the fi ctional as one of its foci of attention. Drawing upon a variety of theoretical approaches, the article summarizes the principal characteristics of “the author as character” subgenre and proceeds to discuss how they (...) operate in the dramas under scrutiny. The analysis makes it abundantly clear that in Nigro’s and Nezhdana’s plays the balance between fact and fi ction is defi nitively tipped in favor of the latter. By centering their biographical plays on highly mythologized artists of national standing, both dramatists aimed at demythologizing these cult fi gures, inevitably placing them, however, within new mythical plots combining a Neo-Romantic vision of the artist as demiurge, with a Neo-Baroque as well as fin de siècle apology of death and a postmodern denial of one objective reality. (shrink)

Artist, poet, educationalist and autobiographer, Marion Milner is considered one of the most original of psychoanalytic thinkers whose life spans a century of radical change. _Marion Milner: The Life_,_ _is the first biography of this extraordinary woman. It introduces Milner and her works to the reader through her family, colleagues and, above all through her books, charting their evolution and development as well as their critical reception and contribution to current twenty-first century debates and discourses. In this book _Emma Letley (...) _draws_ _on primary sources, including the newly-opened Marion Milner Collection at the Archives of the British Psychoanalytical Society in London, as well as interviews and the re-contextualised series of Milner texts. She traces the process of Milner's writing of her books, her discovery of psychoanalysis, her training and her place in that world from the 1940's onwards. _Marion Milner: The Life _includes discussion of Milner's connection with D.W. Winnicott and her emergence as a most individual member of the Independent Group. Letley also shows how Milner's Personal Notebooks offer fascinating insights into her relationships, both personal and professional, and into many of her important ideas on creativity, the body-mind relationship, her revolutionary ideas on education and her particular personality as clinician working with both children and adults. Further, _Letley _explores Milner's literary character from her very early diaries and narratives to her last book written in her 90's published in 2012. Marion Milner: The Life places Marion Milner firmly in her Edwardian family setting and contains new material from primary sources, including a new view of her collegial connections. It provides a wealth of material on her life and works that will be invaluable to psychoanalysts, psychotherapists, art psychotherapists, students, those involved with life writing and autobiography, and the general reader. (shrink)

Contemporary biographies of Galilei emphasize, in several places, that he was a masterful draughtsman. In fact, Galilei studied at the art academy, which is where his friendship with Ludovico Cigoli developed, who later became the official court artist. The book focuses on this formative effect – it tracks Galilei’s trust in the epistemological strength of drawings. It also looks at Galilei’s activities in the world of art and his reflections on art theory, ending with an appreciation of his fame; after (...) all, he was revered as a rebirth of Michelangelo. For the first time, this publication collects all aspects of the appreciation of Galilei as an artist, contemplating his art not only as another facet of his activities, but as an essential element of his research. (shrink)

The Sculptor of the Overman and the Dithyrambic Artist: Michelangelo and Wagner in Thus Spoke Zarathustra. This paper draws on the work of Mazzino Montinari in order to explore the relations between Nietzsche’s image of Michelangelo and specific elements of Thus Spoke Zarathustra. These elements concern the idea of the overman and the figure which is sleeping in the stone. A biography of Michelangelo by the art historian Herman Grimm, a correspondent of Ralph Waldo Emerson, may be the source of (...) Nietzsche’s reference to a mysterious statue described in the chapter “Of Those who are Sublime”. Moreover, Jacob Burckhardt’s Cicerone may help to explain the relationship between Wagner and the sculptor. One way to understand the context of this image is to return to the fourth Untimely Meditation - Richard Wagner in Bayreuth - in which Nietzsche portrays Wagner as both a sculptor and a dithyrambic artist. Some years later Zarathustra/nietzsche will himself appear as the sculptor of the overman and as the authentic dithyrambic poet, that is the authentic “musician of the future”. (shrink)

Writer, artist, filmmaker, provocateur, revolutionary, and impresario of the Situationist International, Guy Debord shunned the apparatus of publicity he dissected so brilliantly in his most influential work, _The Society of the Spectacle_. In this ambitious and innovative biography, Vincent Kaufmann places Debord's very hostility toward the inquisitive, biographical gaze at the center of an investigation into his subject's diverse output-from his earliest films to his landmark works of social theory and political provocation-and the poetic sensibility that informed both his work (...) and his life. Instead of providing a conventional day-to-day account of Debord's life, Kaufmann deftly locates his subject within the historical and intellectual context of the radical social, political, and artistic movements in which he participated. He traces Debord's development as an intellectual: his involvement with the lettrist movement in the early 1950s, his central role in the Situationist International from 1957 to 1971 and in the events of May 1968, and the productive and frequently misunderstood period between the dissolution of the situationists and his suicide, during which time Debord clarified the rules of his war against inauthenticity. As Kaufmann makes clear, for Debord political thought and action were inseparable from aesthetics and poetic expression. Whether envisioning the recovery of a lost, protocommunist age of authenticity and transparency in _The Society of the Spectacle_ or critically assessing the possibility of revolution against postmodern capitalism two decades later, Debord advocated and practiced an art of defiance, a concurrently martial and melancholic poetics. Avoiding the mythologies about Debord that both admirers and critics have cultivated, Kaufmann provides a groundbreaking and generous assessment of Debord and his uncompromising struggle against a corrupt civilization. (shrink)

In the tumultuous period spanning the French Revolution to the Restoration, individuals coped with the challenge of navigating successive political transitions, showcasing exceptional adaptability. Pierre-Vincent Benoist (1758–1834) epitomised this versatility, assuming diverse roles as a lawyer, translator from English, secret agent, Napoleonic official, and ultra-royalist deputy. His biography not only sheds light on the experiences of translators disseminating radical content, despite conflicting beliefs, but also illuminates their ‘hybrid status’ as traducteurs-commis, straddling the literary and administrative realms. Benoist’s multifaceted profile facilitated (...) his integration into various networks of artists, hommes de lettres, bureaucrats, and politicians. By examining both aspects of his life that resonated with those of his contemporaries and aspects that made him unique, this contribution aims to use his case as a prism for understanding political, social, and cultural change at the beginning of the nineteenth century. (shrink)

This chapter reports the biography of Arthur Schopenhauer and explores his particular thoughts on musical philosophy. Schopenhauer was born on February 22, 1788. With his philosophy in general, and more specifically with his philosophy of art, Schopenhauer has probably exercised a greater effect on artists and musicians than any other thinker or writer. His reflections on music were contributions that either focused on the metaphysical significance of the art form or made factual and normative statements about the factors and (...) forms of musical composition. Schopenhauer's theory of redemption through art and of music's closeness to metaphysical origins was warmly received by Europe's cultivated bourgeoisie. (shrink)

The definitive biography of Alain Locke, the first African American Rhodes Scholar and Harvard PhD in philosophy, Howard University philosophy scholar, and architect of the Harlem Renaissance, who mentored a generation of artists including Langston Hughes and Zora Neale Nurston and promoted the work of African Americans as the quintessential creators of American modernism. This biography explores his professional and private life, including his relationships with white patrons and his lifelong search for love as a gay man.

Extensive scientific, philosophical and artistic activities were carried out in the Islamic World’s various science and civilization centers during the early Middle Ages. In these centers, noteworthy works of mathematics, astronomy, geography, medicine, pharmacology, optics, botany, chemistry and other fields of science, which would later determine improvement paths for these fields, were created. Abu al-Izz Ismail ibn al-Razzaz al-Jazari (12th-13th centuries), was a magnificent Muslim scientist known for his work named The Book of Knowledge of Ingenious Mechanical Devices (Kitab fi (...) ma‘rifati’l-hiyal al-handasiyya) and he was born in geography where many scientists were trained. He contributed to the development of science and civilization, the joint legacy of humanity and demonstrated his true capability and success in the field of ilm al-hiyal (the scientific field which addresses the information and practices regarding mechanical technology and engineering in Islamic science history). From this perspective, it is evident that al-Jazari had a wide field of interest, made his mark in the age he lived in with his brave and innovative ideas, and was a wise engineer. al-Jazari’s detailed descriptions and explanations of water clocks, oil lamp clocks and water pumping machines, as well as their construction, were astounding. In addition, al-Jazari’s studies on metal casting techniques, cone valves, wheel balance and the real-world use of aspiration tubes are important in contemporary engineering studies. When all these are considered, it becomes clear that his designation as the “Leonardo da Vinci of the Islamic World” is not a coincidence. Many studies on al-Jazari’s scientific legacy have been conducted in various parts of the world. There are various manuscripts of his aforementioned book. Based on these manuscripts, the work has been -fully or partially- translated into many languages, including Turkish. The German and English translations served as a basis for studies on al-Jazari in other languages. In recent years, studies conducted on al-Jazari in Türkiye (books, articles, domestic and international symposiums, congresses etc.) have demonstrated his brilliance and competence as a scientist. Furthermore, studies on al-Jazari are still ongoing in Türkiye. As for Russia, the scientific legacy of the scientists raised in the Islamic World such as Avicenna, al-Farabi, Abu Bakr al-Razi, Abu Rayhan al-Biruni, Abu al-Qasim al-Zahrawi, Muhammad ibn Musa al-Khwarizmi, al-Battani, al-Kashi, Abd al-Rahman al-Khazini, Nasir al-Din al-Tusi was researched within the scope of a special plan and program. Depending on the relevant studies, al-Jazari and his work drew attention as well. A small portion of the aforementioned Russian studies is known in Türkiye. It is safe to assume that al-Jazari studies in Russia are virtually unknown in Türkiye. The present study primarily aims to contribute to the literature on the scientific legacy of al-Jazari, a Middle Age Islamic scientist best known for his famous work in the mechanical field. More specifically, the present study aims to: 1) to identify the studies on al-Jazari in Russia, and in the former USSR countries, where academic studies are still in Russian after the Soviet Union period, to create a chronological biography and to set forth their compilation; in other words, to create a bibliography which includes Russian studies on al-Jazari; 2) to provide information on the structure and content of the studies in question, to detect the methodological issues encountered in these works, and make solution recommendations to solve these issues; 3) to contribute to continuing and future studies in Türkiye on al-Jazari in terms of source and material index. In conclusion, it should be stated that comparative reading was conducted centered on The Book of Knowledge of Ingenious Mechanical Devices (Kitab fi ma‘rifati’l-hiyal al-handasiyya). It should also be noted that Russian popular internet publications (which are not based on academic research and are created/reproduced for commercial and personal purposes) were excluded from the assessment. (shrink)

The first biography of the Hungarian architect Erno Goldfinger, famous for his commitment to rational design as well as for lending his name to James' Bond's enemy. Goldfinger was one of the most important figures in post-war modern architect in Britain. This biography sheds light on the social and artistic interconnections that underpinned the modern movement and on the controversies that surrounded high-rise building in Britain.

This is the first biography of the last and greatest British idealist philosopher, R. G. Collingwood, a man who both thought and lived at full pitch. Best known today for his philosophies of history and art, Collingwood was also a historian, archaeologist, sailor, artist, and musician. A figure of enormous energy and ambition, he took as his subject nothing less than the whole of human endeavor, and he lived in the same way, seeking to experience the complete range of human (...) passion. In this vivid and swiftly paced narrative, Fred Inglis tells the dramatic story of a remarkable life, from Collingwood's happy Lakeland childhood to his successes at Oxford, his archaeological digs as a renowned authority on Roman Britain, his solo sailing adventures in the English Channel, his long struggle with illness, and his sometimes turbulent romantic life. In a manner unheard of today, Collingwood attempted to gather all aspects of human thought into a single theory of practical experience, and he wrote sweeping accounts of history, art, science, politics, metaphysics, and archaeology, as well as a highly regarded autobiography. Above all, he dedicated his life to arguing that history--not science--is the only source of moral and political wisdom and self-knowledge. Linking the intellectual and personal sides of Collingwood's life, and providing a rich history of his milieu, History Man also assesses Collingwood's influence on generations of scholars after his death and the renewed recognition of his importance and interest today. (shrink)

This early work by Robin G. Collingwood was originally published in 1939 and we are now republishing it with a brand new introductory biography. 'An Autobiography' is the story of Collingwood's personal and academic life. Robin George Collingwood was born on 22nd February 1889, in Cartmel, England. He was the son of author, artist, and academic, W. G. Collingwood. He was greatly influenced by the Italian Idealists Croce, Gentile, and Guido de Ruggiero. Another important influence was his father, a professor (...) of fine art and a student of Ruskin. He published many works of philosophy, such as Speculum Mentis (1924), An Essay on Philosophic Method (1933), and An Essay on Metaphysics (1940). (shrink)

Erich Fromm was a political activist, psychologist, psychoanalyst, philosopher, and one of the most important intellectuals of the twentieth century. Known for his theories of personality and political insight, Fromm dissected the sadomasochistic appeal of brutal dictators while also eloquently championing love--which, he insisted, was nothing if it did not involve joyful contact with others and humanity at large. Admired all over the world, Fromm continues to inspire with his message of universal brotherhood and quest for lasting peace. The first (...) systematic study of Fromm's influences and achievements, this biography revisits the thinker's most important works, especially _Escape from Freedom_ and _The Art of Loving_, which conveyed important and complex ideas to millions of readers. The volume recounts Fromm's political activism as a founder and major funder of Amnesty International, the National Committee for a Sane Nuclear Policy, and other peace groups. Consulting rare archival materials across the globe, Lawrence J. Friedman reveals Fromm's support for anti-Stalinist democratic movements in Central and Eastern Europe and his efforts to revitalize American democracy. For the first time, readers learn about Fromm's direct contact with high officials in the American government on matters of war and peace while accessing a deeper understanding of his conceptual differences with Freud, his rapport with Neo-Freudians like Karen Horney and Harry Stack Sullivan, and his association with innovative artists, public intellectuals, and world leaders. Friedman elucidates Fromm's key intellectual contributions, especially his innovative concept of "social character," in which social institutions and practices shape the inner psyche, and he clarifies Fromm's conception of love as an acquired skill. Taking full stock of the thinker's historical and global accomplishments, Friedman portrays a man of immense authenticity and spirituality who made life in the twentieth century more humane than it might have been. (shrink)

Trailblazing marine biologist, visionary conservationist, deep ecology philosopher, Edward F. Ricketts has reached legendary status in the California mythos. A true polymath and a thinker ahead of his time, Ricketts was a scientist who worked in passionate collaboration with many of his friends—artists, writers, and influential intellectual figures—including, perhaps most famously, John Steinbeck, who once said that Ricketts's mind “had no horizons.” This unprecedented collection, featuring previously unpublished pieces as well as others available for the first time in their (...) original form, reflects the wide scope of Ricketts’s scientific, philosophical, and literary interests during the years he lived and worked on Cannery Row in Monterey, California. These writings, which together illuminate the evolution of Ricketts’s unique, holistic approach to science, include “Verbatim transcription of notes on the Gulf of California trip,” the basic manuscript for Steinbeck’s and Ricketts’s _Log from the Sea of Cortez;_ the essays “The Philosophy of Breaking Through” and “A Spiritual Morphology of Poetry;” several shorter pieces on topics including collecting invertebrates and the impact of modernization on Mexican village life; and more. An engaging critical biography and a number of rare photographs offer a new and richly detailed view of Ricketts’s life. (shrink)

In this ambitious and innovative biography, Kaufmann deftly locates his subject within the historical and intellectual context of the radical social, political, and artistic movements in which he participated.

The Man Who Tapped the Secrets of the Universe (1946) by Glenn Clark is a work of biography and philosophy, exploring the life and ideas of the versatile artist, writer, and philosopher Walter Russell. New Thought writer and professor Glenn Clark (b. 1882, d. 1956) was a fervent believer in the power of prayer and the Light of God to reveal the secrets of the universe. As he explains in Chapter One: We Go Seeking, he had been searching "...for a (...) man who has discovered the universal law which lies back of the Sermon on the Mount, and who consciously uses that law with full awareness of its meaning, and full obedience to its principles." He believed that he had found that man in Walter Russell. Walter Russell (b. 1871, d. 1963) was a man who seemed preternaturally adept at everything he wished to try. After being removed from school at the age of nine and sent to work at a dry goods store, he worked a number of low-paying jobs. But he had "absolute faith...that anything can come to one who trusts to the unlimited help of the Universal Intelligence that is within so long as one works within the law and always gives more to others than they expect, and does it cheerfully and courteously." Throughout his life, he found success as a musician, painter, sculptor, writer, ice skater, philosopher, and lecturer. He was commissioned to sculpt a 28-figure Mark Twain Memorial just a few years after he began sculpting. And in 1943, President Franklin D. Roosevelt asked him to sculpt the Four Freedoms Monument. He designed several buildings in New York City and invented the cooperative ownership model (aka the co-op). And most of these pursuits were undertaken with no formal education. By the time Clark met with Russell, he had achieved success in his artistic, literary, architectural, physical, and even scientific pursuits. So when Clark was searching for a man who knew the secrets of the universe and was referred to Russell on more than one occasion, he knew that he had to meet him. Large portions of the book, particularly in the chapters We Meet the Man, We Meet the Man of Action, and The Five Laws of Success, are presented as an interview with Russell, giving us insight into his beliefs straight from the source. "Every successful man or great genius has three particular qualities in common," he says. "The most conspicuous of these is that they all produce a prodigious amount of work. The second is that they never know fatigue. And the third is that their minds grow more brilliant as they grow older, instead of less brilliant. Great men's lives begin at forty, where the mediocre man's life ends. The genius remains an ever-flowing fountain of creative achievement until the very last breath he draws." At the heart of Russell's philosophy is a belief that every man "has consummate genius within him. Some appear to have it more than others only because they are aware of it more than others are, and the awareness or unawareness of it is what makes each one of them into masters or holds them down to mediocrity..." To know that we have genius inside of us, and to have absolute faith in our inner voice and in the Universe, is to unlock that genius. Through the story of Russell's brilliant life and his Five Personal Laws of Success (humility, reverence, inspiration, deep purpose, and joy), the reader gets a plain-language example of genius-in-action. He demonstrated his great energy, lack of fatigue, and "ever-flowing fountain" of genius throughout his long life, maintaining his creativity until his death in 1963 at the age of 92. (shrink)

Theodor Adorno's Aesthetic Theory is a vast labyrinth that anyone interested in modern aesthetic theory must at some time enter. Because of his immense difficulty of the same order as Derrida - Adorno's reception has been slowed by the lack of a comprehensive and comprehensible account of the intentions of his aesthetics. This is the first book to put Aesthetic Theory into context and outline the main ideas and relevant debates, offering readers a valuable guide through this huge, difficult, but (...) revelatory work. Its extended argument is that, despite Adorno's assumptions of autonomism, cognitivism, and aesthetic modernism, his idea of artistic truth content offers crucial insights for contemporary philosophical aesthetics.The eleven chapters are divided into three parts: Context, Content, and Critique. The first part offers a brief biography, describes Adorno's debates with Benjamin, Brecht, and Lukács, and outlines his philosophical program. The second part is an interpretation of Adorno's aesthetics, examining how he situates art in society, production, politics, and history and uncovering the social, political, and historical dimensions of his idea of artistic truth. The third part evaluates Adorno's contribution by confronting it with the critiques of Peter Bürger, Frederic Jameson, and Albrecht Wellmer.Lambert Zuidervaart is Professor of Philosophy at Calvin College. (shrink)

This is a revised and enlarged version of Bryan Magee's widely praised study of Schopenhauer, the most comprehensive book on this great philosopher. It contains a brief biography of Schopenhauer, a systematic exposition of his thought, and a critical discussion of the problems to which itgives rise and of its influence on a wide range of thinkers and artists. For this new edition Magee has added three new chapters and made many minor revisions and corrections throughout. This new edition (...) will consolidate the book's standing as the definitive study of Schopenhauer. (shrink)

In early China, was it correct for a woman to disobey her father, contradict her husband, or shape the public policy of a son who ruled over a dynasty or state? According to the _Lienü zhuan_, or_ Categorized Biographies of Women_, it was not only appropriate but necessary for women to step in with wise counsel when fathers, husbands, or rulers strayed from the path of virtue. Compiled toward the end of the Former Han dynasty (202 BCE-9 CE) by Liu (...) Xiang (79-8 BCE), the _Lienü zhuan_ is the earliest extant book in the Chinese tradition solely devoted to the education of women. Far from providing a unified vision of women's roles, the text promotes a diverse and sometimes contradictory range of practices. At one extreme are exemplars resorting to suicide and self-mutilation as a means to preserve chastity and ritual orthodoxy. At the other are bold and outspoken women whose rhetorical mastery helps correct erring rulers, sons, and husbands. The text provides a fascinating overview of the representation of women's roles in early legends, formal speeches on statecraft, and highly fictionalized historical accounts during this foundational period of Chinese history. Over time, the biographies of women became a regular feature of dynastic and local histories and a vehicle for expressing and transmitting concerns about women's social, political, and domestic roles. The _Lienü zhuan_ is also rich in information about the daily life, rituals, and domestic concerns of early China. Inspired by its accounts, artists across the millennia have depicted its stories on screens, paintings, lacquer ware, murals, and stone relief sculpture, extending its reach to literate and illiterate audiences alike. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Manos HadjidakisThe Story of an Anarchic Youth and a "Magnus Eroticus"Yiannis MiralisThe name of Manos Hadjidakis is probably unknown to contemporary musicians and music educators. After all, the Greek composer achieved his international fame back in 1961 when he won an Oscar for his soundtrack of the movie, "Never on Sunday." Numerous other awards followed from England, France, Germany, and of course, Greece. After his six years in New (...) York City (1966-1972), the composer returned to Greece where he produced a wealth of diverse musical work and had a profound impact on every aspect of Greek cultural life.Through his radio lectures, the notes on the covers of his records, and his articles in a variety of magazines and newspapers, he expressed his often radical ideas without any fear, but with honesty and passion. His commentaries covered a wide variety of topics such as music, poetry, and the arts, politics and nationalism in art, music education, tradition and change, and the overall cultural problems and dilemmas of his time. The magnitude of his musical and artistic work is yet to be fully discovered and appreciated.In this paper, I will provide a biography of Manos Hadjidakis with a closer [End Page 43] examination and description of his multifaceted work. Through this attempt, a better understanding of who Hadjidakis was and the impact that he had on the musical and cultural life of modern-day Greece will emerge. I decided to use numerous direct quotes from Hadjidakis' books and interviews not only because he eloquently expresses his thoughts and ideas, but also because through these quotes one can get a clear sense of his humor, intellect, and personality. This paper may also serve as food for thought for music educators in and outside of Greece. I say this because much of his work and thought remains unknown to the general public, as well as to music performers and educators. Unfortunately, to some extent this is true even in his own home country of Greece. Even though Hadjidakis was not a music educator in the specific sense of the term, many of the things that he fought for and achieved in his life had an identifiable educational component in them. For example, before each of the performances of the Orchestra of Colors that he founded and conducted, Hadjidakis always gave elaborate lectures on the composers and on the works to be performed at the amphitheatre of the Medical School of the University of Athens. Overall, if we use the Oxford English Dictionary's definition of "education" as "culture or development of powers, formation of character, as contrasted with the imparting of mere knowledge or skill,"1 Hadjidakis can be regarded as a true educator and many of his ideas have a direct implication for music education and education in general. This is what I will examine in the second part of this paper, focusing especially on his ideas on Eros and the importance of song.Hadjidakis' ChildhoodHadjidakis was born on October 23, 1925 in the city of Xanthi in northern Greece. The city was thriving due to the local cultivation and sale of tobacco. His father was a tobacco merchant and his family was initially well off and able to pay for his piano lessons. After the death of his father in 1931, when Hadjidakis was only six years old, the family moved to Athens where he attended high school at nighttime, while working various jobs during the day.During World War II Hadjidakis became involved in a number of political organizations and simultaneously took lessons in diction in order to realize his dream of becoming an actor. However, because he had difficulty pronouncing the letter "r," he had to turn his attention and creativity away from acting and in a different direction. Additionally he received some formal training in classical music, but according to his own words,[m]y relationships with formal music studies were extremely similar to my relationships with dentists; I always approached them and always left them before the end of the treatment. When I was eighteen years old I gave up [End Page 44] music and I surrendered myself to poetry. When... (shrink)

Jean-Paul Sartre was one of the most important philosophers of the twentieth century. His influence extends beyond academic philosophy to areas as diverse as anti-colonial movements, youth culture, literary criticism, and artistic developments around the world. Beginning with an introduction and biography of Jean-Paul Sartre by Matthew Eshleman, 42 chapters by a team of international contributors cover all the major aspects of Sartre's thought in the following key areas: Sartre's philosophical and historical context Sartre and phenomenology Sartre, existentialism and ontology (...) Sartre and ethics Sartre and political theory Aesthetics, literature and biography Sartre's engagements with other thinkers. The Sartrean Mind is the most comprehensive collection on Sartre published to date. It is essential reading for students and researchers in philosophy, as well as for those in related disciplines where Sartre's work has continuing importance such as literature, French studies, and politics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Joanne Cutting-Gray HANNAH ARENDT'S RAHEL VARNHAGEN Hannah Arendt fled Nazi Germany in 1933, a year she called the end of Jewish history. She was 27 years old at the time and carried with her a manuscript that was later to become the peculiar biography of an eighteenth-century German-Jewish "pariah," Rahel Varnhagen (1771-1833). The Life of a fewish Woman, subtitle of the biography by Arendt, distills the largely unpublished Varnhagen (...) correspondence and marks the impact of that life upon German-Jewish history.1 Published more than "half a lifetime" later in 1957, it assays the politics of form in a highly unusual manner. By expunging all detail in order to analyze Varnhagen's introspection, Arendt implicitly questions selfhood as the form for identity and as the appropriate form for biography. She reveals that seeking to preserve the self determines the blank dumbness of an unnarratable life. Rahel Levin (Antonie Friederike Robert) Varnhagen, or simply "Rahel " as Arendt calls her, lived a life as complicated as her many names. The tortured relation she had to her identity, her insatiable preoccupation with self, reflects an effort to eradicate herJewishness by baptism and marriage and becomes a paradigm of a story about a woman lost to a sense of others and herself. Neither rich, cultivated, nor beautiful, Rahel lived her unhappiness fervently, with an ecstasy that made her appear to others as startlingly original. This helps to explain how she came to preside over the most important intellectual salon in Germany during the late eighteenth century. Princes, intellectuals, and artists flocked to her attic apartment, attracted by the impenetrable spectacle of her despair. Rahel's intensity pulled others into her orbit—including, one-hundred years later, the intense and self-absorbed Arendt at the beginning Philosophy and Literature, © 1991, 15: 229-245 230Philosophy and Literature of her university education.2 Each woman suffered the private failure of a love affair complicated by the broader, historical issue of racial identity that connected their lives. Prewar Nazi Germany taught Arendt what Varnhagen learned during the period of German-Jewish assimilation in the nineteenth century—"one does not escape Jewishness."3 It is no wonder that, in analogous moments of personal and civic upheaval, Rahel Varnhagen and Hannah Arendt "corresponded," the one by writing letters about her life, the other by giving that life to a world. Like Arendt, Varnhagen was unclassifiably exotic, an unattached, Jewish female seemingly without a history, aligned with no one and nothing. If"Jewishness" meant letting life "rain upon" her, Rahel Varnhagen let it strike her "like a storm without an umbrella." And like Arendt, she refused to hide the traits and talents of her personality under cover of morality and convention. Her letters are not self-congratulatory, for she never wittingly chose notoriety. Indeed, she spent much of her life trying to escape the stigma ofJewishness that marked her destiny. Notwithstanding the milieu of nineteenth-century German romanticism that drew the biographer toward her subject, various events surrounding the text make more compelling narratives than Varnhagen 's life: how the manuscript survived World War II, Arendt's emigration to the United States, and, especially, the public and private influence of Martin Heidegger.4 At the age of 18 (1925), Arendt had discovered Varnhagen during her brief love-affair with the 35-year-old philosophy professor at the University of Marburg. Though Heidegger would later call Arendt the "passion of his life" and inspiration for his work—he was writing Being and Time during that period—his brush with Nazism precipitated their breach. Since the Heidegger-Arendt correspondence remains closed, much about their youthful relationship and life-long intellectual affair remains a mystery open only to speculation. From Arendt's biographer, Elisabeth Young-Bruehl, we know that Varnhagen's story became a consolation to her in her sorrow, a means ofgiving significance to the ambiguities of a private relationship as it was caught up in public history.5 Certainly Heidegger's retreat from political events for the sake of thinking was as strong an influence on Arendt's political development as was Varnhagen's retreat from her Jewish destiny. Nonetheless, it would be a mistake to expect... (shrink)

This article draws on Claude Lévi-Strauss and Michel de Certeau’s theorizations of bricolage in order to explore Bernard Stiegler’s philosophical practice. Taking as its point of departure the elements of intellectual biography provided by Stiegler in Acting Out (2009), it explores his (re)deployment of existing philosophical concepts and the sedimentary nature of his own thought. The article then moves to consider the presence of concepts and practices of mystagogy in Taking Care of Youth and the Generations (2010), arguing that these (...) are a restaging of the dynamics of Acting Out on a collective, rather than an individual scale. Ultimately, the article turns to Stiegler’s late aesthetic writing to explore how his theorization of the roles of amateur and artist might point us towards the lineaments of his unfinished “mystagogy.”. (shrink)

Louis Jacques Mandé Daguerre was a true nineteenth-century visionary—a painter, printmaker, set designer, entrepreneur, inventor, and pioneer of photography. Though he was widely celebrated beyond his own lifetime for his invention of the daguerreotype, it was his origins as a theatrical designer and purveyor of visual entertainment that paved the way for Daguerre's emergence as one of the world's most iconic imagemakers. In Speculating Daguerre, Stephen C. Pinson reinterprets the story of the man and his time, painting a vivid picture (...) of Daguerre as an innovative artist and savvy impresario whose eventual fame as a photographer eclipsed everything that had come before. Drawing upon previously unpublished correspondence and unplumbed archival sources, Pinson mixes biography with an incisive study of Daguerre's wide-ranging involvement in visual culture. From his work as a commercial lithographer to his coinvention of the Paris Diorama—a theater in the round in which Daguerre employed natural light and special effects to simulate time and movement in large-scale paintings—here we are given access to Daguerre the artist, whose tireless experimentation, entrepreneurial spirit, and exceptional talent for popular spectacle helped to usher in a new visual age. Filled with more than one hundred illustrations and including the first complete catalogue of Daguerre's paintings, works on paper, and daguerreotypes to appear in print, the publication of Speculating Daguerre will be a much-heralded event for anyone with even a passing interest in one of the most fascinating characters in the history of photography. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bill Brandt: A LifeStuart Richmond, Professor of Arts EducationBill Brandt: A Life, by Paul Delany. Stanford California: Stanford University Press, 2004, 335 pp., $47.50 hardcover.From June to September 2003, Britain's famous art gallery, the Tate Modern, housed dramatically in a gigantic, renovated power station on the south bank of the Thames, held its first major photography exhibition, entitled Cruel and Tender after comments made by a critic to (...) describe the work of Walker Evans. The twenty-three artists in the show, including August Sander, Diane Arbus, Rineke Dijkkstra, William Eggleston, Walker Evans, Philip-Lorca diCorcia, and Thomas Ruff, were mainly Americans and Germans. Bill Brandt, who had a reputation as a documentary photographer, was not included. Writing in the catalogue, Tate director Nicholas Serota notes, "Cruel and Tender examines a form of documentary photography that keeps within the limits of the medium, stressing pure description.... Surrealist and Conceptual photography would fit more naturally into the programs and displays at the Tate, but the elusive and documentary qualities in straight photography challenge the traditions of the institution, by concentrating on a form of photography which explores the intrinsic aspects of the medium." In other words, "straight photography" serves as a kind of unemotional, uncreative narrative of ordinary life, avoiding drama, romanticism, sentimentality, deep coding, and, as far as possible, the expressive contributions of the artist. The relationship of photograph to reality, though problematic, is still interesting, according to the catalogue notes, and this contemporary work aims to inform us, literally, of the true essence, banal or otherwise, of our world. This approach acts implicitly to undermine the fake optimism of consumer capitalism.It will be useful to keep in mind this exhibition in considering the work of Brandt, for in the early 1980s Brandt was being lauded as Britain's greatest photographer, and he was nothing if not expressive. It was his métier to find the unusual in the everyday and to create meaning through careful staging and composition, drawing very much on his own personal outlook, aesthetic philosophy, and psychology. He believed all was permitted in photography, whether in the novel choice of lens, use of friends as models, or darkroom processing to achieve his vision. Rather than being a documentary photographer, at least in the purist sense of the Tate collection, he was more the poet ethnographer with a strong sense of the surreal. His was a vision that would be imposed on the world. After reading Paul Delany's excellent biography, it becomes clear why Brandt, all too soon, had become unfashionable in the eyes of the Tate organizers and contemporary photography at large. He is, nevertheless, an artist who can help us question the nature of reality while producing work that is often very complex and beautiful, and someone whose methods and ideas can serve as [End Page 118] a model of individual creative practice. The global interest in photography, the many significant exhibitions and books produced in the past decade, and the prices paid for photographs have by now lain to rest the old debate about whether photography is a genuine art form. As any serious photographer can attest, producing a photograph that has form, presence, and originality is dauntingly difficult, even though photography seems so easy. Everyone, today, has a camera. Yet, constantly fed with glitzy images from commerce and entertainment that direct our minds along certain well-worn grooves—a challenge for aesthetic education—budding artists require a certain strength of character and imagination to resist the literal and obvious and move toward a more authentic way of seeing. Delany's book shows how someone can defy fashion, as Brandt did for half a century, producing "pictorial" images layered with meaning and mystery. As an aside, despite the intent to show images that simply describe the world, some of the Tate pictures still manage, to my eye at least, to have their own ephemeral expressiveness, and at times great beauty, which raises the question, At what point does a document become a work of art? The Tate approach, with its strict theories, seems to be more interested in legislating than in exploring photographic practice.Biographies can... (shrink)

The love for Prophet Muhammad is one of the most frequently mentioned themes in both oral and written cultures. The love for Prophet Mohammad which is narrated in the scientific works related to the Prophet in Turkish literature also could be seen poetic and prose works by artists. Some of works include biographies (siyer) in which the Prophet’s biographies are mentioned eulogies (mevlit), miraç-name, which tells miraç event, (hilye) which describes the Prophet's physical and other attributes, and (naat) in (...) which the Prophet is praised. Through these works, the love for Prophet Muhammad who is the reason why the world is created is beautifully depicted and aimed to pass it on to future generations. This love, enduring for centuries in Islamic societies, has led to the Prophet to be as an mediator in the prayers by the humble servant to Allah. Because, in Islam, the belief that prayers addressed to Allah through the mediator of Prophet Muhammad, whom Allah has called "My Beloved" will be accepted is prevalent. This profound love for Prophet Muhammad, graved in the hearts, is considered a duty by individuals of all ages and all sections in Turkish society. The earliest examples of this emotion, expressed by poets who interpret the feelings of the people, can be found in Yûsuf Hâs Hâcib's Kutadgu Bilig. Later poets like Mevlânâ, Yunus Emre, Şeyyâd Hamza, and others continued to compose such poems. Furthermore the work known as Vesiletü’n-necât written by Süleyman Çelebî and read since the fifteenth century, commonly referred to as mevlit and seen as a top one for the love of Prophet among the public, is one of the most significant works addressing this theme. Poets such as Ahmed Paşa, Fuzûlî, Nâbî, and Şeyh Gâlib in Turkish literature have also portrayed the love for Prophet Muhammad in their works in the best style. Some of these poets, expressing their love for the Prophet from different perspectives, have been individuals who could not visit the sacred places due to financial difficulties. The desperate and intense longing for Prophet has been conveyed to writing yearning for the Prophet. The example of an arzuhâl discussed in this study illustrates this aspect of the abovementioned. Arzuhâls, written in the form of petitions describing a need or request in the sources, are texts. However, if it is taken into account spiritually, they are the texts where various wishes and prayers are asked by Allah and sometimes the prophets are used as messenger. These writings include both worldly and spiritual desires. Following to these prayer texts, they are sent to sacred partsthose going to Hajj and Umrah. These prayers sometimes are written by an expert or the needy ones sincerely. They are left at sacred places like the Kaaba, the station of Prophet Ibrahim or the burial place of Prophet Muhammad, with the belief that they will be accepted. It is still known that in some regions of Anatolia, many traditions have persisted from the past to the present day. One such region where the tradition of writing arzuhâls is still alive is the town of Palu in Elazığ. The poem presented in this study, a poetic example of arzuhâl, was written by Molla Muhammed Ali, a poet, scholar, and calligrapher living in the Beyhan town of Palu. This poem portrays the imploring and entratings of an desperate individual who wishes to visit the Prophet's grave with in the profound love for Prophet Muhammad. The poem is written in an eight-syllable meter and consists of 20 quatrains. Throughout the poem, the desire to see the Prophet's grave has been narrated and the despair over not reaching to sacred places has been discussed. Therefore the characteristics of a desperate lover are evident in the poem. This lyrical text is written in a simple and fluent style. It is noteworthy that in the last quarter of the twentieth century, the love for Prophet Muhammad is expressed in Ottoman Turkish. The poem presenting a rich appearence with various types of words and literary devices does not make the reader feel bored.In the introduction of the study brief information about Prophet Muhammad is provided. Subsequently, various examples of the love for Prophet Muhammad in Turkish literature are presented to the reader. In the first part the analysis of the poem has been carried out and the second part includes the translation of the poem. The original text of the poem has taken place at the end of the study. With the analyzed poetic arzuhâl it has been aimed not only to preserve the tradition but also to contribute to our written and oral culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 84-93 [Access article in PDF] Arthur Wesley Dow's Address in Kyoto, Japan (1903) Researchers concerned with the historical development of American art education cannot help but acknowledge Arthur Wesley Dow's significant contribution to the field. Although many writers have recognized him as one of greatest figures in art education, 1 it was not until the end of the twentieth century that art (...) historians discovered his impact on the early development of modernist American art.Several exhibitions of Dow's work have been shown recently, most notably: "Arthur Wesley Dow and American Art and Crafts," in Stanford, Chicago, and Fort Dodge, Iowa (1999 and 2000) and "Harmony of Reflected Light: The Photographs of Arthur Wesley Dow," at the New Mexico Museum of Fine Arts (2001). 2 In addition, two galleries in New York showed exhibitions of Dow's work in 1999 and 2000, respectively. These exhibitions indicate a rediscovery of Dow's work and his role, as well as a wider interest in the integral aspects of modernism in American artworks.Joseph Masheck recognized Dow's post-impressionistic aesthetic of flat surface design as influential on modernism in painting and the graphic arts. 3 Nancy Green sees Dow as "one of the first Western artists who did not simply imitate Japanese art, but who actually used the traditional Japanese woodcut techniques to create modernist prints." 4 Leah Ollman writes, "Those who credit Dow as a conduit to American modernism see his traces everywhere" because "Dow is revealed at the end of the rainbow, as the common ancestor" who spread his theory and practice of art and art education. 5 James Enyeart states that Dow can now receive appropriate critical assessment of his work as a photographer and his impact on pictorial and modernist photography. 6 [End Page 84]Dow is one of the few Americans whose work in the field of art and art education was influenced by Japanese traditional art. He came to Japan in October 1903 and spent three months in Japan, including six weeks in Tokyo and a month in Kyoto. His address in Kyoto in mid-December of that year has been mentioned in biographical studies. 7 However, a detailed account of what Dow said to the Japanese public has previously been unknown due to lack of a historical source.Contemporary Japanese newspaper articles are the primary source for the contents of this address. The purpose of this essay is to translate these source materials into English, providing a definitive description to encourage further research on Dow as an outstanding artist and educator. This essay describes his activity in Japan, provides useful primary sources about his address, and discusses the content of the address. Implications for a cross-cultural interpretation are discussed in the concluding remarks. Dow in Japan Dow was born in Ipswich, Massachusetts on April 6, 1857. He studied art in Boston and Paris, and exhibited his paintings at Salon, in Paris from 1886-1887. He established his summer school of art in Ipswich (1891-1907) and became the curator of Japanese art at the Boston Museum of Fine Arts in1897. He was an instructor of art at the Pratt Institute in Brooklyn from 1895-1904; taught composition at the Art Student's League in New York from 1897-1903; and served as a professor and the director of fine arts at Teachers College, Columbia University from 1904-1922. 8 Dow first studied Japanese art at the Boston Museum of Fine Arts under the direction of Ernest Fenollosa, and then during his residence in Japan.Arthur Johnson's 1934 biography provides the most detailed description of Dow's life and works. 9 In fact, "every subsequent publication about Dow has relied on this biographical information, and in some cases Dow's aesthetic sources, contained in Johnson's short text of about one hundred pages." 10 According to Johnson, Dow kept a careful day-by-day record during these months, and to read these notebooks, some six in number, is to see the world through the eyes... (shrink)

A rich intellectual encounter, revolving around the hands of the experimenter and those of the artist, highlighting the relation between the sciences and the arts. This book is the first to explore in detail the encounter between Albert Flocon and Gaston Bachelard in postwar Paris. Bachelard was a philosopher and historian of science who was also involved in literary studies and poetics. Flocon was a student of the Bauhaus in Dessau, Germany, who specialized in copper engraving. Both deeply ingrained in (...) the surrealist avant-garde movements, each acted at the frontiers of their respective métiers in exploring uncharted territory. Bachelard experienced the sciences of his time as constantly undergoing radical changes, and he wanted to create a historical epistemology that would live up to this experience. He saw the elementary gesture of the copper engraver—the hand of the engraver—as meeting the challenge of resistant and resilient matter in an exemplary fashion. Flocon was fascinated by Bachelard’s unconventional approach to the sciences and his poetics. Together, their relationship interrogated and celebrated the interplay of hand and matter as it occurs in poetic writing, in the art of engraving, and in scientific experimentation. In the form of a double biography, Hans-Jörg Rheinberger succeeds in writing a lucid intellectual history and at the same time presents a fascinating illustrated reading of Flocon’s copper engravings. Hans-Jörg Rheinberger is Director Emeritus at the Max Planck Institute for the History of Science, Germany. Kate Sturge is a translator and editor based in Berlin, Germany, and Visiting Senior Lecturer in Translation Studies at Aston University, United Kingdom. (shrink)

The charge that a particular critical remark is “irrelevant” to its object is one of the most frequently heard in discussion and debate among critics. Frequently heard because frequently true: there has never been a shortage of criticism which aimlessly relates the work to the artist’s biography, or invokes inappropriate artistic standards, or employs pointless historical speculation, or describes the critic’s own foggy reveries to misdirect our attention and obscure the essential significance of the object before us. But even if (...) we grant that there is no limit on ways to go wrong in criticism, the question remains whether it might be possible at least to isolate areas of traditional critical discourse or general kinds of critical remark which could be ruled out as ever having a proper place in the effort to enhance our understanding of works of art. This is part of the concern to find a correct method for doing criticism, a concern which, as the central issue in talk about talk about art, has generated more controversy than any single commentator might hope to gloss. Nevertheless there is a certain seldom noticed characteristic inherent in the very concept of a method which is necessarily shared by all attempts to formulate methods of criticism. Its recognition will enable us to discern important features intrinsic to both objects of art and critical discourse which serve to distinguish these from ordinary objects and other types of discourse. (shrink)