Die Gedanken des folgenden Vortrags wurden erstmals am 11. November 1981 im Otto-Braun-Saal der Staatsbibliothek Preu6ischer Kulturbesitz in Berlin vorge­ tragen. Mit diesem Vortrag wurde eine Ausstellung eroffnet, in der die Staatsbiblio­ thek Preu6ischer Kulturbesitz Berlin zusammen mit dem Goethe-Museum Dussel­ dorf (Anton-und-Katharina-Kippenberg-Stiftung) und dem Hegel-Archiv der Ruhr-Universitat Bochum im Rahmen des sog. "Preu6en-Jahres" des 150. Todes­ 1 tages Hegels gedachte. Der Vortrag wurde in erweiterter und veranderter Form in der Rheinisch-Westfalischen Akademie der Wissenschaften am 20. Januar 1982 (...) gehalten - am Tage der Eroffnung der genannten Ausstellung im Goethe-Museum Dusseldorf. An der Diskussion beteiligten sich die Herren Walter Biemel, Heinz Gollwitzer, Walter Hinck, Georg Kauffmann, Clemens Menze, Detlef Muller, Klaus Wolfgang Niemoller, Ernst Vollrath. Die Diskussionsbeitrage brachten wichtige Prazisierungen, die ich aufzunehmen suche; zum Teil fuhrten die Erorte­ rungen aber auch zu F ragestellungen, deren Themen uber den Vortrag weit hinaus­ gehen und der Ausarbeitung bedurfen - zur Frage nach dem Verhaltnis zwischen Hegel und dem Kunsthistoriker Rumohr, nach der Wirkung Wilhelms von Hum­ boldt und der Hegelianer auf padagogischem Feld, nach dem Verhaltnis zwischen Preu6en und dem Reich im spateren 19. Jahrhundert, nach den kulturpolitischen Bemuhungen von heute. Ich habe zuerst versucht, diesen Vortrag weiter auszuarbeiten, dabei genaue Belege fur das Dargestellte zu geben und auch die vorliegende Literatur aufzuarbei­ ten. Diesen Versuch habe ich schlie61ich aufgegeben. (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the (...) summer of 2000, evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

Accompanying an exhibition organized by the Whitney Museum of American Art, New York, this book is the most comprehensive catalogue on the work of this internationally recognized architectural firm.

1891. The recovered manuscript of Aristotle's Constitutional History of Athens, now for the first time given to the world from the unique text in the British...

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

Museums are key cultural loci of our times. They are symbols and sites for the playing out of social relations of identity and difference, knowledge and power, theory and representation. These are issues at the heart of contemporary anthropology, sociology and cultural studies. This volume brings together original contributions from international scholars to show how social and cultural theory can bring new insight to debate about museums. Analytical perspectives on the museum are drawn from the anthropology and sociology of (...) globalization, time, space and consumption, as well as from feminism, psychoanalysis, experimental ethnography and literary theory. These perspectives are brought to bear on questions of museums' changing role and position in the representation of the nation-state, of community, and of gender, class and ethnicity. The examples in this book are drawn from different kinds of museum around the world, and include significant controversial and experimental exhibitions; the Enola Gay at the Smithsonian; feminist exhibitions in Scandinavia; the National Museum of Sri Lanka; Victorian art at the Tate; the representation of race at Colonial Williamsburg and of colonialism and identity in Canada. (shrink)

During the past thirty years, museums of all kinds have tried to become more responsive to the interests of a diverse public. With exhibitions becoming people-centered, idea-oriented, and contextualized, the boundaries between museums and the “real” world are eroding. Setting the transition from object-centered to story-centered exhibitions in a philosophical framework, Hilde S. Hein contends that glorifying the museum experience at the expense of objects deflects the museum's educative, ethical, and aesthetic roles. Referring to institutions ranging from art (...) museums to theme parks, she shows how deployment has replaced amassing as a goal and discusses how museums now actively shape and create values. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make (...) a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

Nature's palace, which is truly glorious in its sophistication, its splendour, and its firm construction, has attracted the eyes of all who are thirsty for knowledge to such an extent that they can scarcely turn away. But to penetrate into this shrine has been granted only to a few. Those, who have proved themselves worthy through much experience, are let into the anteroom, but the most sacred objects are kept as costly treasures in the inner chambers.1.

Quine claims that a) considering meaning as a separate object leads to mentalism and b) to overcome mentalism we have to accept an empirical analysis. The paper shows that a) is wrong and not accepting mentalism we can apply a logical, i.e., not empirical approach.

"We are curious about our social behavior in a post COVID-19 future. A future where the social can’t be taken for granted; a future where we humans hope to reclaim some sense of control over the world currently ruled by a virus.".

이 논문은 상박초간 『주역』 감괘(欽卦)를 중심으로 중국고대 점복문화를 살펴보고 이를 바탕으로 점서였던 『주역』의 경문을 유가가 어떻게 유가 윤리로 만들어갔는가를 밝히고자 하는 것이다. 상박초간 『주역』 감괘는 현행본의 함괘(咸卦)에 해당하며 ‘감(感)’의 뜻으로, 괘 전체의 주제는 남녀 간의 육체적 사랑과 결혼이다. 청화간(淸華簡) 『서법(筮法)』 등 고대의 점술에 남녀 간의 결혼을 점친 예는 상당히 많은데 이런 자료들도 감괘가 단순히 사랑과 결혼에 대한 점술이었다는 것을 증명한다. 상박초간 『주역』과 마왕퇴백서 『주역』의 감괘 효사 및 현행본 함괘 효사를 비교분석해보면 상박초간본 → 마왕퇴본 → 현행본으로 변해가는 모습을 찾아볼 수 있다. (...) 이는 『주역』 텍스트가 많은 변화를 거쳐 현재의 모습으로 이루어졌음을 보여주는 증거다. 한편 『순자』 「대략(大略)」편, 현행본 『주역』 「단전(彖傳)」은 함괘의 주제를 남녀 간의 사랑과 결혼에서 추상화하여 부부의 도, 나아가 음양 ‘이기(二氣)’의 철학으로 확대한다. 이러한 확대는 결국 자연철학 방면으로는 세계, 우주를 구성하는 ‘이기’의 감응에 의한 만물생성론을, 인간사회 방면으로는 성인의 감화를 통한 천하화평을 주장하는 데에까지 나아간다. 「서괘전」도 함괘를 ‘부부의 도리’로 보고 이에 기초하여 부자, 군신, 상하, 예의로까지 확대시킨다. 「서괘전」이 함괘를 서술할 때 ‘남녀’가 아닌 ‘하늘과 땅’으로 시작하고 있는 것은 「단전」의 논의를 바탕에 두고 있기 때문이다. 이처럼 우주적 질서에서 시작하여 인간의 예의로 귀결을 맺는 것은 철저한 유가적 사유로, 따라서 「서괘전」이 만들어진 시점에서 『주역』의 유교경전화는 이미 완성되어 있었다고 생각된다. (shrink)

The man in a Thracian outfit represented on a hydria in London as eating a dead child has been interpreted either as a Titan with Zagreus or Lycurgus with his son. Neither of these interpretations seems plausible, especially in light of our present knowledge about sacrificial rules. As I argue, the image is more likely to be inspired by a story dramatized in the Lycurgeia of Aeschylus, in which an advent of Dionysus to the country ruled by Lycurgus caused an (...) epidemic of cannibalism. With much likelihood, this motif was also present in a passage — unfortunately only partially preserved — in Nonnus’ Dionysiaca (21.117–123). This mythical crisis was subsequently solved by Orpheus, which seems clear from passages in Aristophanes, Horace and Themistius, who allude to a rationalized version of this story. (shrink)

With B. M. Pap. 273 , which consists of a number of fragments from a papyrus book containing an unknown epic on the subject of Dionysus and his Indian expedition, is bound up a small fragment, evidently by a different hand. This I have recently identified as from the Phaenomena of Aratus; and I therefore publish it here. Apparently no papyrus fragment of this poem has yet been discovered; there is, however, at Berlin a portion of a commentary on Aratus, (...) which has been published by Maass in his Commentariorum in Aratum Reliquiae, Berlin, 1898, pp. 556–558. (shrink)