Deux lignes caractérisent l’exégèse médiévale de la Bible : elle s’inscrit dans une tradition de réception de la Parole divine, elle considère sa lecture comme un progrès infini. Les Pères représentent le fondement de cette tradition exégétique. Peut-être plus, même : ayant aussi bénéficié de l’inspiration, ils font partie eux-mêmes d’une Écriture sacrée, qui dépasse le canon des textes bibliques. On étudie donc ici, notamment à travers un texte d’Henri de Gand, cette notion des Pères comme sacra Scriptura. Puis on (...) note que certains ouvrages ont joué un rôle déterminant – aux Pères s’ajoutent des auteurs du haut Moyen Âge et même du xii e siècle. L’une des manifestations les plus claires de cette présence est le commentaire anthologique, qui fleurit dans le haut Moyen Âge, mais se poursuit au moins jusqu’à la Catena aurea de Thomas d’Aquin. L’utilisation des Pères est multiple : on ne craint pas d’opposer leurs vues, notamment dans la questio, on recherche aussi dans leurs œuvres des traces des traductions anté-hiéronymiennes. (shrink)

Le present livre propose l'etude de la constitution, durant le haut Moyen Age latin, d'une position philosophique: le realisme de l'immanence a propos des universaux. Cette position est fondee sur la conviction qu'il existe, dans le monde qui nous entoure, certes des individus particuliers - ce tilleul, cette tortue -, mais aussi des entites universelles. Ces entites n'existent pas separees des individus, mais integralement realisees en eux, sans variation ni degre. Cet engagement philosophique resulte d'une exegese des Categories d'Aristote, (...) reinterpretees selon des philosophemes issus de la pensee de Porphyre. La genealogie de cette position est ici retracee en abordant successivement ses sources tant grecques que latines et ses ancetres patristiques (avant tout Gregoire de Nysse), puis son elaboration conceptuelle durant les premiers siecles du Moyen Age latin jusqu'a la critique qu'en donnera Pierre Abelard, et ce, par l'analyse de l'ontologie des quatre philosophes qui l'ont soutenue: Jean Scot Erigene, Anselme de Canterbury, Odon de Cambrai et Guillaume de Champeaux. Ce parcours permet de dessiner les contours d'un projet philosophique: comprendre, analyser et decrire le monde sensible au moyen des concepts issus de la logique aristotelicienne. (shrink)

Les correctoires sont des recueils de notes critiques sur le texte (latin) de la Vulgate. Est donné comme exemple le correctoire Sorbonne II (ms. BnF lat. 15554, seconde partie) sur Osée. On y perçoit la richesse des sources (texte massorétique, vieilles latines et manuscrits de la Vulgate, Pères de l’Église, autres correctoires) et on a un exemple de la méthode : les auteurs comparent les textes de leurs bibles au texte massorétique pour déterminer les interpolations, les omissions et les modifications (...) ; ils sont attentifs aux questions de ponctuation. (shrink)

The Hebrew text of the Old Testament contains ten references to female deer (does or hinds). St Jerome’s Latin translation retained only three of them: those associated with giving birth to a fawn (Job 39:1; Proverbs 5:19; and Jeremiah 14:5). Following Bede’s Commentaries, medieval theologians used the verse in Proverbs as a basis for Marian, ecclesial and marital analogies. Thus, the hind became a model for maternity. This approach peaked in the twelfth century alongside the growth of the cult of (...) the Virgin. Simultaneously, a second exegetic tradition (based on the writings of St Gregory) read Job’s pain and the hinds in labour referred to by Jeremiah as the sorrow of preachers and apostles. This surprising association of a female animal with male characters reveals a fluid gender construct in medieval times. Finally, the evolution of the hind-Christ analogy, in both text and image, allows us to see how, by the end of the Middle Ages, these animals were losing their ambivalence and becoming more “feminine”. (shrink)

Cet article a pour objet l’étude des commentaires médiévaux de l’épître à Philémon. Après avoir examiné la place de l’épître dans les bibles médiévales, avec ses prologues et ses divisions, puis la traduction latine de la Vulgate et l’histoire du texte, à travers surtout les notes critiques des correctoires, on envisage les prologues des commentaires puis les techniques d’exégèse : divisio textus, étude sémantique, analyse rhétorique, distinctiones et quaestiones. L’étude thématique se limite aux éléments historiques et au traitement du problème (...) de l’esclavage. En annexe, on trouvera la liste des commentaires utilisés, les textes des correctoires sur Philémon et les textes des prologues. (shrink)

Le lecteur moderne demeure dérouté par les ekphraseis de bâtiments des textes byzantins. Il est en effet difficile de les considérer comme des sources pour l'archéologie ou l'Histoire de l'art, et la recherche tend à leur égard à adopter deux approches : l'une, plutôt liée à l'Histoire et à l'Histoire de l'art, s'emploie à retrouver des éléments réels de bâtiments ou d'œuvres d'art dans ces textes ; l'autre, plutôt philologique, cherche à considérer ces textes en eux-mêmes pour leur valeur littéraire. (...) Serait-il cependant possible de chercher une voie médiane? Une voie qui accepterait qu'une part de l'étrangeté de ces textes, nécessairement due à la langue et à l'époque, le soit également parce que l'expérience de lecture entre Moyen Âge et époque moderne a radicalement changé. Il manquerait au lecteur moderne, non l'imagination, mais les mécanismes et les résultats de l'imagination médiévale. Les échos lexicaux et thématiques qui balisent le texte et qui en dessinent l'architecture en seraient la clef aboutiraient à un texte en 3D, c'est-à-dire une projection mentale de l'objet décrit non pas comme simple image donnée par l'information contenue dans le texte, mais comme image construite par la composition du discours. Ainsi, au fur et à mesure qu'un auteur décrit un bâtiment, le texte le construit en mots et in fine en a épousé la forme. (shrink)

Les exégètes médiévaux ont-ils une attitude particulière à l’égard des récits de la Bible que nous faisons aujourd’hui entrer dans la catégorie du « mythe »? On voudrait répondre à cette question à partir de l’étude des généalogies des chapitres 4 et 5 de la Genèse dans les commentaires composés entre le xii e et le xiv e siècles en Occident. Celles du chapitre 4 (v. 17-22) sont considérées comme un mythe sur les origines de la culture – la vie (...) pastorale, le travail des métaux, la musique, le tissage –, celles du chapitre 5 posent des problèmes divers, notamment du fait de la longueur de la vie des personnages nommés. Il semble que les commentateurs du Moyen Âge soient moins sensibles à la dimension « historique » de ces textes qu’aux enseignements que nous pouvons en tirer sur les fondements de la conduite humaine. L’analyse qu’ils font des structures de ces textes (utilisant notamment la valeur symbolique attachée aux nombres et mettant en relief les différences d’agencement) et les applications tropologiques qu’ils en tirent, puisznt dans l’Écriture sainte les enseignements d’une Parole adressée en permanence à l’homme, permettent de constater que les procédures qu’ils mettent en œuvre sont proches de celles d’une certaine analyse des mythes aujourd’hui. (shrink)

Cette contribution s’intéresse à la position problématique des arts mécaniques dans les systèmes médiévaux du savoir. Remplaçant la position secondaire assignée aux arts mécaniques du début du Moyen Âge, les solutions proposées par Hugues de Saint-Victor et Gundissalinus eurent une influence forte durant le XIIIe s. Alors que l’intégration des arts mécaniques dans le système de connaissance de Saint-Victor trahit leurs positions encore accessoires vis-à-vis de la considération des arts libéraux, Gundissalinus propose deux principales nouveautés. D’un côté il place (...) les arts mécaniques aux côtés de l’alchimie et des arts de prédiction et de magie. D’un autre côté cependant, utilisant la théorie avancée par Avicenne, il subordonne ces « sciences naturelles » à la philosophie naturelle elle-même, établissant ainsi une architecture du savoir plus vaste et plus organisée hiérarchiquement. Notre contribution examine les implications découlant de ces développements ainsi que leur réception à Paris durant le XIIIe s., soulignant la pertinence des solutions proposées par Gundissalinus dans les discussions qui ont suivi, concernant la structure de la connaissance humaine. (shrink)

La periode universitaire du Moyen Age se caracterise par un veritable renouveau des formes de production de la pensee: nouvelles sources, nouvelle organisation du savoir, nouvelles theories de l'exegese mais egalement nouvelles pratiques interpretatives. L'ambition de ce livre est double: mettre au jour de maniere unitaire la pratique hermeneutique de l'ensemble de l'oeuvre de Thomas d'Aquin, et proposer par ce biais une methodologie pour optimiser l'etude de cette pratique chez d'autres auteurs de la meme epoque. A cet effet, l'ouvrage (...) propose une analyse systematique de la locution intentio auctoris a partir d'un corpus de pres de sept cent unites textuelles. La portee interpretative de ce syntagme est ici a la fois definie et mise a l'epreuve en vue d'en faire un veritable outil pour les etudes hermeneutiques. L'esquisse lexicale de cette locution, le decodage des criteres de lecture mis en place par Thomas d'Aquin et la determination du caractere juste d'un texte seront les etapes cle de ce parcours. La periode universitaire du Moyen Age se caracterise par un veritable renouveau des formes de production de la pensee: nouvelles sources, nouvelle organisation du savoir, nouvelles theories de l'exegese mais egalement nouvelles pratiques interpretatives. L'ambition de ce livre est double: mettre au jour de maniere unitaire la pratique hermeneutique de l'ensemble de l'oeuvre de Thomas d'Aquin, et proposer par ce biais une methodologie pour optimiser l'etude de cette pratique chez d'autres auteurs de la meme epoque. A cet effet, l'ouvrage propose une analyse systematique de la locution intentio auctoris... partir d'un corpus de pres de sept cent unites textuelles. La portee interpretative de ce syntagme est ici... la fois definie et mise... l'epreuve en vue d'en faire un veritable outil pour les etudes hermeneutiques. L'esquisse lexicale de cette locution, le decodage des criteres de lecture mis en place par Thomas d'Aquin et la determination du caractere juste d'un texte seront les etapes cle de ce parcours. (shrink)

Representations of monsters and the monstrous are common in medieval art and architecture, from the grotesques in the borders of illuminated manuscripts to the symbol of the "green man", widespread in churches and cathedrals. These mysterious depictions are frequently interpreted as embodying or mitigating the fears symptomatic of a "dark age". This book, however, considers an alternative scenario: in what ways did monsters in twelfth-century sculpture help audiences envision, perhaps even achieve, various ambitions? Using examples of Romanesque sculpture from across (...) Europe, with a focus on France and northern Portugal, the author suggests that medieval representations of monsters could service ideals, whether intellectual, political, religious, and social, even as they could simultaneously articulate fears; he argues that their material presence energizes works of art in paradoxical, even contradictory ways. In this way, Romanesque monsters resist containment within modern interpretive categories and offer testimony to the density and nuance of the medieval imagination. (shrink)

Les commentateurs latins ont rencontré pour la première fois le « Troisième homme » d’Aristote dans le chapitre vingt-deux des Sophistici elenchi. Cette rencontre illustre bien à la fois leur respect de la lettre et la radicalité de certaines de leurs innovations. Influencée par la traduction de Boèce, leur exégèse de l’argument a tenu compte de l’ensemble des indications du texte tout en lui conférant une tournure inédite.

En 2011, le médiéviste américain Karl Steel publiait l’ouvrage issu de sa thèse soutenue quatre ans plus tôt. Dans How to Make a Human: animals and violence in the Middle Ages, l’auteur cherchait à montrer, à partir de sources variées et dans un cadre théorique clairement défini comme étant celui de la French Theory, que la catégorie de l’humain au Moyen Âge, loin d’être acquise, devait continuellement être (ré)affirmée par l’exercice d’une violence physiqu...

Cet article propose une reconstitution de la séquence stratigraphique, céramique et architecturale pour la période néopalatiale dans le Secteur Pi de Malia, un établissement majeur de l’Âge du Bronze sur la côte nord‑est de la Crète. Débutée en 2005, l’exploration de ce secteur visait à mieux appréhender le développement de la ville minoenne au cours de la période des Seconds Palais minoens (ca. 1700-1425 av. J.‑C.). L’imprécision de la séquence stratigraphique et céramique sur le site de Malia est devenue d’autant (...) plus évidente ces dernières années que plusieurs publications importantes portant sur d’autres établissements crétois ont proposé une définition plus fine des phases du Minoen Moyen (MM) III et du Minoen Récent (MR) I sur ces sites. Le programme de recherche sur le bâtiment Pi a permis d’identifier cinq phases stratigraphiques et de renouveler la séquence céramique, invitant à construire un nouveau scénario pour le développement de la ville néopalatiale. Cet article détaille ainsi l’état actuel de nos connaissances sur l’occupation néopalatiale du bâtiment Pi et présente les structures et dépôts qui y ont été mis au jour depuis les niveaux du MM IIIA jusqu’à son abandon au MR IA. Cette étude met en exergue les preuves importantes de l’occupation de cette zone de la ville au cours du MM III – une période particulièrement mal connue à Malia – et de deux sous-phases dans l’occupation du bâtiment Pi au MM III. En outre, une majorité du matériel néopalatial collecté au sein du bâtiment Pi provient d’épais remblais datés du MR IA avancé, suggérant qu’une destruction de grande ampleur a alors touché le site, en totalité ou en partie. Ces nouveaux résultats permettent de réévaluer la temporalité et la séquence des principales destructions et reconstructions qui ont ponctué l’histoire néopalatiale d’une des plus importantes villes minoennes. (shrink)

Two Reasons to Study Ancient Greek Philosophy Ancient Greek philosophy began with Thales, who correctly predicted an eclipse that occurred in 585 BCE, and culminated in the monumental works of Aristotle, who died in 322.1 (Unless otherwise noted, all dates in this book are BCE.) The simple fact that these thinkers lived over 2,000 years ago should provoke a question: in the age of the microchip and the engineered gene, why bother with them? One good answer immediately springs to mind: (...) to become educated. The Greeks were the intellectual ancestors of western culture. They laid the foundations for all future developments in the natural sciences, medicine, mathematics, history, architecture, sculpture, tragic and comic drama, lyric and epic poetry, as well as philosophy. To the extent that one must know one's heritage in order to know oneself, it is imperative to study the ancient Greeks. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 513-516 [Access article in PDF] Deborah Tarn Steiner. Images in Mind: Statues in Archaic and Classical Greek Literature and Thought. Princeton: Princeton University Press, 2001. xviii + 360 pp. 28 black-and-white figures. Cloth, $39.50. The production of sculpture in metal, stone, and other materials was a craft that virtually disappeared from the Greek world for several centuries after the end of the Bronze (...) Age. Small, solid cast bronze figurines reappeared in the ninth century B.C.E., but it was not until the middle seventh century that the first large-scale stone statues of women and men were created. From that point on, freestanding and architectural sculpture played a central role in Greek society and its artistic expression. While the stylistic evolution of Greek sculpture has been traced many times, in this provocative and ambitious book, Deborah Steiner sets out to examine, from a literary standpoint, "how archaic and classical Greek poets, philosophers, dramatists, and historians introduce statues as cognitive and hermeneutic devices in their texts" (xi). The investigation leads her to analyze what the statues "looked like, how they functioned," and "what they were credited with doing." The resulting book "aims to tell two stories, one about objects, the other about texts, and to show how each proves crucial to the other." The examination is somewhat lopsided, since the intellectual use of the visual material is given far greater emphasis than the statues themselves.The book is divided into five lengthy chapters and an epilogue. The first chapter, "Replacement and Replication," focuses on the physical resemblance of statues to people but not their inner natures. Chapter 2, "Inside and Out," examines, instead, the ways that a statue's exterior can relate more or less exactly to its inner truth. Chapter 3, "The Quick and the Dead," suggests that statues, by their very inertia, closely resemble the dead and therefore mediate in our imagination between the two states. Statues as erotic (or anti-erotic) art objects form the subject of chapter 4, "For Love of a Statue." The fifth and final chapter, "The Image in the Text," returns to the literary relation of sculpture to the production of memory: the similarity between victory odes and victors' statues, funerary epigrams and monuments, and the creation and regulation (on both the social and political levels) of honorary statuary and decrees. The retrospective epilogue is followed by twenty-eight black-and-white illustrations: Most of them depict well-known pieces of sculpture, but there are also several photographs of vase paintings and one of a drachma.In all the chapters, Steiner continually draws attention to the multivalent aspects of statues. The Greeks developed and applied a large and nuanced vocabulary to describe different types of image that embody differences only [End Page 513] poorly translated by our term, "statue": agalma, eidolon, eikon, kolossos, xoanon, and sema. Most of these have provoked extended discussion among modern scholars. The functions that statues played are even more diverse: they could serve as replacements for the absent or deceased individual, as votive offerings, as cult images, as commemorative monuments, as apotropaic devices, as protective symbols, as minatory agents, and occasionally as deadly entities (some statues could madden their viewer and even kill those who abused them or their creators by toppling over). They were also focusing devices that could evoke a wide range of emotional responses, from pity to lust. As exempla they served to instruct, and some could speak with their own voices, sometimes comically (e.g., the herms in Attic comedy) or poignantly through the words inscribed on their bases (e.g., the famous lines of Phrasikleia, the dead maiden who will never be a bride). The repeated use of the first person by funerary figures is particularly evocative. The inscriptions on other figures (like the very early Mantiklos Apollo statuette) make it clear that images could serve as bargaining chips with the gods for past services rendered or debts owed for the future.Other statues defy simple categorization—the Athena Parthenos, for example... (shrink)

Les etudes ici rassemblees sont consacrees pour l'essentiel a l'aristotelisme. L'aristotelisme, c'est d'abord Aristote. Une bonne moitie de ces etudes est consacree a l'exegese de textes d'Aristote souvent envisages dans leur litteralite. On y trouve non un systeme, mais un essai de totalisation in statu nascendi; non pas un essai de solution de problemes qui se poseraient dans on ne sait quel ciel intelligible, mais une recherche, une interrogation suscitee par l'experience d'un homme vivant parmi d'autres hommes au IVe siecle (...) av. J.-C. et qui avait assimile tout le savoir de son temps. La formulation de ces problemes est parfois historiquement datee, mais a travers elle et ses particularites se dessine une argumentation sur le sens de l'etre et de la vie humaine, qui a une portee universelle et demeure des lors toujours actuelle. L'image qui se dessine de cette lecture est celle d'un Aristote aporetique, dialectique et ouvert, tres different du philosophe dogmatique que nous a legue sous son nom la tradition. Mais cette tradition existe. Elle est aussi a sa facon l'aristotelisme. C'est pourquoi une autre moitie de ces etudes est consacree a ce que la tradition a retenu de ses lectures et relectures successives et a codifie dans un corpus constitue pour l'essentiel a la fin de l'Antiquite et au Moyen Age. (shrink)

I. Les facultés qui se rapportent à l'image des objets en nous, — l'imagination au sens large, — constituent, selon une tradition qui vient d'Aristote, l'intermédiaire entre la sensibilité et l'intellect. Le moyen âge les désigna par le nom de sens intérieurs ; leur liste fut reprise et modifiée par Ficin (dont la source directe n'est pas Avicenne, mais Albert le Grand) et par Bruno. Dans l'interprétation des néoplatoniciens, la série des facultés connaissantes représente le chemin de l'âme dans (...) la conversion ; la phantasia y joue un rôle eminent (Plotin, Hugues de Saint-Victor, Ficin, Bruno) ; d'autre part, on fait correspondre à la faculté intermédiaire une âme intermédiaire qui lui sert de substrat (Lulle), et un « premier corps » ou « véhicule » de l'âme (le spiritus phantasticus ou őχημα-πνεῦμα de Synesius). L'idée reparaît, modifiée, chez Hugues de Saint-Victor, Ficin, Bruno. Ce dernier met le spiritus phantasticus en relation avec l'âme du monde, qui lui est consubstantielle, la « lumière précédant toute Création » qui nous fait voir les images de nos rêves. Sources : Porphyre, Cusanus repris par Ficin, le panthéisme médiéval. Le lien entre le spiritus phantasticus et le destin de l'âme, esquissé chez Plotin, Porphyre, le Pseudo-Jamblique, Synesius, est affirmé sous différentes formes par Hugues, Ficin et Bruno : le sujet des peines infernales, qui sont d'ailleurs chez Ficin et Bruno de nature imaginaire, est un corps subtil. Ces peines correspondent exactement à ce que nos appétits et notre imagination ont fait de la substance de notre âme. Le spiritus phantasticus se rapproche, notamment chez Ficin, d'une sorte de karma. II. Dans la branche descendante de la connaissance, l'application de l'universel au particulier est forcément liée au sens intérieur et on l'attribue à une faculté spéciale, la Urteilskraft au sens kantien. Bruno en fait une fonction de l'imagination. D'autre part, les arts universels ou lulliens ont pris de plus en plus, durant la Renaissance, l'aspect de topiques généralisées ; le nerf de la méthode y était donc toujours cette Urteilskraft. Il s'en suit, chez Bruno, que le sujet de l'art universel est l'imagination, qui devient ainsi la source première de tout acte de l'intellect, principe de la fécondité infinie de la pensée. (Pratiquement, d'ailleurs, les artes de Bruno sont des ensembles d'images). III. Aux théories de l'imagination répondent les théories de l'image, « vêtement » et « premier corps » de la pensée. On vérifie cette correspondance, d'une part, dans la théorie du symbole, — avec ses variantes métaphysiques, pansymbolisme, magie, — et, d'autre part, dans celle du concetto (rapport entre la pensée et l'expression), où l'on va jusqu'à l'idée d'un universel de l'imagination, et du dessin comme concept. — Une importante différence entre la nature du symbolisme selon Pic et l'idée que s'en fait Bruno s'explique par leurs conceptions différentes de l'imagination. La théorie de l'art et l'évolution du goût artistique sont, dans leurs grandes lignes, en concordance avec ce qu'impliquent ou suggèrent à ce sujet les théories de l'imagination et de l'image. (shrink)

Quel lien y a-t-il entre le style, qui exprime un rapport au monde, et la théologie qui engage un rapport à Dieu ? Ce lien a été très fort dans le passé. À travers Augustin et le Pseudo-Denys, la pensée néoplatonicienne transmet au Moyen Âge le thème de la lumière intelligible. L’univers médiéval s’appréhende comme un cosmos transfiguré par la lumière de Dieu qui s’irradie sur toutes choses. Les Sommes théologiques baignent dans ce même symbolisme lumineux. Cependant, la pensée (...) scolastique, sous l’influence de l’aristotélisme, prend une orientation divergente : le réalisme tend à séculariser la nature ; la clarté ne vient plus d'en haut, mais d'en bas, de l’objet : l’esthétique se détache du discours théologique, l'allégorie se libère du symbole en direction de l'imaginaire. Quel sens reconnaître à un tel cheminement marqué au sceau de notre modernité ? Un champ esthétique, devenu ainsi autonome, ne risque-t-il pas de se retrouver exclusivement voué aux jeux formels d’une fiction pure sur fond de néant de sens ? Non, car l'imaginaire exerce une « fonction métaphorique » et « ontologique » , qui ouvre vers un supplément de sens. Le style est une structure individualisante qui rend sensible, dans l’art, le jaillissement d'une vérité du monde qui se répète dans les diverses productions esthétiques d'une même aire culturelle. Un style peut donc être un « lieu théologique » porteur d'un certain rapport au sacré, au même titre que « trace séculière » de formes spirituelles les plus diverses. D’où l’éminente leçon de « L'art sacré » contemporain, attentif aux affinités, techniques et défis de la modernité et, partant, promis aux rencontres œcuméniques les plus enrichissantes.What connection is there between style that expresses a relationship with the world, and theology that engages a relationship with God ? This connection was very strong in the past. From Augustine and the Pseudo-Dionysius, Neoplatonic thought transmitted to the Middle Ages the theme of intelligible light. The medieval universe is understood as a cosmos transfigured by God’s light irradiating all things. Theological Summas bathe in the same luminous symbolism. Under Aristotelian influence, Scholastic thought, however, takes a divergent orientation : realism tends to secularize nature ; clarity does net come from on high, but below, from the object ; the aesthetic detaches itself from the theological discourse, allegory frees itself from the symbol in the direction of the imaginary. What meaning can be seen in such a path that is marked with the seal of our modernity ? Does not the aesthetic field, that has become autonomous, take the risk of finding itself exclusively dedicated to formal games of pure fiction on a background of meaninglessness ? No, for the imaginary exercises a « metaphorical » and « ontological » function that opens towards an increase of meaning. The style is a individualizing structure that renders sensitive, in art, the breaking out of a truth of the world that repeats itself in the diverse aesthetic productions of a same cultural space. A style can, therefore, be a « theological site » carrying a certain rapport to the sacred, and at the same time that « secular pathway » of the most diverse spiritual forms. From there comes the eminent lesson of contemporary « Sacred Art », attentive to the affinities, techniques, and challenges of modernity, and consequently, engaged to most enriching ecumenical encounters. (shrink)

Let us look first at poetry. It is well known that by the fifteenth century, lyric poetry had undergone a radical transformation; the early lyric fluidity and formal variability had hardened into the nonlyric and even, some maintain, antilyric forms fixes which characterize the poetic formalism of late medieval France. Dispensing with the details of how and why this occurred, the essential point is that by the end of the Middle Ages, the poet in France and Burgundy saw himself as (...) an artisan of words, not as a singer.6 He refers to himself as a craftsman , and it is plain, sometimes painfully so, to anyone who reads the works that the rhétoriqueur is, indeed, an artisan of forms—or, if you will, an architecte de la parole, a specialist in verbal matter. He works words, sounds, metric and strophic forms into intricate patterns and arranges his elaborate designs in blocks of exact and harmonious symmetry. He is, in fact, from Machaut on, a virtuoso of the verbal equivalent of the architectural art of carrelage which adorned the princely château in which he worked and lived. No one familiar with the period will avoid noticing the strikingly similar types of patters in the poet’s works and in his surroundings.I have gathered elsewhere the visual documentation which bears out Zumthor’s suggestions quoted above with respect to the meticulously constructivist mentality of the Franco-Burgundian artisan. But the analogies I found are much more than perceptual. It is true that the elaborate designs on the walls, floors, ceilings, windows, woodwork, and so forth of the early Renaissance château are, indeed, composed of intricate blocks of material; but their function is not merely decorative , it is also narrative, with emblematic motifs and allegorical figures arrayed in linear patterns of “visual” discourse—the invariable “discours de la gloire” which silently proclaims the magnificence of the patron prince and proprietor of the château .7 6. A summary of internal and external factors in the transformation of lyric to Rhetoric is provided in my review of Die musikalische Erscheinungsform der Trouvèrepoesie by Hans-Herbert S. Räkel , in Romance Philology 34 : 250-58.7. This following collage of fragments from ML was constructed ôto serve as commentary on photographs of tile designs compared with verbal texts, in an earlier version of this paper , from which the examples in figs. 1-4 are taken.Culte de l’objet subtilement travaillé, au-delà de toute fonctionnalité primaire *** primat du labeur ardu, patient, du difficile, de l’inattendu *** les mots mêmes semblent travaillés d’un besoin de scientificité fictive, d’anoblissement par le savoir *** les … mots ne sont plus que les particules d’une parole dont la seule signification est globale *** matériau émancipé des contraintes de la phrase, transposé sur un plan où le signe devient le nom vide de ce signe *** goût du bricolage plutôt que de l’industrie; … du bariolage plus que du fondu et de la nuance; de l’équilibre numéral des parties plus que de la synthèse; du multiple plus que de l’un. Outil forgé martelé d’ “aornures” sans fonction utilitaire; enchâssements cubiques, coniques, pyramidaux, cruciformes du bâtiment … meubles marquetés, forrés de tiroirs minuscules et secrets [and so forth].For the iconography of these examples , see Emile Amé, Less Carrelages émaillés du Moyen Age et de la Renaissance , pp. 61-108. Jonathan Beck is associate professor of French at the University of Arizona. He is the author of Théâtre et propaganda aux débuts de la Réforme , a sequel to his edition and study, Le Concil de Basle: Le Origines du theater réformiste et partisan en France. (shrink)

La figure de Dieu dans l’art chrétien passe pour avoir été exclusivement masculine, voire masculiniste, en particulier au Moyen Âge. L’article examine et tente de corriger cette vision simplifiée en présentant un échantillon d’images de la Trinité (miniatures, sculptures, fresques des xie-xve siècles) où ont été convoqués des motifs caractéristiques de l’iconographie mariale ou maternelle (« joue à joue », enveloppement dans le manteau, gestes de tendresse, etc.). Une méthode d’analyse est ainsi suggérée, qui permet d’apprécier au cas par (...) cas, sur des critères vérifiables, ce qu’il en est de la part féminine de Dieu. La comparaison entre les images de la Trinité et celles de la Vierge à l’Enfant et les évolutions respectives de ces sujets sur un demi-millénaire donnent finalement à penser que celles-ci ont submergé celles-là et progressivement cantonné la figure occidentale du Dieu chrétien dans les strictes limites du masculin. (shrink)

Cet ouvrage, centré sur la question interdisciplinaire de la rencontre entre les animaux humains et non humains, cherche à créer des passerelles entre les différents courants des études animales. Des chercheurs issus des sciences de l'homme et des sciences de la nature questionnent les grandes étapes historiques, politiques et philosophiques qui ont marqué les relations que nous entretenons avec les animaux non humains depuis le Moyen Âge. Ce volume s'attache à mettre au jour les moments de rupture ainsi que (...) le rôle de certains précurseurs de la révolution animale. Il interroge également la notion d'anthropomorphisme, centrale pour repenser la relation homme-animal. Il se termine par une ouverture sur le domaine artistique, à travers la bande-dessinée, la poésie et la sculpture. (shrink)

L’exposition d’art dans des paysages est devenu populaire au Japon, avec la multiplication récente de festivals d’art locaux. Dans ces festivals, qui attirent chacun des centaines de milliers de visiteurs, coexistent des œuvres hétérogènes. Certaines sont des sculptures autonomes, d’autres des installations qui se fondent dans le paysage, et d’autres encore sont des œuvres de type « art relationnel ». Bien que ces œuvres in situ affirment leur lien essentiel avec le site naturel rural et avec le corps du spectateur (...) — constituant un événement, une expérience, une rencontre éphémère —, les relations avec le site comme avec le visiteur sont complexes et ambigües. Il y a des œuvres in situ, mais parfois aussi in aliquo situ : des œuvres qui peuvent être installées n’importe où. Qu’est-ce qui attire les visiteurs dans ces expositions? Quels sont donc la nature et le mérite de leur localisation? Si les visiteurs apprécient de voir des œuvres dans ces paysages cela peut être en partie lié au principe japonais traditionnel d’expérience des lieux dit meisho-meguri, ou « pèlerinage vers des sites célèbres ». Cette pratique issue du Moyen Âge est associée historiquement au sacré. Aujourd’hui ce pèlerinage prend la forme du tourisme moderne mais conserve un sens traditionnel invisible car les visiteurs se déplacent à travers une série de lieux géographiques selon un jeu culturellement codé. Selon nous, dans le cas des visites d’œuvres d’art en zones rurales, l’appréciation des œuvres d’art participe à ce même jeu traditionnel de se déplacer physiquement dans une série de lieux. Cette dimension spirituelle implicite modifie à son tour la perception des œuvres. Ainsi on dira que la pratique japonaise de visiter ces expositions d’art in situ témoigne de la survivance d’une tradition, et constitue ainsi un système alternatif d’expérience esthétique. The installations of artwork in natural landscapes have become popular in Japan with the recent increase in local art festivals. In these art festivals where hundreds of thousands of visitors gather, heterogeneous installations coexist; some are autonomous sculptures, some are fused into the natural landscape, and some belong to “relational art”. Although most works assert the essential quality of their location, and the experience as “an event”, their relationships to the rural areas and to the body of the visitor are complex and ambiguous. Some works are really in situ, but some are in aliquo situ—that is, works that could be installed anywhere. What attracts visitors to these exhibitions? Hence what is the nature and merit of the location? What is the relation to the visitor’s bodily presence? If visitors enjoy the site-specificity of the artwork this may be linked to the traditional Japanese system of experiencing places as meisho-meguri—i.e. “a pilgrimage to a series of famous sites”. This practice comes from the Middle Ages and was by then spiritual. While today these pilgrimages appear as a form of modern tourism, they retain a culturally coded character because visitors’s journey is like “a game of visiting a series of geographical places”. According to me, in the case of the visit of artistic sites, the appreciation of the artwork participates in this same game of bodily displacement to a series of places. This implicit spiritual underpinning conversely modifies the visitor’s perception of the works. Thus I propose that visiting artistic sites in natural settings in Japan appears as informed by this Japanese particular tradition, and thus constitutes an alternative system of contemporary aesthetic experience. (shrink)

Le lecteur moderne demeure dérouté par les ekphraseis de bâtiments des textes byzantins. Il est en effet difficile de les considérer comme des sources pour l'archéologie ou l'Histoire de l'art, et la recherche tend à leur égard à adopter deux approches : l'une, plutôt liée à l'Histoire et à l'Histoire de l'art, s'emploie à retrouver des éléments réels de bâtiments ou d'œuvres d'art dans ces textes ; l'autre, plutôt philologique, cherche à considérer ces textes en eux-mêmes pour leur valeur littéraire. (...) Serait-il cependant possible de chercher une voie médiane? Une voie qui accepterait qu'une part de l'étrangeté de ces textes, nécessairement due à la langue et à l'époque, le soit également parce que l'expérience de lecture entre Moyen Âge et époque moderne a radicalement changé. Il manquerait au lecteur moderne, non l'imagination, mais les mécanismes et les résultats de l'imagination médiévale. Les échos lexicaux et thématiques qui balisent le texte et qui en dessinent l'architecture en seraient la clef aboutiraient à un texte en 3D (trois dimensions), c'est-à-dire une projection mentale de l'objet décrit non pas comme simple image donnée par l'information contenue dans le texte, mais comme image construite par la composition du discours. Ainsi, au fur et à mesure qu'un auteur décrit un bâtiment, le texte le (re)construit en mots et in fine en a épousé la forme. (shrink)

Aestheticians have tended to focus their attention almost exclusively on high art, on museum painting and sculpture, classical music and literature, and architecture, leaving the popular arts to their colleagues in cultural studies. That seems a big mistake, for like it or not, popular movies and television attract enormous audiences everywhere, including very many people who take little interest in high art. This mass art creates stars, actors, and musicians who are so famous that everyone recognizes them. And celebrities such (...) as Princess Diana are also stars. Because stars straddle the boundary between politics and popular art, they deserve attention from our philosophers. Even if your favorite leisure reading.. (shrink)

Les rencontres de Royaumont de 1998 ont donné naissance à un superbe volume, richement illustré, faisant le point sur l’histoire des femmes au sein de l’ordre cistercien, du Moyen Âge jusqu’à nos jours. Cet ouvrage vient à point nommé pour enrichir l’historiographie de cet ordre, largement dominée jusqu’ici par le masculin. Les communications, nombreuses et variées, se sont réparties en deux journées selon deux thèmes centraux. Le premier s’intéresse à l’architecture et à l’organisation de l’...

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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This book draws from anthropology, ancient history, theology, philosophy and the Holocaust to redefine architectural history for both architects and historians. It also contains ideas and practical propositions that should help sutdents of architecture to build a more human world.

In lieu of an abstract, here is a brief excerpt of the content:Narrative, Interpretation, and Plagiarism in Mr. Robertson's 1778 History of Ancient GreeceGiovanna CeseraniDays after the successful debut of his History of Scotland in 1759, Dr. William Robertson was busy consulting his friends about what project to undertake next. David Hume solicitously responded by expressing doubts about two of the possible topics—the age of Pope Leo Xth and the Emperor Charles Vth. The first would be difficult because it would (...) require the understanding of that age's "great Works of Sculpture, Architecture, Painting," while attaining the "competent Knowledge... requird of the State & Constitution of the Empire," including numerous European countries, necessary to carry out the second project "would be the Work of half a Life." Rather Hume recommended "the ancient History, particularly that of Greece": "I think," he wrote, "Rollin's Success might encourage you, nor need you be in the least intimidated by his Merit. That Author has no other Merit, but a certain Facility & Sweetness of Narration; but has loaded his Work with fifty Puerilities."1 Yet, after considering further the excellent historical narratives that survived from antiquity, Hume feared that they could indeed turn into a disadvantage for the aspiring modern historian: "For what can you do in most places with these Authors, but transcribe & translate them? No Letters or State Papers from which you coud correct their Errors, or authenticate their Narration, or supply their Defects. Besides, Rollin is so well wrote with respect to Style, that with superficial people it passes for sufficient." On the whole he thought, however, that a "History of Greece till the death of Philip... would be successful, notwithstanding all these discouraging Circumstances. The Subject is noble, & Rollin is by no means equal to it."2 [End Page 413]Despite his friend's advice, Robertson went on to write what became his most successful work, the History of the Reign of Charles V (1769), but Hume's letters are nevertheless revealing.3 Hume's acute concern with publishing success speaks, on the one hand, to his lifelong economic struggle, but also of the flourishing market for history books in his times, on which, before the professionalization of the discipline, authors more and more came to rely in lieu of the literary patronage of earlier times.4 But the issue of the status of the historian was more than an institutional one for Hume's contemporaries. While the classical model of the historian as political man writing history in his retirement from public life was in sharp decline, a clear successor was still to follow. As Pocock puts it: would one who studied, edited, or rewrote past history be an historian at all?5 Hume's concern with historical authority and his consciousness of the difference between a narrative based on experience, in the Thucydidean mode as he would have understood it, and one based on authorities, is clear in his letter advising Gibbon to transform the Decline and Fall's endnotes into footnotes.6 Hume's letters to Robertson show again this concern developed in parallel to a philosophical preference for manners over details of action, human explanations rather than divine ones. From this perspective he found "puerile" the French Jansenist educator Charles Rollin, who in the preface to his Histoire Ancienne (1730–38) set out the goal to reveal the design of divine Providence within human history and whose work was dominated by a moralistic reading of the past.7Hume's reflections and concerns neatly fit the influential interpretation that, more than half a century ago, Arnaldo Momigliano formulated for the genealogy of modern Western historiography. As Momigliano saw it, modern history developed precisely out of the eighteenth-century convergence of traditional historical narrative—what used to be linear accounts of mostly political events—and antiquarian research—scholarship traditionally devoted to systematic treatment of a variety of subjects that relied on the skills of paleography, epigraphy and the interpretation of archaeological material.8 This process—culminating with Gibbon—presupposed the philosophical shift of the age: "what used to be secondary becomes primary. What used to be primary—wars and dynasties—becomes secondary."9 Recent research has since [End Page 414] expanded the Momigliano's formula—this... (shrink)

Marcel Proust offered the twentieth century a new psychology of memory and seeing. His novel In Search of Lost Time was written in the modern age of photography and art history. In Looking Back One Learns to See: Marcel Proust and Photography is an intellectual adventure that brings to light Proust’s visual imagination, his visual metaphors, and his photographic resources and imaginings. The book features over 90 illustrations. Mary Bergstein highlights various kinds of photography: daguerreotypes, stereoscopic cards, cartes-de-visite, postcards, book (...) illustrations, and other photographic mediums. Portraiture, medical photography, spirit photography, architectural photography, Orientalism, ethnographic photography, and fin-de-siècle studies of Botticelli, Leonardo, and Vermeer, are considered in terms of Proust’s life and work. The net is cast wide, and each image under discussion has been researched with subtle attention to art, literature, and cultural history. This scholarly study in literature and visual culture will be a delight, too, for general readers who love photography or Proust. Mary Bergstein is professor of History of Art and Visual Culture at the Rhode Island School of Design. She won the 2012 “Courage to Dream” book prize from the American Psychoanalytic Association for, Mirrors of Memory: Freud, Photography, and the History of Art (Cornell 2010). She has published numerous books and articles on art and visual culture from Italian Renaissance sculpture to contemporary photography. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 197-214 [Access article in PDF] The Origin of Stories:Horton Hears a Who Brian Boyd Works of art die without attention, and we should expect that any critical theory that cannot explain why we attend to art ought itself to be moribund. Yet the currently dominant approach to criticism, which I will dub Cultural Critique, 1 explains art in terms of the limited and suspect (...) perspectives of the culture (society, group, era) that produced it, or as the site of contestation or locus of imbrication of the ideological discourses of its time. Why anyone would want to attend to art, defined thus, becomes a mystery, unless audiences always do indeed crave ideological nourishment or indigestion. Surely we can do better.I would like to offer the outline of an alternative: an evolutionary explanation first for art, then for narrative, then for fiction. Then, since ontogeny recapitulates phylogeny, or at least sometimes helps us retrieve it, and since we have no printouts of Pleistocene potboilers, I will color in the outline by way of Dr. Seuss's children's classic, Horton Hears a Who, contrasting a sample evolutionary analysis of a single work of fiction with the kind of response typical of Cultural Critique.In art we do or make things simply in order to engage our attention, for the sake of attention, and we are not the only species to do so. Intelligence began to evolve because the world is full of potential information that can suggest advantageous courses of behavior. Curiosity evolved on top of intelligence--especially in the species that Konrad Lorenz liked to call "specialists in non-specialization," such as rats among rodents, corvids among songbirds, and humans among primates 2 --because it extends the range of information creatures can attend to and act on. As a result rats can prefer cognitive stimulation to food and sex. 3 As the most intelligent and versatile of species, we humans particularly like directing our attention to what repays our curiosity. [End Page 197]And like other particularly intelligent species, we like to do things that provide cognitive stimulation, whether they have any immediate survival value or not. Corvids (together with psittacines, the most intelligent of birds) enjoy a kind of aerial acrobatics that Lorenz unashamedly labels art. 4 Dolphins in a Hawaiian marine park have developed, without any human prompting, what has been called "air art," a kind of rhythmic gymnastics in which they deploy air bubbles from their blowholes like gymnasts' ribbons or hoops, or, to stress the affinity to art, a kind of aquatic analogue of light sculpture. 5 Chimpanzees appear to engage both in solitary imaginative play, like Kakama with the stick he famously and repeatedly handled as if it were a toy baby, 6 and in group activity, like rhythmic dances, 7 for the sheer pleasure they produce. In art as in so much else we had thought uniquely human, like tool-using or tool-making, like counting or culture, we are finding there are precursors elsewhere in nature. 8Because we are such a highly social species, we crave the attention of others. Human infants are distressed at adults who do not respond to them; 9 infants and children across cultures punish others by withdrawing attention. 10 At any age we like to command attention in ways we choose, for the ability to compete successfully for attention is closely correlated with status, 11 which raises rates of survival and reproduction. 12 And we can recognize something artistic in such forms of competitive animal attention-getting as the dances of lekking birds, the songs of songbirds or whales, or the extravagant architecture of bowerbirds. Not only do we like to command attention, we also enjoy simply sharing it with others, because this cements our place in a social group whose support we need. 13 Again, there are precursors in other species: the elaborate song of duetting songbirds, 14 or the communal dances of chimpanzees.Curiosity directed at what we can do that gives us cognitive pleasure, whether by engaging our own attention or... (shrink)