Rethinking the Baroque:
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge, Taylor & Francis Group
2016
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | Beiträge einer Konferenz an der University of York und in Castle Howard im Sommer 2006 |
| Beschreibung: | xv, 243 Seiten Illustrationen |
| ISBN: | 9781138249424 9780754666851 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
List of Illustrations vii
Notes on Contributors xiii
Acknowledgments xvii
Section I: Rethinking the Baroque: Introduction
Introduction: Rethinking the Baroque 3
Helen Hills
1 The Baroque: The Grit in the Oyster of Art History 11
Helen Hills
Section II: Baroque as Style
2 On Sculptural Relief: Malerisch, the Autonomy of
Artistic Media and the Beginnings of Baroque Studies 39
Alina Payne
3 Ottoman Baroque: The Limits of Style 65
Howard Caygill
Section III: Rethinking Baroque Art History
4 Discomfited by the Baroque: A Personal Journey 83
Thomas DaCosta Kaufmann
5 Reframing the Baroque: On Idolatry and the
Threshold of Humanity 99
Claire Farago
Section IV: Baroque Traditions
6 Nicholas Hawksmoor s Drawing Technique of the 1690s
and John Locke s Essay Concerning Human Understanding 125
Anthony Geraghty
7 The Real in the Rococo 143
Glenn Adamson
Section V: Benjamin s Baroque
8 Benjamin and the Baroque: Posing the Question of
Historical Time 161
Andrezv Benjamin
Section VI: Baroque Folds
9 Baroque Matters 183
bAieke Bal
10 The Baroque Fold as Map and as Diagram 203
Tom Conley
Bibliography 219
Index 235
Rethinking the Baroque explores a tension. In recent years the idea of baroque7
or the baroque has been seized upon by scholars from a range of disciplines
and the term baroque has consequently been much in evidence in writings
on contemporary culture, especially architecture and entertainment. Most
of the scholars concerned have little knowledge of the art, literature, and
history of the period usually associated with the baroque. A gulf has arisen.
On the one hand, there are scholars who are deeply immersed in historical
period, who shy away from abstraction, and who have remained often
oblivious to the convulsions surrounding the term baroque ; on the other,
there are theorists and scholars of contemporary theory who have largely
ignored baroque art and architecture. This book explores what happens
when these worlds mesh.
In this book, scholars from a range of disciplines retrieve the term baroque
from the margins of art history where it has been sidelined as anachronistic ,
to reconsider the usefulness of the term baroque , while avoiding simply
rehearsing familiar policing of periodization, stylistic boundaries, categories
or essence. Baroque emerges as a vital and productive way to rethink
problems in art history, visual culture and architectural theory.
Rather than attempting to provide a survey of baroque as a chronological
or geographical conception, the essays here attempt critical re-engagement
with the term baroque — its promise, its limits, and its overlooked potential —
in relation to the visual arts. Thus the book is posited on the idea that tension
is not only inevitable, but even desirable, since it not only encapsulates
intellectual divergence (which is always as useful as much as it is feared), but
helps to push scholars (and therefore readers) outside their usual runnels.
|
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| title | Rethinking the Baroque |
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