The Poetics of Perspective:
Perspective has been a divided subject, orphaned among various disciplines from philosophy to gardening. In the first book to bring together recent thinking on perspective from such fields as art history, literary theory, aesthetics, psychology, and the history of mathematics, James Elkins leads us...
Gespeichert in:
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Ithaca, NY
Cornell University Press
[2018]
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| Schlagworte: | |
| Online-Zugang: | BSB01 FAB01 FAW01 FCO01 FHA01 FKE01 FLA01 UBG01 UPA01 Volltext |
| Zusammenfassung: | Perspective has been a divided subject, orphaned among various disciplines from philosophy to gardening. In the first book to bring together recent thinking on perspective from such fields as art history, literary theory, aesthetics, psychology, and the history of mathematics, James Elkins leads us to a new understanding of how we talk about pictures. Elkins provides an abundantly illustrated history of the theory and practice of perspective. Looking at key texts from the Renaissance to the present, he traces a fundamental historical change that took place in the way in which perspective was conceptualized; first a technique for constructing pictures, it slowly became a metaphor for subjectivity. That gradual transformation, he observes, has led to the rifts that today separate those who understand perspective as a historical or formal property of pictures from those who see it as a linguistic, cognitive, or epistemological metaphor. Elkins considers how the principal concepts of perspective have been rewritten in work by Erwin Panofsky, Hubert Damisch, Martin Jay, Paul Ricoeur, Jacques Lacan, Maurice Merleau-Ponty, and E. H. Gombrich. The Poetics of Perspective illustrates that perspective is an unusual kind of subject: it exists as a coherent idea, but no one discipline offers an adequate exposition of it. Rather than presenting perspective as a resonant metaphor for subjectivity, a painter's tool without meaning, a disused historical practice, or a model for vision and representation, Elkins proposes a comprehensive revaluation. The perspective he describes is at once a series of specific pictorial decisions and a powerful figure for our knowledge of the world |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jan 2019) |
| Beschreibung: | 1 online resource 63 halftones |
| ISBN: | 9781501723896 |
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| 520 | |a Perspective has been a divided subject, orphaned among various disciplines from philosophy to gardening. In the first book to bring together recent thinking on perspective from such fields as art history, literary theory, aesthetics, psychology, and the history of mathematics, James Elkins leads us to a new understanding of how we talk about pictures. Elkins provides an abundantly illustrated history of the theory and practice of perspective. Looking at key texts from the Renaissance to the present, he traces a fundamental historical change that took place in the way in which perspective was conceptualized; first a technique for constructing pictures, it slowly became a metaphor for subjectivity. That gradual transformation, he observes, has led to the rifts that today separate those who understand perspective as a historical or formal property of pictures from those who see it as a linguistic, cognitive, or epistemological metaphor. Elkins considers how the principal concepts of perspective have been rewritten in work by Erwin Panofsky, Hubert Damisch, Martin Jay, Paul Ricoeur, Jacques Lacan, Maurice Merleau-Ponty, and E. H. Gombrich. The Poetics of Perspective illustrates that perspective is an unusual kind of subject: it exists as a coherent idea, but no one discipline offers an adequate exposition of it. Rather than presenting perspective as a resonant metaphor for subjectivity, a painter's tool without meaning, a disused historical practice, or a model for vision and representation, Elkins proposes a comprehensive revaluation. The perspective he describes is at once a series of specific pictorial decisions and a powerful figure for our knowledge of the world | ||
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Datensatz im Suchindex
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| author | Elkins, James 1955- |
| author_GND | (DE-588)128713097 |
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| dewey-raw | 701/.82 |
| dewey-search | 701/.82 |
| dewey-sort | 3701 282 |
| dewey-tens | 700 - The arts |
| discipline | Kunstgeschichte |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Electronic eBook |
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| spelling | Elkins, James 1955- Verfasser (DE-588)128713097 aut The Poetics of Perspective James Elkins Ithaca, NY Cornell University Press [2018] © 1996 1 online resource 63 halftones txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jan 2019) Perspective has been a divided subject, orphaned among various disciplines from philosophy to gardening. In the first book to bring together recent thinking on perspective from such fields as art history, literary theory, aesthetics, psychology, and the history of mathematics, James Elkins leads us to a new understanding of how we talk about pictures. Elkins provides an abundantly illustrated history of the theory and practice of perspective. Looking at key texts from the Renaissance to the present, he traces a fundamental historical change that took place in the way in which perspective was conceptualized; first a technique for constructing pictures, it slowly became a metaphor for subjectivity. That gradual transformation, he observes, has led to the rifts that today separate those who understand perspective as a historical or formal property of pictures from those who see it as a linguistic, cognitive, or epistemological metaphor. Elkins considers how the principal concepts of perspective have been rewritten in work by Erwin Panofsky, Hubert Damisch, Martin Jay, Paul Ricoeur, Jacques Lacan, Maurice Merleau-Ponty, and E. H. Gombrich. The Poetics of Perspective illustrates that perspective is an unusual kind of subject: it exists as a coherent idea, but no one discipline offers an adequate exposition of it. Rather than presenting perspective as a resonant metaphor for subjectivity, a painter's tool without meaning, a disused historical practice, or a model for vision and representation, Elkins proposes a comprehensive revaluation. The perspective he describes is at once a series of specific pictorial decisions and a powerful figure for our knowledge of the world In English Geschichte gnd rswk-swf Aesthetics Perspective Space perception Perspektive (DE-588)4045301-7 gnd rswk-swf Ästhetik (DE-588)4000626-8 gnd rswk-swf Perspektive (DE-588)4045301-7 s Ästhetik (DE-588)4000626-8 s 1\p DE-604 Geschichte z 2\p DE-604 https://www.degruyter.com/doi/book/10.7591/9781501723896 Verlag URL des Erstveröffentlichers Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Elkins, James 1955- The Poetics of Perspective Aesthetics Perspective Space perception Perspektive (DE-588)4045301-7 gnd Ästhetik (DE-588)4000626-8 gnd |
| subject_GND | (DE-588)4045301-7 (DE-588)4000626-8 |
| title | The Poetics of Perspective |
| title_auth | The Poetics of Perspective |
| title_exact_search | The Poetics of Perspective |
| title_full | The Poetics of Perspective James Elkins |
| title_fullStr | The Poetics of Perspective James Elkins |
| title_full_unstemmed | The Poetics of Perspective James Elkins |
| title_short | The Poetics of Perspective |
| title_sort | the poetics of perspective |
| topic | Aesthetics Perspective Space perception Perspektive (DE-588)4045301-7 gnd Ästhetik (DE-588)4000626-8 gnd |
| topic_facet | Aesthetics Perspective Space perception Perspektive Ästhetik |
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