This essay discusses two concurrent intellectual initiatives in the mid-twentieth century. Well-known in European and American art history is iconology – the study of ‘meaning’ in works of art – and in particular the work of Panofsky and his legacy. At around the same time, especially in literature...

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1. Verfasser:	Holly, Michael Ann 1944- (VerfasserIn)
Format:	Artikel
Sprache:	English
Veröffentlicht:	2021
Schlagworte:	Husserl, Edmund > 1859-1938 Heidegger, Martin > 1889-1976 Merleau-Ponty, Maurice > 1908-1961 Gadamer, Hans-Georg > 1900-2002 Panofsky, Erwin > 1892-1968 Geschichte 1920-1970 Forschungsmethode Phänomenologie Ikonologie Kunstgeschichte > Fach
Zusammenfassung:	This essay discusses two concurrent intellectual initiatives in the mid-twentieth century. Well-known in European and American art history is iconology – the study of ‘meaning’ in works of art – and in particular the work of Panofsky and his legacy. At around the same time, especially in literature and philosophy in Germany and France, phenomenology appeared on the scene. Husserl, Heidegger, Merleau-Ponty, Gadamer, among others, encouraged a focus on ‘poetic entanglement’ or ‘embodied experience’. The experience of a work of art and not its analysis is what of primary importance for these thinkers. Contrasting these two systems of thought can be revealing not only in terms of twentieth-century intellectual history but as combative precursors to trends in early twenty-first ‘object theory’ or ‘affect studies’ in the evolution of the history of art. What one ‘method’ deliberately omits, the other provocatively explores. It often comes down to a distinction between representation and presentation.
ISSN:	0071-6723