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|a 962004746
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|a 9781474254069
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|a (OCoLC)959617380
|z (OCoLC)962004746
|z (OCoLC)1171923577
|z (OCoLC)1172257088
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|a UAMI
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|a Efal, Adi,
|e author.
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|a Figural philology :
|b Panofsky and the science of things /
|c Adi Efal.
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|a London :
|b Bloomsbury Academic,
|c 2016.
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300 |
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|a 1 online resource (x, 207 pages)
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|a text
|b txt
|2 rdacontent
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|a computer
|b c
|2 rdamedia
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|a online resource
|b cr
|2 rdacarrier
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|a Bloomsbury studies in continental philosophy
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|a Includes bibliographical references and index.
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|a Though inspired by a Panofskyan legacy, this book diverges at certain points from Erwin Panofsky's declared objectives, and calls attention to several of aspects that were until now less accentuated in his intellectual reception. Insisting on the importance of iconology as a method for art history and the humanities in general, it shows how examining this promotes a cooperation between the history of art and the history of philosophy. It discusses whether Panofsky's method could be of use for general questions in the epistemology of the historical sciences that examine human works. How could and should one approach a historical inquiry of human-produced things, after the Kantian revolution has taken its toll on the humanities, and forbidden the approach to things "as themselves"? Within the core of the discipline of art history, and certainly in its iconological version, there is a philological kernel to be found. This could assist in addressing the historical meaning of artworks from a realist point of view. This preliminary hypothesis shows the work of Panofsky to share affinities with twentieth-century romance philology. A reading of Panofsky's work alongside the philological enterprise of Erich Auerbach and several other authors demonstrates that a proper appropriation of the philological impulse by art historical method can supply a way out of the methodological antimony still hanging between hyper-formalist and hyper-theoretical approaches to the history of art. Distilling Panofsky's writings, Efal selects the elements that could be useful for philosophy
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|a Print version record.
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|a FC; Half title; Also available from Bloomsbury; Title; Copyright; Contents; Acknowledgements; 1 Philological rationality and the constitution of the history of art; 2 Archimedean points: Monuments as duration reservoirs; Panofsky's Riegl; Philological imperatives in Riegl's methods; The curse and the blessing in the study of artworks; Art history as Korrektur of monuments; Riegl's Alterswert; Kunstwollen and meaning; Philological reproduction of past realities; 3 Forms and figures: Two fundamental modes of pictorial production; Forms and figures within the pictorial domain.
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|a Figuration in the history of artThe figural situation; Figuration and meaning; Forms and figures; From the plastic to the pictorial; 4 Pictorial validities in art and history; Panofsky's Idea and the disclosure of the iconoclastic structure; Ideas between truth and reality in Idea; Auerbach's 'Figura': Plasticity and history; 'Real and historical': The figural mechanics of validation; Reality, value and truth: Two versions of realist argumentation; Iconophilic method; 5 Sub figuralitate historiæ; The figure and the reality of the past; Figural and historical meaning.
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|a 6 Iconological space: Panofsky with WarburgPanofsky's historical space-time; Simmel's historical time; Warburg's art history and philology; Warburg's philological gaze; Vitalisms and archaism; Iconology and philology; 7 The figural synthesis of historical reality in the iconology table; Synthesis; Symbols, ideas and values; From symbolical value to synthetic intuition; Intuition and synthesis; Figural synthesis; 8 Philology's recollective habitus: Panofsky with Spitzer, Auerbach and Curtius; The Aristotelian distinction between memory and recollection; Two modes of memory.
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|a The role of figures in recollectionHumanism as a recollective activity; Hylomorphist humanism; Figural distinction: A model for the recollective disjunction; Elastic hylomorphism; 9 Figural content and the past as a res extensa; Iconoclasm, iconism and the reality of the past; The past reality of a work versus historical meaning; The two unseen prototypes of the artwork; Vanishing point and carrying surface: Spatialities of historical explication; Past reality of works and the reality of the past; The distance between the reality of the past and the historical reality of a work.
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|a Nonseen and figuredConclusion: Towards a figural philology; The domain; Historical meaning, past reality, historical reality; Philological production; Figural synthesis; Distinctive realism; Untemporal history; Moderate historicism; Panofsky; Notes; Bibliography; Index.
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590 |
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|a ProQuest Ebook Central
|b Ebook Central Academic Complete
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590 |
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|a eBooks on EBSCOhost
|b EBSCO eBook Subscription Academic Collection - Worldwide
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|a Panofsky, Erwin,
|d 1892-1968.
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600 |
1 |
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|a Panofsky, Erwin,
|d 1892-1968
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|1 https://id.oclc.org/worldcat/entity/E39PBJgCHWgMWYjyjpgdwQq4v3
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|a Panofsky, Erwin
|d 1892-1968
|2 gnd
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|a Art
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|a Art
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|a Art
|x Historiographie.
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|a Art
|x Philosophie.
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|a Philosophy of language.
|2 bicssc
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|a Western philosophy, from c 1900.
|2 bicssc
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|a Philosophy: aesthetics.
|2 bicssc
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|a PHILOSOPHY
|x Metaphysics.
|2 bisacsh
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|a ART
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|a Kunstgeschichtsschreibung
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|a Methode
|2 gnd
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|a Romanistik
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|i Print version:
|t Figural Philology.
|d [Place of publication not identified] : Bloomsbury USA Academic 2016
|z 9781474254014
|w (OCoLC)949870223
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830 |
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|a Bloomsbury studies in continental philosophy.
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