Bio: David Carrier is an academic researcher from Carnegie Mellon University. The author has contributed to research in topics: Interpretation (philosophy) & Painting. The author has an hindex of 8, co-authored 29 publications receiving 275 citations.
TL;DR: Art as semiological fact, Jan Mukarovsky time and the timeless in quattrocento painting, Yves Bonnefoy Giotto's joy, Julia Kristeya the trompe-l'oeil, Jean Baudillard towards a theory of reading in the visual arts - Poussin's "The Arcadian Shepherds", Louis Marin "Las Meninas", Michel Foucault the world as object, Roland Barthes ambrosia and gold, Michel Serres in black and white, Jean-Claude Lebensztejn
Abstract: Art as semiological fact, Jan Mukarovsky time and the timeless in quattrocento painting, Yves Bonnefoy Giotto's joy, Julia Kristeya the trompe-l'oeil, Jean Baudillard towards a theory of reading in the visual arts - Poussin's "The Arcadian Shepherds", Louis Marin "Las Meninas", Michel Foucault the world as object, Roland Barthes ambrosia and gold, Michel Serres in black and white, Jean-Claude Lebensztejn Turner translates Carnot, Michel Serres the wisdom of art, Roland Barthes.
01 Jan 1983
TL;DR: In the book category, truth and falsehood in visual images always becomes the most wanted book and many people are absolutely searching for this book as discussed by the authors, which means that many love to read this kind of book.
Abstract: If you really want to be smarter, reading can be one of the lots ways to evoke and realize. Many people who like reading will have more knowledge and experiences. Reading can be a way to gain information from economics, politics, science, fiction, literature, religion, and many others. As one of the part of book categories, truth and falsehood in visual images always becomes the most wanted book. Many people are absolutely searching for this book. It means that many love to read this kind of book.
TL;DR: After the End of Art: Contemporary Art and the Pale of History (Princeton, 1997) as mentioned in this paper is a collection of essays from the 1995 Mellon Lectures after the end of art.
Abstract: In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History (Princeton,1997). This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace(1981). He then added in the Mellon lectures a sociological perspective on the current situation of the visual arts, and an Hegelian historiography. The history of art has ended, Danto claims, and we now live in a posthistorical era. Since in his well-known book on historiography, Analytical Philosophy of History (1965), Danto is unsympathetic to Hegel's speculative ways of thinking about history, his adaptation of this Hegelian framework is surprising. Danto's strategy in After the End of Art is best understood by grasping the way in which he transformed the purely philosophical account of The Transfiguration into a historical account. Recognizing that his philosophical analysis provided a good way of explaining the development of art in the modern period, Danto radically changed the context of his argument. In this process, he opened up discussion of some serious but as yet unanswered questions about his original thesis, and about the plausibility of Hegel's claim that the history of art has ended. Hegel . . . did not declare that modern art had ended or would disintegrate. . . . his attitude towards future art was optimistic, not pessimistic. . . . According to his dialectic . . . art . . . has no end but will evolve forever with time.
22 Feb 2009
TL;DR: Buck-Morss as mentioned in this paper draws new connections between history, inequality, social conflict, and human emancipation, and challenges us to widen the boundaries of our historical imagination by reinterpreting the master-slave dialectic.
Abstract: In this path-breaking work, Susan Buck-Morss draws new connections between history, inequality, social conflict, and human emancipation. "Hegel, Haiti, and Universal History" offers a fundamental reinterpretation of Hegel's master-slave dialectic and points to a way forward to free critical theoretical practice from the prison-house of its own debates.Historicizing the thought of Georg Wilhelm Friedrich Hegel and the actions taken in the Haitian Revolution, Buck-Morss examines the startling connections between the two and challenges us to widen the boundaries of our historical imagination. She finds that it is in the discontinuities of historical flow, the edges of human experience, and the unexpected linkages between cultures that the possibility to transcend limits is discovered. It is these flashes of clarity that open the potential for understanding in spite of cultural differences. What Buck-Morss proposes amounts to a "new humanism," one that goes beyond the usual ideological implications of such a phrase. She asks us to embrace a radical neutrality that insists on the permeability of the space between opposing sides and reaches for a common humanity.
•01 Jan 2021
TL;DR: The Project of Historiography as discussed by the authors ) is a project dedicated to the preservation and preservation of the history of the East and the West of the Middle Ages and the early modern world.
Abstract: Introduction: The Project of Historiography Section 1: Beginnings - East and West Introduction 1.1 Asian Historiography: Two Traditions 1.2 Historiography and Greek Self-Definition .3 Re-Reading the Roman Historians 1.4 The Historiography of Rural Labour 1.5 Towards Late-Antiquity Section 2: The Medieval World Introduction 2.1 The Historiography of the Medieval State 2.2 Saladin and the Third Crusade 2.3 Family and Household 2.4 The Medieval Nobility 2.5 Armies and Warfare 2.6 Popular Religion Section 3: Early-Modern Historiography Introduction 3.1 The Idea of Early Modern History 3.2 The Scientific Revolution 3.3 Intellectual History 3.4 The English Reformation 3.5 Popular Culture in the Early-Modern West 3.6 Revisionism in Britain Section 4: Reflecting on the Modern Age Introduction I: Revolution and Ideology 4.1 The French Revolution 4.2 The Soviet Revolution 4.3 National Socialism in Germany 4.4 Fascism and Beyond in Italy 4.5 Orientalism London: II Area Studies 4.6 China 4.7 Japan 4.8 India 4.9 Africa 4.10 North America 4.11 Latin America Section 5: Contexts for the Writing of History I: Hinterlands 5.1 History and Philosophy 5.2 History and Anthropology 5.3 History and Archaeology 5.4 History of Art II: Approaches 5.5 The Historical Narrative 5.6 The Annales School 5.7 Marxist Historiography 5.8 Women in Historiography 5.9 Comparative World History 5.10 Archives and Technology
TL;DR: This article explored the different relationships that fans construct with their favorite sports, teams, and events and examined the impact of moderating factors and contextual influences on the fan-sport relationship.
Abstract: The relationship that sport fans and consumers construct with sport teams and leagues is central to their decisions to engage in sport-related experiences, and travel long distances to do so. A number of factors have been identified as pivotal to this relationship, including (a) the underlying drives of fans; (b) factors that mediate fan motivation; (c) factors that impact upon fan identification and team attachment; and (d) contextual influences that are linked to the team, game or league fixture. These factors have been independently demonstrated to contribute to sport consumption but are less often considered as variables influencing the behaviour of sport tourists. This paper explores the different relationships that fans construct with their favourite sports, teams, and events and examines the impact of moderating factors and contextual influences on the fan–sport relationship. It aims to categorise the mechanisms affecting sport consumption in order to better understand the central factors driving s...
TL;DR: The conventional assumption that findings from the study of the visual perception of markings—in particular, of pictures—can be generalized to real-world perception is examined and found to be false.
Abstract: Markings, such as designs, writings, diagrams, and depictions, are expressive and communicative human artifacts. The conventional assumption that findings from the study of the visual perception of markings—in particular, of pictures—can be generalized to real-world perception is examined and found to be false. The processes involved in the visual perception of the world and in the visual perception of markings differ in significant ways, and generalizations from one to the other must be undertaken with caution. The visual perception of markings is an identifiable and separate area of study. Implications for a general theory of the perception of markings are examined, and the perception of markings is contrasted with real-world perception.