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Talking Science: Language, Learning, and Values

▪ Abstract Across cultures, narrative emerges early in communicative development and is a fundamental means of making sense of experience. Narrative and self are inseparable in that narrative is simultaneously born out of experience and gives shape to experience. Narrative activity provides tellers with an opportunity to impose order on otherwise disconnected events, and to create continuity between past, present, and imagined worlds. Narrative also interfaces self and society, constituting a crucial resource for socializing emotions, attitudes, and identities, developing interpersonal relationships, and constituting membership in a community. Through various genres and modes; through discourse, grammar, lexicon, and prosody; and through the dynamics of collaborative authorship, narratives bring multiple, partial selves to life.

Narrating the self

This book demonstrates the relevance, rigor, and creativity of interpretive research methodologies for the social and human sciences. The book situates methods questions within the context of broader methodological questions--specifically, the character of social realities and their "know-ability." Exceptionally clear and well-written chapters provide engaging discussions of the methods of accessing, generating, and analyzing social science data, using methods ranging from reflexive historical analysis to critical ethnography. Reflecting on their own research experiences, the contributors offer an inside, applied perspective on how research topics, evidence, and methods intertwine to produce knowledge in the social sciences.

Interpretation and Method : Empirical Research Methods and the Interpretive Turn

This paper is about the ontology, the materiality and logical structure of art. While I am not trained in the visual arts or architecture, nonetheless I see there are many points of overlap, regions of co-occupation, that concern art and philosophy, and it is these shared concerns that I want to explore. I want to discuss the ‘origins’ of art and architecture, but not the historical, evolutionary or material origins of art – an origin confirmable by some kind of material evidence or research – but rather, the conceptual origins of art, what concepts art entails, assumes and elaborates. These of course are linked to historical, evolutionary and material forces, but are nevertheless conceptually, that is to say, metaphysically or ontologically separable from them. Art, according to Deleuze, does not produce concepts, though it does address problems and provocations. It produces sensations, affects, intensities, as its mode of addressing problems, which sometimes align with and link to concepts, the object of philosophical production, the way philosophy deals with problems. Thus philosophy may have a place, not in assessing art, but in addressing the same provocations or incitements to production as art faces, through different means and with different effects and consequences.

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Chaos, Territory, Art: Deleuze and the Framing of the Earth

which we live and work, but the appeal is not limited to examples from our own familiar surroundings. During the last several decades anthropologists have been increasingly joined by others in taking a more careful look at the built environments of nonl iterate societies, and especially the shelters they construct and occupy. The questions posed are broad: Why are there differences in built forms? What is the nature of these differences and what kinds of social and cultural factors might be responsible for the variation? Design practitioners, including architects, land­ scape architects, and planners, have become involved in debating these questions, as have behavioral and social scientists concerned with human interactions with the environment. At the same time, recent social theory has begun to focus anew on spatial as well as temporal dimensions of human behavior. These developments suggest that attention to the topic of this review is timely. Our purposes in reviewing the relevant literature include defining the major areas of research in the field in terms of issues and

The Built Environment and Spatial Form

Introduction to the New Edition Art History: Making the Visible Legible 1. ART AS HISTORY Introduction Preface to Part III of 'The Lives' Reflections on the Imitation of Greek Works in Painting and Sculpture Winckelmann Divided: Mourning the Death of Art History Patterns of Intention 2. AESTHETICS Introduction What is Enlightenment? Philosophy of Fine Art Impure Mimesis, or the Ends of the Aesthetic Fetish 3. FORM, CONTENT, AND STYLE Introduction Principles of Art History Style 'Form', Nineteenth-Century Metaphysics, and the Problem of Art Historical Description 'Style' 4. ANTHROPOLOGY AND/OR ART HISTORY Introduction Leading Characteristics of the Late Roman 'Kunstwollen' Images from the Region of the Pueblo Indians of North America Warburg's Concept of 'Kunstwissenschaft' and its Meaning for Aesthetics Silent Moves: On Excluding the Ethnographic Subject from the Discourse of Art History 5. MECHANISMS OF MEANING Introduction Iconography and Iconology: An Introduction to the Study of Renaissance Art Semiotics and Iconography Semiotics and Art History: A Discussion of Contexts and Senders Meaning/Interpretation 6. THE LIMITS OF INTERPRETATION Introduction The Temptation of New Perspectives The Origin of the Work of Art The Still Life as a Personal Object - a Note on Heidegger and van Gogh Restitutions of the Truth in Pointing [Pointure] 7. AUTHORSHIP AND IDENTITY Introduction What is an Author? The Discourse of Others: Feminists and Postmodernism Re-Viewing Modernist Criticism Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory Postmodern Automatons 'Every Man Knows How Beauty Gives Him Pleasure': Beauty Discourse and the Logic of Aesthetics Queer Wallpaper 8. GLOBALIZATION AND ITS DISCONTENTS Introduction Orientalism and the Exhibitionary Order The Museum as Ritual The Work of Art in the Age of its Technological Reproducibility (Third Version) Can Our Values be Objective? On Ethics, Aesthetics, and Progessive Politics Visual Culture Studies: Questions of History, Theory, and Practice 'Life-Like': Historicizing Process in Digital Art Epilogue: The Art of Art History Coda: Plato's Dilemma and the Tasks of the Art Historian Today

The art of art history : a critical anthology

An overview of the theoretical and institutional history of the discipline of art history which refutes the image of art history as in crisis, asserting rather that many of the dilemmas of the discipline today can be traced back to its founding, institutionalization and expansion since the 1870s.

Rethinking Art History: Meditations on a Coy Science

General introduction - What are museums for?. What are museums for? Creating historical effects: Introduction The fictions of factual representation, Hayden White Psychoanalysis and its history, Michel De Certeau Rome, the archetypal museum and the Louvre, the negation of division, Jean-Louis Deotte The poetics of the museum - Lenoir and Du Sommerard, Stephen Bann Telling objects - A narrative perspective on collecting, Mieke Bal. What are museums for? Instituting evidence: Introduction Collective memory and memoria rerum, Mary Carruthers Science-honour-metaphor - Italian cabinets of the 16th and 17th century, Giuseppe Olmi Natural history and the emblematic world view, William N. Ashworth Jr The museum - Its classical etymology and Renaissance genealogy, Paula Findlen Inventing Assyria - Exoticism and reception in 19th-century England and France, Frederick N. Bohrer. What are museums for? Building shared imaginaries/effacing otherness: Introduction Double visions, Homi Bhabha Teddy bear patriarchy - Taxidermy in the Garden of Eden, New York City, 1908-1936, Donna Haraway From princely gallery to the public art museum - The Louvre Museum and the National Gallery, London, Carol Duncan Museums and the formation of national and cultural identities, Annie E. Coombes Creating identity - Exhibiting the Philippines at the 1904 Louisiana Purchase Exposition, Beverly K. Grindstaff Performing identity - The museal framing of Nazi ideology, Sandra Esslinger The cosmic theme park of the Javanese, Shelly Errington What are museums for? Observing subjects, disciplining practice: Introduction Introduction - Museum without walls, Andre Malraux Of other spaces, Michel Foucault Power/knowledge - constructed space and the subject, Paul Q. Hirst Museums - Managers of consciousness, Hans Haacke The exhibitionary complex, Tony Bennett Orientalism and the exhibitionary order, Timothy Mitchell China in Britain - The Imperial collections, Craig Clunas. What are museums for? Secularizing rituals: Introduction The museum of modern art as late capitalist ritual - An iconographical analysis, Carol Duncan, Alan Wallach Animals as cultural signs - Collecting animals in 16th-century Medici Florence, Claudia Lazzaro Remarks on the collection of Rudolf II - The Kunstkammer as a form of representation, Thomas DaCosta Kaufmann Philip Hainhofer and Gustavus Adolfus's Kunstschrank in Uppsala, Hans-Olof Bostrom Museums in 18th-century Rome, Francis Haskell, Nicholas Penny The genesis and early development of the Royal Museum in Stockholm - A claim for authenticity and legitimacy, Magnus Olausson, Solfrid Soderlind The cultural logic of the late capitalist museum, Rosalind Krauss Collision, Neil Cummings, Marysia Lewandowska. What are museums for? Inclusions and exclusions - Representing adequately: Introduction Cultural reflections, Moira Simpson Histories of the tribal and the modern, James Clifford. (Part contents).

Grasping the World : The Idea of the Museum

What begins as a meditation on "the museum" by one of the world's leading art historians becomes, in this book, a far-reaching critical examination of how art history and museums have guided and controlled not only the way we look at art but the ways in which we understand modernity itself. Originally delivered as the 2001 Slade Lectures in the Fine Arts at Oxford University, the book makes its deeply complex argument remarkably accessible and powerfully clear. Concentrating on a period from the beginning of the nineteenth century to the beginning of the twentieth, Donald Preziosi presents case studies of major institutions that, he argues, have defined--and are still defining--the possible limits of museological and art historical theory and practice. These include Sir John Soane's Museum in London, preserved in its 1837 state; the Crystal Palace Exhibition of 1851; and four museums founded by Europeans in Egypt in the late nineteenth century, which divided up that country's history into "ethnically marked" aesthetic hierarchies and genealogies that accorded with Europe's construction of itself as the present of the world's past, and the "brain of the earth's body." Through this epistemological and institutional archaeology, Preziosi unearths the outlines of the more radical Enlightenment project that academic art history, professional museology, and art criticism have rendered marginal or invisible. Finally, he sketches a new theory about art, artifice, and visual signification in the cracks and around the margins of the "secular theologisms" of the globalized imperial capital called modernity. Addressed equally to the theoretical and philosophical foundations of art history,museology, history, and anthropology, this book goes to the heart of recent debates about race, ethnicity, nationality, colonialism, and multiculturalisms--and to the very foundations of modernity and modern modes of knowledge production.

Donald Preziosi

Papers

The art of art history : a critical anthology

Rethinking Art History: Meditations on a Coy Science

Grasping the World : The Idea of the Museum

Brain of the Earth’s Body: Art, Museums, and the Phantasms of Modernity

The semiotics of the built environment: An introduction to architectonic analysis