- 224 pages
- English
- PDF
- Available on iOS & Android
About this book
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. Figural Philology also shows that Panofsky shares 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 can provide a way out of the methodological antimony still hanging between hyper-formalist and hyper-theoretical approaches to the history of art.
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Information
Table of contents
- Cover
- Half-title
- Title
- Copyright
- Contents
- Acknowledgements
- 1. Philological rationality and the constitution of the history of art
- 2. Archimedean points: Monuments as duration reservoirs
- 3. Forms and figures: Two fundamental modes of pictorial production
- 4. Pictorial validities in art and history
- 5. Sub figuralitate historiæ
- 6. Iconological space: Panofsky with Warburg
- 7. The figural synthesis of historical reality in the iconology table
- 8. Philology’s recollective habitus: Panofsky with Spitzer, Auerbach and Curtius
- 9. Figural content and the past as a res extensa
- Conclusion: Towards a figural philology
- Notes
- Bibliography
- Index