Since the foundation of the modern discipline of art history in Germany in the late eighteenth century, debates about art and its histories have intensified. Historians, philosophers, psychologists, and anthropologists among others have changed our notions of what art history has been, is, and might be. The Art of Art History is a unique guide to understanding art history through a critical reading of the field's most innovative and influential texts over the past two centuries. Each section focuses on a key issue: aesthetics, style, history as an art, iconography and semiology, gender, modernity and postmodernity, deconstruction and museology. More than thirty readings from writers as diverse as Winckelmann, Kant, Gombrich, Warburg, Panofsky, Heidegger, Lisa Tickner, Meyer Schapiro, Jacques Derrida, Mary Kelly, Michel Foucault, Rosalind Krauss, Louis Marin, Margaret Iversen, and Nestor Canclini are brought together, and Donald Preziosi's introductions to each topic provide background information, bibliographies, and critical elucidations of the issues at stake. His own concluding essay is an important and original contribution to scholarship in the field.Contents:Art history : making the visible legible by Donald PreziosiReflections on the imitation of Greek works in painting and sculpture by Johann Joachim WinckelmannWinckelmann divided : mourning the death of art history by Whitney DavisPatterns of intention by Michael BaxandallWhat is enlightenment? ; The critique of judgement by Immanuel KantPhilosophy of fine art by G.W.F. HegelPrinciples of art history by Heinrich Wölfflin"Form," nineteenth-century metaphysics, and the problem of art historical description by David SummersStyle by Meyer SchapiroStyle by Ernst GombrichLeading characteristics of the late Roman "Kunstwollen" by Alois RieglImages from the region of the Pueblo Indians of North America by Aby WarburgWarburg's concept of "Kulturwissenschaft" and its meaning for aesthetics by Edgar WindRetrieving Warburg's tradition by Margaret IversenSemiotics and iconography by Hubert DamischSemiotics and art history : a discussion of context and senders by Mieke Bal and Norman Bryson"Et in Arcadia ego" : Poussin and the elegiac tradition by E. PanofskyToward a theory of reading in the visual arts : Poussin's "The Arcadian shepherds" by Louis MarinSculpture in the expanded field by Rosalind KraussWhat is an author? by Michel FoucaultThe allegorical impulse : toward a theory of postmodernism by Craig OwensMapping the postmodern by Andreas HuyssenThe art historical canon : sins of omission by Nanette SalomonSexuality andbyin representation : five British artists by Lisa TicknerNo essential femininity by Mary Kelly and Paul SmithPostfeminism, feminist pleasures, and embodied theories of art by Amelia JonesThe temptation of new perspectives by Stephen MelvilleThe origin of the work of art by Martin HeideggerThe still life as a personal object : a note on Heidegger and van Gogh by Meyer SchapiroRestitutions of the truth in pointing ["pointure"] by Jacques DerridaOrientalism and the exhibitionary order by Timothy MitchellThe art museum as ritual by Carol DuncanInventing the "postcolonial" : hybridity and constituency in contemporary curating by Annie E. CoombesRemaking passports : visual thought in the debate on multiculturalism by Néstor García CancliniThe art of art history by Donald Preziosi

    It is the ideal reference tool for anyone with an interest in the Classics or those seeking to explore the many allusions to its mythology that abound in later literature.

    He shows our culture to be a continuing source of moral knowledge, and rebuts the fashionable sarcasm which sees it as nothing more than the useless legacy of dead white European males. He is robust in defence of traditional architecture and figurative painting, critical of the fashionable relativists and urgent in his plea for our civilization, which more than ever stands in need of the self-knowledge and self-confidence that are the gift of serious culture.

    Maybe your teacher took the controversial stand that the Civil War was all about states’ rights… or maybe you learned all about the horrors slavery, but never quite figured out why things didn’t get better after the war ended. If you didn’t go to school in the United States, things are even more confusing. When the media is full of references to the Confederate flag, the legacy of slavery, and poverty in the American South, you might have a vague sense that things are bad because of the Civil War… but why? Why does a war that happened over a hundred and fifty years ago still cast a shadow over the United States? This book will tell you why. It will lead you, step-by-step, through the causes of the Civil War, and the effects. But unlike your high school history teacher, it won’t put you to sleep with long-winded biographies and lists of dates. The names you’ll learn are the big players, the ones with big personalities, who made big differences. In just a few minutes a day, you can read bite-sized stories from the Civil War – quick, easy explanations to guide you through the main points, with just enough scary, surprising, or just plain strange facts to keep you coming back for more. Each chapter ends with a bonus helping of trivia and some quick questions to test your knowledge. By the time you’re finished, you’ll know all the facts your history teacher never taught you – from who said slavery was a “positive good” (and why they thought that), to who dressed up in women’s clothing to escape from Union soldiers.

     The influence of ancient Greece and Rome can be seen in every aspect of our lives. From calendars to democracy to the very languages we speak, Western civilization owes a debt to these classical societies. Yet the Greeks and Romans did not emerge fully formed; their culture grew from an active engagement with a deeper past, drawing on ancient myths and figures to shape vibrant civilizations. In "The Birth of Classical Europe," the latest entry in the Penguin History of Europe, historians Simon Price and Peter Thonemann present a fresh perspective on classical culture in a book full of revelations about civilizations we thought we knew. In this impeccably researched and immensely readable history we see the ancient world unfold before us, with its grand cast of characters stretching from the great Greeks of myth to the world-shaping Caesars. A landmark achievement, "The Birth of Classical Europe" provides insight into an epoch that is both incredibly foreign and surprisingly familiar.

    While it is often assumed that an interest in objects amounts to a form of materialism, Harman rejects this view and develops instead an "immaterialist" method. By examining the work of leading contemporary thinkers such as Bruno Latour and Levi Bryant, he develops a forceful critique of 'actor-network theory'. In an extended discussion of Leibniz's famous example of the Dutch East India Company, Harman argues that this company qualifies for objecthood neither through 'what it is' or 'what it does', but through its irreducibility to either of these forms. The phases of its life, argues Harman, are not demarcated primarily by dramatic incidents but by moments of symbiosis, a term he draws from the biologist Lynn Margulis.This book provides a key counterpoint to the now ubiquitous social theories of constant change, holistic networks, performative identities, and the construction of things by human practice. It will appeal to anyone interested in cutting-edge debates in philosophy and social and cultural theory.

    Long celebrated as a pathbreaking achievement in the social history of the ancient world, M.I. Finley's brilliant study remains, as classicist Bernard Knox notes in his introduction to this new edition, "as indispensable to the professional as it is accessible to the general reader"--a fundamental companion for students of Homer and Homeric Greece.

    William H. Sewell Jr. observes that on questions of theory the communication has been mostly one way: from social science to history. Logics of History argues that both history and the social sciences have something crucial to offer each other. While historians do not think of themselves as theorists, they know something social scientists do not: how to think about the temporalities of social life. On the other hand, while social scientists’ treatments of temporality are usually clumsy, their theoretical sophistication and penchant for structural accounts of social life could offer much to historians.Renowned for his work at the crossroads of history, sociology, political science, and anthropology, Sewell argues that only by combining a more sophisticated understanding of historical time with a concern for larger theoretical questions can a satisfying social theory emerge. In Logics of History, he reveals the shape such an engagement could take, some of the topics it could illuminate, and how it might affect both sides of the disciplinary divide.

    But while this epic struggle forms the core of his work, Herodotus' natural curiosity frequently gives rise to colorful digressions - a description of the natural wonders of Egypt; an account of European lake-dwellers; and far-fetched accounts of dog-headed men and gold-digging ants. With its kaleidoscopic blend of fact and legend, the "Histories" offers a compelling Greek view of the world of the fifth century BC.

    In this rich and wide-ranging book, Terry Pinkard interweaves the story of "Germany"--changing during this period from a loose collection of principalities into a newly-emerged nation with a distinctive culture--with an examination of the currents and complexities of its developing philosophical thought. He examines the dominant influence of Kant, with his revolutionary emphasis on "self-determination," and traces this influence through the development of romanticism and idealism to the critiques of post-Kantian thinkers such as Schopenhauer and Kierkegaard. His book will interest a range of readers in the history of philosophy, cultural history and the history of ideas. Terry Pinkard is professor of Philosophy at Northwestern University and is the author of the acclaimed Hegel: A Biography (Cambridge, 2000). He is honorary Professor of the Philosophy Faculty of TUbingen University, Germany and serves on the advisory board for the Zeitschrift fUr Philosophique Forschung.

    This text contains portions of great works in their original form to whet the appetite and to encourage discussion within the classroom. By providing historical context and current scholarship, Alan Ebenstein builds upon the framework of influences that have shaped current political thoughts and theories.

    He emphasises the survival of medieval traditions and the process of the creative adaptation of classical forms and values to their new cultural and social contexts in Italy and elsewhere in Europe. The story is carried down to the seventeenth century and the diffusion and disintegration of what had once been a coherent movement. Illustrated with black and white plates, this edition has been updated throughout to take account of recent scholarship, has a fully revised bibliography and will provide the student with a stimulating introduction to the subject. [Palgrave Macmillan]

    The Radical Enlightenment played a part in this revolutionary process, which effectively overthrew all justification for monarchy, aristocracy, and ecclesiastical power, as well as man's dominance over woman, theological dominance of education, and slavery. Despite the present day interest in the revolutions of the eighteenth century, the origins and rise of the Radical Enlightenment have received limited scholarly attention. The greatest obstacle to the movement finding its proper place in modern historical writing is its international scope: the Radical Enlightenment was not French, British, German, Italian, Jewish or Dutch, but all of these at the same time.In this wide-ranging volume, Jonathan Israel offers a novel interpretation of the Radical Enlightenment down to La Mettie and Diderot, two of its key exponents. Particular emphasis is placed on the pivotal role of Spinoza and the widespread underground international philosophical movement known before 1750 as Spinozism.

    “Europe,” he writes, “is the place where Goethe’s garden almost borders on Buchenwald, where the house of Corneille abuts on the market-place in which Joan of Arc was hideously done to death.” It is, in other words, a continent rich with contradiction, whose many tensions—cultural, social, political, economic, and religious—have for centuries conspired to pull it apart, even as it has become more and more unified. But what lies ahead for a continent whose borders are growing and economic might is strengthening, even as its cultural identity recedes? A continent where, in Steiner’s words, “young Englishmen choose to rank David Beckham high above Shakespeare and Darwin in their list of national treasures”? This is the trajectory that Steiner explores so brilliantly in The Idea of Europe.

    A note on how to interpret the information given in an apparatus criticus is also included.