Library Catalog
Amazon cover image
Image from Amazon.com

The Poetics of Perspective / James Elkins.

By: Material type: TextTextPublisher: Ithaca, NY : Cornell University Press, [2018]Copyright date: ©1996Description: 1 online resource (344 p.) : 63 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9781501723896
Subject(s): DDC classification:
  • 701/.82 20
LOC classification:
  • NC750 .E44 1994
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- CONTENTS -- PLATES -- PREFACE -- CHAPTER 1 / INTO THE MAELSTROM OF METAPHOR -- CHAPTER 2 / ARGUS/POLYPHEMUS -- CHAPTER 3 / THE HARMONIOUS, THE COMPATIBLE, THE EQUIVALENT -- CHAPTER 4 / DEMONSTRATION 1 PLAY 1 ARCANUM -- CHAPTER 5 / CURVED FOUNDATIONS -- CHAPTER 6 / THE FOSSILIZATION OF PERSPECTIVE -- ENVOI -- APPENDIX f MATHEMATICS AND PERSPECTIVE -- REFERENCES -- INDEX
Summary: Perspective has been a divided subject, orphaned among various disciplines from philosophy to gardening. In the first book to bring together recent thinking on perspective from such fields as art history, literary theory, aesthetics, psychology, and the history of mathematics, James Elkins leads us to a new understanding of how we talk about pictures. Elkins provides an abundantly illustrated history of the theory and practice of perspective. Looking at key texts from the Renaissance to the present, he traces a fundamental historical change that took place in the way in which perspective was conceptualized; first a technique for constructing pictures, it slowly became a metaphor for subjectivity. That gradual transformation, he observes, has led to the rifts that today separate those who understand perspective as a historical or formal property of pictures from those who see it as a linguistic, cognitive, or epistemological metaphor. Elkins considers how the principal concepts of perspective have been rewritten in work by Erwin Panofsky, Hubert Damisch, Martin Jay, Paul Ricoeur, Jacques Lacan, Maurice Merleau-Ponty, and E. H. Gombrich. The Poetics of Perspective illustrates that perspective is an unusual kind of subject: it exists as a coherent idea, but no one discipline offers an adequate exposition of it. Rather than presenting perspective as a resonant metaphor for subjectivity, a painter's tool without meaning, a disused historical practice, or a model for vision and representation, Elkins proposes a comprehensive revaluation. The perspective he describes is at once a series of specific pictorial decisions and a powerful figure for our knowledge of the world.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781501723896

Frontmatter -- CONTENTS -- PLATES -- PREFACE -- CHAPTER 1 / INTO THE MAELSTROM OF METAPHOR -- CHAPTER 2 / ARGUS/POLYPHEMUS -- CHAPTER 3 / THE HARMONIOUS, THE COMPATIBLE, THE EQUIVALENT -- CHAPTER 4 / DEMONSTRATION 1 PLAY 1 ARCANUM -- CHAPTER 5 / CURVED FOUNDATIONS -- CHAPTER 6 / THE FOSSILIZATION OF PERSPECTIVE -- ENVOI -- APPENDIX f MATHEMATICS AND PERSPECTIVE -- REFERENCES -- INDEX

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Perspective has been a divided subject, orphaned among various disciplines from philosophy to gardening. In the first book to bring together recent thinking on perspective from such fields as art history, literary theory, aesthetics, psychology, and the history of mathematics, James Elkins leads us to a new understanding of how we talk about pictures. Elkins provides an abundantly illustrated history of the theory and practice of perspective. Looking at key texts from the Renaissance to the present, he traces a fundamental historical change that took place in the way in which perspective was conceptualized; first a technique for constructing pictures, it slowly became a metaphor for subjectivity. That gradual transformation, he observes, has led to the rifts that today separate those who understand perspective as a historical or formal property of pictures from those who see it as a linguistic, cognitive, or epistemological metaphor. Elkins considers how the principal concepts of perspective have been rewritten in work by Erwin Panofsky, Hubert Damisch, Martin Jay, Paul Ricoeur, Jacques Lacan, Maurice Merleau-Ponty, and E. H. Gombrich. The Poetics of Perspective illustrates that perspective is an unusual kind of subject: it exists as a coherent idea, but no one discipline offers an adequate exposition of it. Rather than presenting perspective as a resonant metaphor for subjectivity, a painter's tool without meaning, a disused historical practice, or a model for vision and representation, Elkins proposes a comprehensive revaluation. The perspective he describes is at once a series of specific pictorial decisions and a powerful figure for our knowledge of the world.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024)