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The Practice of Persuasion : Paradox and Power in Art History / Keith Moxey.

By: Material type: TextTextPublisher: Ithaca, NY : Cornell University Press, [2018]Copyright date: ©2000Description: 1 online resource (160 p.) : 7 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9781501729034
Subject(s): DDC classification:
  • 700/.7/22 21
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Illustrations -- Acknowledgments -- Introduction: The Politics of Persuasion -- Chapter One. Art History's Hegelian Unconscious: Naturalism as Nationalism in the Study of Early Netherlandish Painting -- Chapter Two. History, Fiction, Memory: Riemenschneider and the Dangers of Persuasion -- Chapter Three. Motivating History -- Chapter Four. Perspective, Panoftky, and the Philosophy of History -- Chapter Five. Nostalgia for the Real: The Troubled Relation of Art History to Visual Studies -- Chapter Six. After the Death of the "Death of the Author" -- Index
Summary: This sequel to The Practice of Theory stresses the continued need for self-reflective awareness in art historical writing. Offering a series of meditations on the discipline of art history in the context of contemporary critical theory, Moxey addresses such central issues as the status of the canon, the nature of aesthetic value, and the character of historical knowledge. The chapters are linked by a common interest in, even fascination with, the paradoxical power of narrative and the identity of the authorial voice. Moxey maintains that art history is a rhetoric of persuasion rather than a discourse of truth. Each chapter in The Practice of Persuasion attempts to demonstrate the paradoxes inherent in a genre that—while committed to representing the past—must inevitably bear the imprint of the present. In Moxey's view, art history as a discipline is often unable to recognize its status as a regime of truth that produces historically determined meanings and so continues to act as if based on a universal aesthetic foundation. His new book should enable art historians to engage with the past in a manner less determined by tradition and more responsive to contemporary values and aspirations.
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)9781501729034

Frontmatter -- Contents -- Illustrations -- Acknowledgments -- Introduction: The Politics of Persuasion -- Chapter One. Art History's Hegelian Unconscious: Naturalism as Nationalism in the Study of Early Netherlandish Painting -- Chapter Two. History, Fiction, Memory: Riemenschneider and the Dangers of Persuasion -- Chapter Three. Motivating History -- Chapter Four. Perspective, Panoftky, and the Philosophy of History -- Chapter Five. Nostalgia for the Real: The Troubled Relation of Art History to Visual Studies -- Chapter Six. After the Death of the "Death of the Author" -- Index

restricted access online access with authorization star

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

This sequel to The Practice of Theory stresses the continued need for self-reflective awareness in art historical writing. Offering a series of meditations on the discipline of art history in the context of contemporary critical theory, Moxey addresses such central issues as the status of the canon, the nature of aesthetic value, and the character of historical knowledge. The chapters are linked by a common interest in, even fascination with, the paradoxical power of narrative and the identity of the authorial voice. Moxey maintains that art history is a rhetoric of persuasion rather than a discourse of truth. Each chapter in The Practice of Persuasion attempts to demonstrate the paradoxes inherent in a genre that—while committed to representing the past—must inevitably bear the imprint of the present. In Moxey's view, art history as a discipline is often unable to recognize its status as a regime of truth that produces historically determined meanings and so continues to act as if based on a universal aesthetic foundation. His new book should enable art historians to engage with the past in a manner less determined by tradition and more responsive to contemporary values and aspirations.

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)