Auerbach, Erich (1892–1957) Reference library
Jan Ziolkowski
Encyclopedia of Aesthetics (2 ed.)
...favored the imitation of models. Throughout his career, Auerbach consistently devoted substantial energies to the aesthetic historicism of Vico: he published more than a dozen essays and books concerned with Vico. From Vico, Auerbach derived what he defined as “historical perspectivism.” This historical outlook entailed a distinctive aesthetics, namely, “the conviction that every civilization and every period has its own possibilities of aesthetic perfection; that the works of art of different peoples and periods, as well as their general forms of life, must...
Luhmann, Niklas (1927–1998) Reference library
Francis Halsall
Encyclopedia of Aesthetics (2 ed.)
...the comparisons between the self-reflexivity of systems theory, especially that of second- and third-order observations, in which systems observe their own operations, and deconstruction. The process of second-order observation, in particular, recalls both Nietzsche’s perspectivism and Foucault’s account of the necessary and constitutive relationships between discursive observations and their objects. The most sustained critique of Luhmann’s work came from Habermas, who collaborated with Luhmann on a joint seminar at the Max Planck Institute in the early...
Pragmatism Reference library
David Raskin
Encyclopedia of Aesthetics (2 ed.)
...that are taken for granted in the basis of civilization and that form the subsoil of conscious beliefs and efforts” ( Dewey, 1934 ). In this sense, the pragmatic method of testing truth within an ongoing process of trial and error could be considered a generalized cultural perspectivism, as “culture wars” and debates about canonicity would appear to show. Truth for a pragmatist is a posteriori rather than a priori; it is repeatedly checked and balanced. Historically, Dewey had important relationships with the American art historian Meyer Schapiro, his student...
Nietzsche, Friedrich Wilhelm Reference library
Bernd Magnus, Julian Young, Kathleen Marie Higgins, Gary Shapiro, and David Wellbery
Encyclopedia of Aesthetics (2 ed.)
...morality, and religion, a critique that is parasitic on a “positive” set of doctrines, for example, the “will to power,” “perspectivism,” “eternal recurrence,” and the Übermensch (“superman,” “overman”). Viewed in this way, perspectivism is a concept that holds that there are no immaculate perceptions, that the idea of knowledge from no point of view is as incoherent a notion as is seeing from no particular vantage point. Perspectivism also denies the possibility of an all-inclusive perspective that could contain all others, and, hence, make reality...
Haptic Aesthetics Reference library
Laura Marks
Encyclopedia of Aesthetics (2 ed.)
...not idolatrous. In the ninth century, Theodore of Stoudios argued that the icon painter made no artifice but faithfully imprinted on the board the impression that was printed on his eyes. The Byzantine theory of the tactile image fell out of favor in the West with the rise of perspectivism. So too did any idea that vision entails a bodily contact between the viewer and the thing viewed. Renaissance and Enlightenment beliefs that vision was objective and disembodied permitted an understanding of subjectivity in which perceiver and perceived, inside and outside,...
Merleau-Ponty, Maurice Reference library
Galen A. Johnson and Vesela Sretenović
Encyclopedia of Aesthetics (2 ed.)
...all too often invisible. We live with someone we love all our lives but never “see” her or him. In privileging Cézanne to develop this aesthetic, Merleau-Ponty did not mean to speak for one moment in the history of painting or art in order to exclude others such as classical perspectivism or Cubism or Abstract Expressionism, as has sometimes been claimed (as in Jean-François Lyotard’s Discours, figure ; see Michel Haar’s “Painting, Perception, Affectivity,” in Fóti, 1996 ). He argued that Cézanne, in spite all his own self-doubts, and in spite of the...
Truth Reference library
Peter Lamarque and Stein Haugom Olsen
Encyclopedia of Aesthetics (2 ed.)
...century have been structuralism and its descendants, poststructuralism and postmodernism. Four antecedents (at least) helped shape this complex of ideas. First, there is Friedrich Nietzsche’s (1844–1900) view that there are “no facts, only interpretations,” a view he dubbed “Perspectivism” ( The Will to Power , 1901 ) ; the rejection of absolute or universal truth is a central tenet of poststructuralism. Second, there is the general Marxist doctrine that the significance of art lies as much in what it conceals—its ideology, the conditions of its production—as...
Literature Reference library
Stein Haugom Olsen, Bruce Robbins, and Bernard Harrison
Encyclopedia of Aesthetics (2 ed.)
...enterprise one can roughly distinguish at least three major strands of thought. First, there is the line of theorizing opened up by the denial that there is any one point of view from which the “truth of things” can be wholly, or finally, apprehended. Friedrich Nietzsche’s “perspectivism” is one expression of this, as is William Blake’s rejection of “single vision and Newton’s sleep” in favor of the kind of “Vision” invoked by such lines as “The Vision of Christ that thou dost see / Is my Vision’s Greatest Enemy” ( The Everlasting Gospel , 1818 ). A second line...
French Aesthetics Reference library
Gita May and Gary Shapiro
Encyclopedia of Aesthetics (2 ed.)
...of intentionality that structure all experience an endless task, so Cézanne, on this view, kept going back beyond the easy abstractions of convention and tradition to disclose the nature of vision. For the painter this entailed a questioning of the residues of quattrocento perspectivism, according to which the world is seen by a monocular, immobile gaze that transcends the field that it dominates. It also entailed Cézanne’s parting ways with the impressionists, rejecting their dissolution of everything into light; he insisted on the obstinacy of the object....
Nietzsche, Friedrich Wilhelm Reference library
Encyclopedia of Aesthetics
...morality, and religion, a critique that is parasitic on a “positive” set of doctrines, for example, the “will to power,” “perspectivism,” “eternal recurrence,” and the Übermensch (“superman,” “overman”). Viewed in this way, perspectivism is a concept that holds that there are no immaculate perceptions, that the idea of knowledge from no point of view is as incoherent a notion as is seeing from no particular vantage point. Perspectivism also denies the possibility of an all-inclusive perspective that could contain all others, and, hence, make reality...
Auerbach, Erich (1892) Reference library
Encyclopedia of Aesthetics
...favored the imitation of models. Throughout his career, Auerbach consistently devoted substantial energies to the aesthetic historicism of Vico: he published more than a dozen essays and books concerned with Vico. From Vico, Auerbach derived what he defined as “historical perspectivism.” This historical outlook entailed a distinctive aesthetics, namely, “the conviction that every civilization and every period has its own possibilities of aesthetic perfection; that the works of art of different peoples and periods, as well as their general forms of life, must...
Merleau-Ponty, Maurice (1908) Reference library
Encyclopedia of Aesthetics
...all too often invisible. We live with someone we love all our lives but never “see” her or him. In privileging Cézanne to develop this aesthetic, Merleau-Ponty did not mean to speak for one moment in the history of painting or art in order to exclude others such as classical perspectivism or Cubism or Abstract Expressionism, as has sometimes been claimed ( Jean-François Lyotard , Discours, Figure ; Michel Haar , in Fóti, ed., 1996 ). He argued that Cézanne, in spite all his own self-doubts, in spite of the withering attacks of the critics and “official art”...
Truth Reference library
Encyclopedia of Aesthetics
...have been structuralism and its descendants, poststructuralism and postmodernism. Four antecedents (at least) helped shape this complex of ideas. First, there is Friedrich Nietzsche 's ( 1844–1900 ) view that there are “no facts only interpretations” a view he dubbed “Perspectivism” ( The Will to Power , 1901 ); the rejection of absolute or universal truth is a central tenet of poststructuralism. Second, there is the general Marxist doctrine that the significance of art lies as much in what it conceals—its ideology, the conditions of its production—as...
Literature Reference library
Encyclopedia of Aesthetics
...enterprise one can roughly distinguish at least three major strands of thought. First there is the line of theorizing opened up by the denial that there is any one point of view from which the “truth of things” can be wholly, or finally, apprehended. Friedrich Nietzsche 's “perspectivism” is one expression of this, as is William Blake 's rejection of “single vision and Newton's sleep” in favor of the kind of “Vision” invoked by such lines as “The Vision of Christ that thou dost see/Is my Vision's Greatest Enemy” ( The Everlasting Gospel, 1818 ). A second line...
French Aesthetics Reference library
Encyclopedia of Aesthetics
...that structure all experience an endless task, so Cézanne, on this view, kept going back beyond the easy abstractions of convention and tradition in order to disclose the nature of vision. For the painter this entailed a questioning of the residues of quattrocento perspectivism, according to which the world is seen by a monocular, immobile gaze that transcends the field it dominates. It also entailed Cézanne's parting ways with the impressionists, rejecting their dissolution of everything into light; he insisted on the obstinacy of the object....
