with a memoir by William S. Heckscher Erwin Panofsky (1892-1968) was one of the preeminent art historians of the twentieth century. A new translation of his seminal work, Perspective as Symbolic Form, was recently published by Zone Books; now three remarkable essays, one previously unpublished, place Panofsky's genius in a different perspective: What Is Baroque?, Style and Medium in the Motion Pictures,andThe Ideological Antecedents of the Rolls-Royce Radiator. The essays are framed by an introduction by Irving Lavin, Panofsky's successor as Professor of Art History at the Institute for Advanced Study in Princeton, discussing the context of the essays' composition and their significance within Panofsky's oeuvre, and an insightful memoir by Panofsky's former student, close friend, and fellow emigr & e ́, William Heckscher. All three essays reveal unexpected aspects of Panofsky's sensibility, both personal and intellectual. Originally written as lectures for general audiences, they are composed in a lively, informal manner, and are full of charm and wit. The studies concern broadly defined problems of style in art--the visual symptoms endemic to works of a certain period (Baroque), medium (film), or national identity (England)--as opposed to the focus on iconography and subject matter usually associated with Panofsky's "method." The essay on Baroque, which Lavin considers "vintage Panofsky" and which appears here for the first time, and the one on film were written in 1934. The Rolls-Royce piece was written in 1962.
This Perceptive Study Of Shakespeare By Dowden Remains Unsurpassed. It Is Not An Isolated Work But An Important Landmark In Scholarly Criticism On Shakespeare. Dowden Makes A Judicious Use Of Shakespeare S Intellectual Biography And Connects The Study Of Shakespeare S Works With An Inquiry About The Personality Of The Writer And Growth Of His Mind And Character. The Critic Is Careful In Keeping The Identities Of Shakespeare And His Characters Distinct Though He Skillfully Traces The Proclivities Of Shakespeare S Characters In The Spiritual Tendencies Or Rabits Of Their Creator. In View Of The Range Of Shakespeare S Characters, From John Falstaff To Hamlet, From Lady Macbeth To Cordelia, It Is An Achievement Far Beyond The Scope Of An Extraordinary Intellectual Exercise.By And Large, Dowden Adheres To The Chronological Method Of Studying Shakespeare S Writings. This Makes The Task Of The Student And Reader Easier. References Can Be Made To The Individual Plays And To Their Group Affiliations As Tragedies, Comedies And Historics Readily.Dowden Is Free From Modern Day Tendency To Overuse Academic Jargon. There Is No Rigid Theoretical Framework To Which Shakespeare Has Been Made To Bend And Bow. On The Other Hand, We Notice An Interesting Pattern Of What The Author Himself Describes As The Struggle Between Blood And Judgement Through His Study Of Shakespeare S Plays Which Was Also A Great Affair Of Shakespeare S Life. Dowden Shows Us Decisively That Shakespeare S Creative Response To Life Rested Upon A Purely Human Basis And He Refused To Render Into Art The Dogmas Of Either Catholicism Or Protestantism Even Though He Lived In An Age Marked With Religious Controversies And His Personal Sympathies Were With Protestantism.The Chapter Growth Of Shakespeare S Mind And Art Is An Unmatched Contribution To The Critical Understanding Of Shakespeare S Personality As The Greatest Dramatist And Playwright Of The World.Dowden S Critical Commentary On Shakespeare Is Comprehensive And Wide-Ranging And Full Of Insights. No Important Aspect Of His Dramatic Art Has Remained Untouched As Is Evident From His Treatment Of Shakespeare S Humour. He Insightfully Observes That The Character And Spiritual History Of A Man Who Is Endowed With A Capacity For Humorous Appreciation Of The World Must Differ Throughout And In Every Particular From That Of The Man Whose Moral Nature Has Never Rippled Over With Gerid Laughter. And In This Distinctive Endowment Dowden Seeks The Source Of Shakespeare S Unique Genius.Abandoning Metaphysics And Abstractions, Dowden Turns To Actual Life Of The World As Viewed And Depicted By Shakespeare, To The Real Men And Women Of His Plays And Explores The Sources Of Their Emotion, Thought And Action.Shakespeare-His Mind And Art Has Carved For Itself A Permanent Niche In The Shakespearean Critical Canon.
"While differences among the three early texts of Hamlet have been considered in terms of interpretive consequences, The Hamlets instead considers practical issues in the playhouses of early modern London. It examines how Shakespeare's company operated, how they may have treated the authorial text, what the actor's needs might have been, and how the three texts may be manifestations of the play's life in the theater. By studying cue-line variation in the three texts, the book introduces a unique method of analysis and constructs for Hamlet a new narrative of authorial, textual, and playhouse practices that challenges the customary assumptions about the transmission of Shakespeare's most textually troubling play."--BOOK JACKET.
“We can no longer see, much less teach, transhistorical truths, timeless works of art, and unchanging critical criteria without a highly developed sense of irony about the grand narratives of the past,” declare the editors, who also coedited Visual Theory: Painting and Interpretation (1990). The field of art history is not unique in finding itself challenged and enlarged by cultural debates over issues of class, ethnicity, nationality, sexual orientation, and gender. Visual Culture assembles some of the foremost scholars of cultural studies and art history to explore new critical approaches to a history of representation seen as something different from a history of art. CONTRIBUTORS: Andres Ross, Michael Ann Holly, Mieke Bal, David Summers, Constance Penley, Kaja Silverman, Ernst Van Alphen, Norman Bryson, Wolfgang Kemp, Whitney Davis, Thomas Crow, Keith Moxey, John Tagg, Lisa Tickner. Ebook Edition Note: Ebook edition note: all illustrations have been redacted.
A remarkable resurgence of interest has taken place over recent years in a biographical approach to the work of early modern poets and dramatists, in particular to the plays and poems of Shakespeare, Marlowe and Jonson. The contributors to this volume approach the topic in a manner that is at once critically and historically alert. They acknowledge that the biographical evidence for all three authors is limited, thus throwing the emphasis acutely on interpretation. In addition to new scholarship, the essays are valuable for their awareness of the challenges posed by recent redirections of critical methodology. Scepticism and self-criticism are marked features of the writing gathered here.