History of Art, Architecture, and Archaeology Commons^™

From Winkelmann’S Apollo To Nietzsche’S Dionysus, Babette Babich

Articles and Chapters in Academic Book Collections

At issue here is the Platonic notion of imitation likewise associated with Gotthold Ephraim Lessing’s reflection on the complex limits of painting and poetry, exemplar, archetype, ideal. Nietzsche himself echoes Schlegel’s own citation of Winckelmann in his comparison of Greek tragedy and sculpture, noting the ideal of beauty in balance, as tragic proportion. For August Wilhelm Schlegel, Aeschylus and Sophocles highlight the balance of tension between bodily dynamic poise and spiritual suffering in the case of the Laocoön group, where the boys to either side of the central figure draw the gaze back to the father: the very snakes themselves …

Announcings, Babette Babich

Articles and Chapters in Academic Book Collections

The Annunciation is often thematized in the critical literature and foremost among these thematizations, recently to be sure, are feminist readings, which matter for this essay although this essay can only refer to these in passing.

The focal concern is personal correspondence and intimate address or intrigue. This essay thus offers a hermeneutic reading less of the presumptive purity of our perception of this painting, as indeed of its reception, involving a distinction to be noted between male and female subjects than it reviews a recollection of the divine inclination to beauty in both pagan, Greek, and Judaeo- Christian traditions. …

Visual Forms, Visceral Themes: Understanding Bodies, Pain, And Torture In Renaissance Art, Helena Guzik Fcrh '12

The Fordham Undergraduate Research Journal

Despite its relevance to modern discussions, the scholarly treatment of torture in art is relatively infrequent. This project explores, through the visual evidence of artistic works, the implications of Renaissance philosophies surrounding the human body in the context of pain and particularly the physical suffering endured during torture. By examining varying techniques of representing the human form across an array of artistic media, this article strives to illuminate the struggle between the rise of scientific naturalism and prevailing currents of spiritual dualism when considering the question of the body in torment. In highlighting the artist as narrator of Renaissance society’s …

The Burgos Tapestry: Medieval Theatre And Visual Experience, Nathalie Rochel Frch '11

The Fordham Undergraduate Research Journal

In the field of art history, the medium of tapestry has only recently begun to gain attention as its own significant art form. This paper examines the possible relationship between the Burgos Tapestry, recently on view at The Cloisters after a thirty-year conservation, and medieval theatre. The compositional and stylistic forms of the tapestry may have been influenced by productions of medieval mystery plays, which through analysis can help provide a greater understanding of the medieval cultural mindset, the possible artistic decisions behind maintaining medieval pictorial traditions into the early sixteenth century, and the medieval viewer’s experience when looking at …

Genius Loci. Zu Nietzsche, Lou Und Dem Sacro Monte, Bzw. Den Sacri Monti, Babette Babich

Research Resources

No abstract provided.

Nietzsche And Lou, Eros And Art : On Lou’S Triangles And The « Exquisite Dream » Of Sacro Monte, Babette Babich

Research Resources

No abstract provided.

Greek Bronze: Holding A Mirror To Life, Expanded Reprint From The Irish Philosophical Yearbook 2006: In Memoriam John J. Cleary 1949-2009, Babette Babich

Articles and Chapters in Academic Book Collections

To explore the ethical and political role of life-sized bronzes in ancient Greece, as Pliny and others report between 3,000 and 73,000 such statues in a city like Rhodes, this article asks what these bronzes looked like. Using the resources of hermeneutic phenomenological reflection, as well as a review of the nature of bronze and casting techniques, it is argued that the ancient Greeks encountered such statues as images of themselves in agonistic tension in dynamic and political fashion. The Greek saw, and at the same time felt himself regarded by, the statue not as he believed the statue divine …

Reflections On Greek Bronze And 'The Statue Of Humanity'. Heidegger's Aesthetic Phenomenology And Nietzsche's Agonistic Politics, Babette Babich

Articles and Chapters in Academic Book Collections

No abstract provided.