THE PRACTICE OF THEORY: POSTSTRUCTURALISM, CULTURAL POLITICS, AND ART HISTORY
Book ID/图书代码： 10B39365
English Summary/英文概要： Many art historians regard poststructuralist theory with suspicion; some even see its focus on the political dimension of language as hostile to an authentic study of the past. Keith Moxey bridges the gap between historical and theoretical approaches with the provocative argument that we cannot have one without the other. "If art history is to take part in the processes of cultural transformation that characterize our society," he writes, "then its historical narratives must come to terms with the most powerful and influential theories that currently determine the way in which we conceive of ourselves."
After exploring how the insights offered by deconstruction and semiotics change our understanding of representation, ideology, and authorship, Moxey himself puts theory into practice. In a series of engaging essays accompanied by twenty-eight illustrations, he first examines the impact of cultural values on Erwin Panofsky’s writings. Taking a fresh look at work by artists from Albrecht Dürer and Erhard Schön to Barbara Kruger and Julian Schnabel, he then examines the process by which he generic boundaries between "high" and "low" art have helped to sustain class and gender differences. Making particular reference to the literature on Martin Schongauer, Moxey also considers the value of art history when it is reduced to artist’s biography. Moxey’s interpretation of the work of Hieronymus Bosch not only reassesses its intelligence and imagination, but also brings to light its pragmatic conformity to elite definitions of artistic "genius." With his compelling analysis of the politics of interpretation, Moxey draws attention to a vital aspect of the cultural importance of history
Chinese Summary/中文概要： 许多艺术史学家对后结构主义理论持怀疑态度，有的甚至将其对政治语言维度的关注看作真正对过去的研究的敌对面。基思•摩基用充满说服力的论点在历史和理论方法中架起桥梁——两者都不能缺少对方。“如果艺术史参与塑造社会的文化转型，”他写道，“那么它的历史叙述就必须以最强大和最有影响力的、满足目前我们所设想的自己的理论表达出来。”
在探讨这些见解如何通过解构和符号学来体现我们对表现手法、思想和创作后，摩基亲自将理论转化为实践。在一系列由20幅插图配合下的文章中，他首先考察了欧文•帕诺夫斯基的作品的文化价值影响。以全新视角浏览艺术家的作品，从阿尔布雷希特•丢勒和埃哈德•舍恩到巴巴拉•克鲁格和朱利安•施纳贝尔，摩基审视了他自己通过艺术维系分类和性质差异界定其“高”与“低”的过程。本书特别引用了马丁•雄高尔，摩基认为在将艺术历史简化等同于艺术家传记时也应考虑到艺术本身的价值。摩基对希羅尼穆斯•波希作品的诠释，不仅重新评估其智慧和想象能力，而且还务实地揭示了其符合艺术“天才”的定义。在他对政治进行令人信服的分析的同时，摩基还特别关注重要历史文化意义的研究。(兼职翻译-JDM)
Awards/获奖情况：
About the Author/作者介绍： 基思•摩基是芭芭拉•诺瓦克教授，也是巴纳德学院艺术史系主任。他的作品以史学和艺术史哲学类，以及十六世纪绘画和北欧照片类为主，出版作品包括：《说服力的实践：艺术史上的悖论与动力》(2001年)、《后结构主义理论的实践》、《文化政治》、《艺术史》(1994)、《农民、战士和妻子：大革命中的主要形象》(1989年)。他也是几本选集的合作者：《艺术史》、《美学》、《视觉文化》(2002年)、《艺术史学：当代视角下的历史人物》(1998年)、《视觉文化：形象及诠释》(1994年)和《视觉理论：图像和诠释》(1991年)。 Keith Moxey is Barbara Novak Professor and Chair of Art History at Barnard College. He is the author of books on the historiography and philosophy of art history, as well as on sixteenth century painting and prints in Northern Europe. His publications include: The Practice of Persuasion: Paradox and Power in Art History (2001); The Practice of Theory: Poststructuralism, Cultural Politics, and Art History (1994); Peasants, Warriors, and Wives: Popular Imagery in the Reformation (1989). He is also the co-editor of several anthologies: Art History, Aesthetics, Visual Culture (2002); The Subjects of Art History: Historical Objects in Contemporary Perspective (1998); Visual Culture: Images and Interpretations (1994); and Visual Theory: Painting and Interpretation (1991).
Format:照片
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