Comparativism in art history
Author(s)
Bibliographic Information
Comparativism in art history
(Studies in art historiography / series editor, Richard Woodfield, 12)(An Ashgate book)
Routledge, 2019 , c2017
- : pbk
Available at 1 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
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  United Kingdom
  Germany
  Switzerland
  France
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Note
Includes bibliographical references and index
"First published 2017", "First issued in paperback 2019"
Description and Table of Contents
Description
Featuring some of the major voices in the world of art history, this volume explores the methodological aspects of comparison in the historiography of the discipline. The chapters assess the strengths and weaknesses of comparative practice in the history of art, and consider the larger issue of the place of comparative in how art history may develop in the future. The contributors represent a comprehensive range of period and geographic command from antiquity to modernity, from China and Islam to Europe, from various forms of art history to archaeology, anthropology and material culture studies. Art history is less a single discipline than a series of divergent scholarly fields - in very different historical, geographic and cultural contexts - but all with a visual emphasis on the close examination of objects. These fields focus on different, often incompatible temporal and cultural contexts, yet nonetheless they regard themselves as one coherent discipline - namely the history of art. There are substantive problems in how the sub-fields within the broad-brush generalization called 'art history' can speak coherently to each other. These are more urgent since the shift from an art history centered on the western tradition to one that is consciously global.
Table of Contents
Contents:
Introduction: Some Stakes of Comparison, by Stanley K. Abe and Jas Elsner
Chapter 1: Our Literal Speed, by Our Literal Speed
Chapter 2: Locations of Comparison: Some Personal Observations, by Wu Hung
Chapter 3: Bivisibility: Why Art History is Comparative, by Whitney Davis
Chapter 4: Redundacy, Transformation, Impersonation, by Margaret Olin
Chapter 5: The Object in the Comparative Context, by Ittai Weinryb
Chapter 6: Sculpture: A Comparative History, by Stanley K. Abe
Chapter 7: Intersecting Historiographies: Henri Pirenne, Ernst Herzfeld, and the Myth of Origin, by Avinoam Shalem
Chapter 8: Comparativism in Anthropology: Big Questions and Scaled Comparison - An Illusive Dream?, by Susanne Kuchler
Chapter 9: Was the Knidia a Statue? Art History and the Terms of Comparison, by Richard Neer
Chapter 10: Christian Marclay's Real Time Fiction, by Robert Slifkin
Chapter 11: Narrative, Naturalism and the Body in Classical Greek and Early Imperial Chinese Art, by Jeremy Tanner
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