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Carlo-Ginzburg-Wooden-Eyes -Nine-Reflections-On-Distance-2001.Pdf MARTIN RY LE AND KATE SOPER, TRANSLATO RS CARLO G INZB URG WOODEN EYES NINE REFLECTIONS ON DISTA NCE Wooden Eyes EUROPEAN PERSPECTIVES EUROPEAN PERSPECTIVES A Series in Social Thought and Cultural Criticism Lawrence D. Kritzman, Editor European Perspectives presents outstanding books by leading Euro­ pean thinkers. With both classic and contemporary works, the series aims to shape the major intellectual controversies of our day and to facilitate the tasks of historical understanding. For a complete list of books in the series, see pages 263-264. Wooden Eyes NINE REFLECTIONS ON DISTANCE Carlo Ginzburg Translated by Martin Ryle and Kate Soper COLUMBIA UNIVERSITY PRESS New York Columbia University Press PublishersSince 1893 New York Chichester, West Sussex Translation copyright © 2om Columbia University Press Occhiacci di Legno ©1998 Giangiacomo Feltrinelli Editore Milano All rights reserved Library of Congress Cataloging-in-Publication Data Ginzburg, Carlo. [Occhiacci di legno. English] Wooden eyes : nine reflections on distance I Carlo Ginzburg. p. cm. - (European perspectives) Includes bibliographical references and index. ISBN o-231-n 960 -7 r. Perspective (Philosophy) 2. Culture-Philosophy. 3. Aesthetic distance. I. Ryle, Martin H. II. Soper, Kate. III. Title. IV. Series. BD348.G5613 2001 l95-dc21 2001017407 Casebound editions of Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America Designed byAudrey Smith c10 9 8765432 1 Wooden eyes, why are you looking at me? -Collodi, Pinocchio To Amos Funkenstein CONTENTS List of Plates xi Preface xiii I. MAKING IT STRANGE: The Prehistory of a Literary Device 2. MYTH: Distance and Deceit 25 3. REPRESENTATION: The Word, the Idea, the Thing 63 4. ECCE: On the Scriptural Roots of Christian Devotional Imagery 79 5. IDOLS AND LIKENESSES: A Passage in Origen and Its Vicissitudes 95 6. STYLE: Inclusion and Exclusion ro9 7. DISTANCE AND PERSPECTIVE: Two Metaphors 139 8. TO KILL A CHINESE MANDARIN: The Moral Implications of Distance 157 x ' 9. POPE WOJTYLA S SLIP 173 CONTENTS Notes 181 Index 247 PLATES Following Page 94 r. Diego Rodriguez de Silva y Velazquez, Jacob Receiving the Bloodstained Garments of Joseph (Madrid, Escorial) 2. Diego Rodriguez de Silva y Velazquez, The Forge of Vulcan (Madrid, Prado) 3. Antonio Tempesta, The Forge of Vu lcan (from Ovid, Metamorphoseon. , published in Antwerp, 1606) 4. Caravaggio, Calling of Saint Matthew (Rome, San Luigi dei Francesi) 5. Domenichino, Death of Saint Cecilia (Rome, San Luigi dei Francesi) 6. Royal figurine (London, Westminster Abbey) 7. Saint Foy, Conques 8. Hans Holbein the Younger, Allegory of the Old and New Testament (Edinburgh, National Gallery of Scotland) 9.Latin sarcophagus (no. 191) (Vatican Museums) ro. Sarcophagus with trees (Arles, Musee Reattu) xii PLATES u. Fragment of sarcophagus, depictingJesus and the woman cured of bleeding (Rome, Catacomb of San Callisto) 12.The Vi sion of Ezekiel (Salonika, church of Hosios David) 13.Madonna and Child (Rome, Santa Maria Antiqua, sixth-seventh century) 14. Ecce Homo (Israel von Meckenem, late fifteenth century) 15. Crucifixion (Ohrid, early fourteenth century) 16.Pall depicting Anubis (Moscow, Pushkin Museum) 17.Capital depicting a sphinx (church of Saint Foy, Conques, cloisters) 18.Capital depicting a siren (church of Saint Foy, Conques, cloisters) 19.Rene Magritte, La trahison des images (Los Angeles, County Museum of Art, copyright SIAE 1998) 20. The Temple of Solomon, fromJohann Bernhard Fischer von Erlach, Entwuif einer historischen Architectur . .. , 1721 2r.Stonehenge, from Fischer von Erlach, Entwuif ... 22. Chinese Bridges, from Fischer von Erlach, Entwuif ... 23.Persepolis, fromJohn Flaxman, Lectures on Sculpture, 1829 24. Statue in the Temple of Egina, from Flaxman, Lectures on Sculpture 25. Vishnu, from Flaxman, Lectures on Sculpture 26.Transfiguration ofJesus, from Flaxman, Lectures on Sculpture PREFACE The reader will find here nine essays, three of them previ­ ously unpublished, that I have written during the last decade. The "distance" referred to in the book's subtitle is both literal and metaphorical. Since 1998, I have been teach­ ing in Los Angeles. Conversation with students such as those who attend UCLA, whose intellecmal background is quite unlike my own and who are ethnically and culturally diverse, has obliged me to look afresh at research themes and topics on which I have long been working.My sense of their importance has not lessened, but that importance has become less self-evident.I have come to understand better something that I thought I already knew: that familiarity, which is in the last analysis bound up with cultural belong­ ing, cannot be a criterion of what is relevant. To say that every place in the world is like our place does not mean that everything is the same; it means that we all find ourselves astray, out of place, vis-a-vis some things and some people. I know that I am saying nothing new, but perhaps it is worth pausing to reflect on the intellectual fecundity of this condition. This is what xiv I have tried to do in the essay that opens the collection. Even the first PREFACE written, however, on representation (chapter 3), was animated by a wish to awaken in the reader (and first of all, in the writer) this sense of being astray; by compressing a vast topic into a few pages and by setting Europe and Italy in a very wide chronological and spatial framework. In it, I engaged with a double ambiguity: the ambiguity of images, which are simultaneously presences and surrogates for what is not present; and the ambiguity of the relationship between Jews and Christians, in which closeness and distance have been inter­ laced, oftenwith fatalconsequences, for two millennia. These ambi­ guities come together in the theme of idolatry; which is alluded to in the title of the book and discussed in the essay on idols and images. This ends abruptly; in a juxtaposition of the first two command­ ments: "You shall not make a carved image for yourself nor the like­ ness of anything" and "You shall not make wrong use of the name of the Lord." I return to the contiguity of the word and the image in my inquiry into myth. The Greeks both depicted their gods and spoke their names; and they reasoned on the nature of images and of words. However, this apparent contrast between the Greeks and the Jews perhaps conceals a hidden symmetry: both the Greek reflection on myth and the Jewish prohibition of idolatry are instruments of distantiation. Greeks and Jews, in their different ways, sought to develop tools that would allow them to cast a critical gaze on reality without becoming submerged in it. Christianity set itself against them both, and learned from them both. I am a Jew who was born and grew up in a Catholic country; I never received any religious education; my Jewish identityis to a large degree the result of persecution. It was almost unawares that I began to reflect on the multiple tradition to which I belong, seeking to cast a distanced and ifpossible critical gaze upon it. I was, and am, only too aware that I am less well prepared than I might be for such a task. Fol­ lowing the chain of scriptural quotations in the Gospels, I reached a position from which I was able to read them, and indeed to interpret the figure of Jesus, froma viewpoint that I myself had not anticipated. Here again I encountered the opposition between showing and telling, morphology and history-an inexhaustible theme and one that has long fascinated me. It is the theme on which I reason, from various angles, in the second, fourth, fifth, and sixth essays. A practice of reflection inaugurated by the Greeks has allowed us to discover what image, name, and myth, despite their diversity; have in common: xv the fact that they all lie beyond truth and falsehood. In our culture we PREFACE attribute this character to art in general. Yet artistic fictions, like the fictions of the law, speak of reality. This is what I show in the essay on defamiliarization (the first), and also in a somewhat inverted way in the reflections of the eighth, on the Chinese mandarin: in one place the right distance, in the other too much; here absence of empathy, leading to critical distance, there lack of empathy leading to dehu­ manization. And now distance, which had prompted my reflections, became their theme-distance itself, historical perspective (the sev- enth essay): and I realized I had written this book. Many people have helped me. Apart from those mentioned in connection with the individual essays (where I trust I have omitted no one), I must thank Giovanna Ferrari, whose professionalism con­ tributed greatly to the preparation of the manuscript. Here I name those with whom I have had especially intense and rewarding con­ versations: Perry Anderson, Pier Cesare Bori, Saul Friedlander, Alberto Gajano, Stefano Levi Della Torre, and Franco Moretti. I would never have written this book had I not met Amos Funkenstein and become his friend. It is with great affection and gratitude that I mention him here. As I bid these pages farewell, my thoughts turn to Adriano Sofri, closest and distant friend; and to Ovidio Bompressi and Giorgio Piet­ rostefani, with the hope that their innocence will soon be finally acknowledged. BOLOGNA,DECEMBERl997 I finished writing this book in Berlin, at the Wissenschaftskolleg, during a year of intense, peaceful work. I thank everyone who made this possible. The first essay appeared in Representations, 1996; the second in I Greci, vol. l, Noi e i greci, ed. S. Settis (Turin, 1996); the third in Annales, 1991; the fifthin Sight and Insight: Essays .in Art and Culture in Honour of E.
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