DOCSLIB.ORG

Download (1MB)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download (1MB) THE POLITICS OF STYLE: MEYER SCHAPIRO AND THE CRISIS OF MEANING IN ART HISTORY by Cynthia L. Persinger BA in French, Kent State University, 1992 MA in French Translation, Kent State University, 1994 MA in Art History, University of Pittsburgh, 2000 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Cynthia L. Persinger It was defended on October 31, 2007 and approved by Kirk Savage, PhD, Associate Professor Terry Smith, PhD, Professor Jonathan Arac, PhD, Professor Barbara McCloskey, PhD, Associate Professor, Dissertation Director ii Copyright © by Cynthia Persinger 2007 iii THE POLITICS OF STYLE: MEYER SCHAPIRO AND THE CRISIS OF MEANING IN ART HISTORY Cynthia L. Persinger, PhD University of Pittsburgh, 2007 This dissertation focuses on the art historical praxis of one of the most significant Euro- American art historians of the 20th century, Meyer Schapiro (1904 – 1996). While Schapiro has most often been celebrated for his Marxist art history of the 1930s, his art historical explorations over the course of his career were part of an extended dialogue with his German-speaking colleagues regarding the crisis of meaning in art history. In chapter one, I propose that Schapiro is concerned with what I have called the politics of style, the ways in which the definition of style has been implicated in racial and national politics since the discipline’s institutionalization in the 19th century. In chapter two, I consider Schapiro’s earliest publications and establish his indebtedness to the German art historical tradition, particularly the work of Emanuel Löwy, Wilhelm Vöge and Heinrich Wölfflin. With the rise of fascism in the 1920s and 30s, racial and national characterizations of style became increasingly pernicious. In chapters three and four, I explore Schapiro’s concern with fascism as it affects his art history and arises in his publications and personal correspondence including his discussions with Erwin Panofsky regarding iconology and with Otto Pächt of the New Vienna School regarding structural analysis (Strukturanalyse) and the belief in “national constants.” In chapter five I establish how Schapiro’s theorization of style as heterogeneous in his 1953 essay “Style” corresponds with reactions to racial and national essentialism by social scientists like cultural iv anthropologist Ruth Benedict and modern artists. In chapter six, I consider Schapiro’s semiotics in relation to linguist Roman Jakobson’s poetics and Panofsky’s iconology. My reading emphasizes both the social historical situation from which Schapiro interprets art and how his personal background as a Jewish immigrant who grew up in the working-class neighborhood of Brownsville, Brooklyn affects his interpretation. I contend that Schapiro’s experimentation was motivated by his desire to maintain a definition of style that recognized the unity of form and content without resorting to racial or national determinism. I conclude that Schapiro’s art historical struggle provides an important lesson for the contemporary interpreter of images. v TABLE OF CONTENTS PREFACE...................................................................................................................................... ix 1. INTRODUCTION ................................................................................................................... 1 1.1. REVIEW OF THE LITERATURE .................................................................................. 4 1.2. METHODOLOGY ........................................................................................................... 9 1.3. ORGANIZATIONAL STRUCTURE............................................................................ 11 2. SCHAPIRO AND THE NATIONALISM OF THE “GERMAN” ART HISTORICAL TRADITION................................................................................................................................. 12 2.1. INTRODUCTION .......................................................................................................... 12 2.2. NATIONALISM IN THE “GERMAN” ART HISTORICAL TRADITION ................ 15 2.3. SCHAPIRO’S PATH TO ART HISTORY .................................................................... 26 2.4. CONCLUSION............................................................................................................... 48 3. SCHAPIRO’S ROLE IN SHAPING “A NEW ERA” IN ART HISTORY .......................... 49 3.1. INTRODUCTION .......................................................................................................... 49 3.2. FORM, CONTENT AND THE MEANING OF ART ................................................... 54 3.3. RACE, NATIONALITY AND THE SOCIAL BASES OF ART .................................. 68 3.4. THE NEW VIENNA SCHOOL ..................................................................................... 79 3.5. THE NATURE OF SOCIALIST ART........................................................................... 85 3.6. “FROM MOZARABIC TO ROMANESQUE IN SILOS” ............................................ 91 3.7. CONCLUSION: “TOWARDS A FREE AND REVOLUTIONARY ART”................. 96 4. RECOGNIZING THE COMPLEXITY OF ART HISTORICAL MEANING: SCHAPIRO AND THE PRACTICE OF ICONOLOGY................................................................................ 101 vi 4.1. INTRODUCTION ........................................................................................................ 101 4.2. STRUCTURAL ANALYSIS AND “THE SCULPTURES OF SOUILLAC” ............ 105 4.3. SCHAPIRO, SAXL AND THE RUTHWELL CROSS ............................................... 119 4.4. PANOFSKY, SCHAPIRO AND ICONOLOGY ......................................................... 125 4.5. CONCLUSION............................................................................................................. 149 5. SCHAPIRO AND THE HETEROGENEITY OF ART ...................................................... 158 5.1. INTRODUCTION ........................................................................................................ 158 5.2. CULTURAL ANTHROPOLOGY AND GESTALT PSYCHOLOGY....................... 162 5.3. THE GERMAN ART HISTORICAL TRADITION, PANOFSKY AND THE CARTESIAN GRID ............................................................................................................... 180 5.4. THE UNITY OF ART AND MANKIND .................................................................... 192 5.5. CONCLUSION............................................................................................................. 205 6. SCHAPIRO’S LINGUISTIC TURN: SEMIOTICS AND THE UNITY OF FORM AND CONTENT.................................................................................................................................. 208 6.1. INTRODUCTION ........................................................................................................ 208 6.2. FORM ........................................................................................................................... 212 6.3. WORD AND IMAGE................................................................................................... 232 6.4. THE ETHNIC ARGUMENT ....................................................................................... 241 7. CONCLUSION.................................................................................................................... 247 BIBLIOGRAPHY....................................................................................................................... 251 vii LIST OF FIGURES Figure 1 [From Appraisal of Anthropology Today, p. 63] ......................................................... 178 Figure 2 [From Appraisal of Anthropology Today, p. 64] ......................................................... 179 viii PREFACE My interest in Meyer Schapiro was sparked in a graduate seminar I took with John Williams during my first semester at the University of Pittsburgh. I am grateful to John for his encouragement and willingness to mentor me in the early stages of my work. Barbara McCloskey graciously agreed to chair my dissertation committee when John retired. She has provided me with unflagging support ever since. Her seminar on Erwin Panofsky was particularly helpful in spurring my interest in the relationship between the ideas of Schapiro and Panofsky. In his seminar on art historical methodology, Kirk Savage provided me with a strong foundation on which to build my detailed consideration of Schapiro’s art historical praxis. In a seminar I took with Jonathan Arac in the Department of English, I became aware of studies of national character and the ways in which scholars attempted to bypass racial and national language in the postwar years. I am greatly appreciative of Terry Smith’s efforts to push me to think more critically about both Schapiro and Panofsky. The final shape of this dissertation is thus owed in part to the invaluable support of each of my committee members. I gratefully acknowledge the financial support provided for me by the Department of the History of Art and Architecture at the University of Pittsburgh, the Andrew Mellon Pre-Doctoral Fellowship, the Foreign Language and Area Studies Fellowship, the Walter Read Hovey Memorial Foundation Scholarship and the University of Pittsburgh’s Dean’s Tuition Scholarship. Financial support
Load more

Recommended publications
  • Consummate Coach Tim Murphy’S Formidable Game S:7”
    Daniel Aaron • Max Beckmann’s Modernity • Sexual Assault November-December 2015 • $4.95 Consummate Coach Tim Murphy’s formidable game S:7” Invest In What Lasts How do you pass down what you’ve spent your life building up? A Morgan Stanley Financial Advisor can help you create a legacy plan based on the values you live by. So future generations can benefit from not just your money, but also your example. Let’s have that conversation. morganstanley.com/legacy S:9.25” © 2015 Morgan Stanley Smith Barney LLC. Member SIPC. CRC 1134840 04/15 151112_MorganStanley_Ivy.indd 1 9/21/15 1:59 PM NOVEMBER-DECEMBER 2015 VOLUME 118, NUMBER 2 FEATURES 35 Murphy Time | by Dick Friedman The recruiter, tactician, and educator who has become one of the best coaches in football 44 Making Modernity | by Joseph Koerner On the meanings and history of Max Beckmann’s iconic self-portrait p. 33 48 Vita: Joseph T. Walker | by Thomas W. Walker Brief life of a scientific sleuth: 1908-1952 50 Chronicler of Two Americas | by Christoph Irmscher An appreciation of Daniel Aaron, with excerpts from his new Commonplace Book JOHN HARVard’s JournAL 41.37. 41.37. R 17 Smith Campus Center under wraps, disturbing sexual-assault ULL IMAGE F findings, a law professor plumbs social problems, the campaign OR F NIVERSITY crosses $6 billion, cutting class for Christmas, lesser gains U and new directions for the endowment, fall themes and a SSOCIATION FUND, B A ARVARD H brain-drain of economists, Allston science complex, the Under- USEUM, RARY, RARY, B M graduate on newfangled reading, early-season football, and I L a three-point shooter recovers her stroke after surgery DETAIL, PLEASE 44 SEE PAGE EISINGER R OUGHTON H p.
    [Show full text]
  • Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected]
    1 Patricia Hills Professor Emerita, American and African American Art Department of History of Art & Architecture, Boston University [email protected] Education Feb. 1973 PhD., Institute of Fine Arts, New York University. Thesis: "The Genre Painting of Eastman Johnson: The Sources and Development of His Style and Themes," (Published by Garland, 1977). Adviser: Professor Robert Goldwater. Jan. 1968 M.A., Hunter College, City University of New York. Thesis: "The Portraits of Thomas Eakins: The Elements of Interpretation." Adviser: Professor Leo Steinberg. June 1957 B.A., Stanford University. Major: Modern European Literature Professional Positions 9/1978 – 7/2014 Department of History of Art & Architecture, Boston University: Acting Chair, Spring 2009; Spring 2012. Chair, 1995-97; Professor 1988-2014; Associate Professor, 1978-88 [retired 2014] Other assignments: Adviser to Graduate Students, Boston University Art Gallery, 2010-2011; Director of Graduate Studies, 1993-94; Director, BU Art Gallery, 1980-89; Director, Museum Studies Program, 1980-91 Affiliated Faculty Member: American and New England Studies Program; African American Studies Program April-July 2013 Terra Foundation Visiting Professor, J. F. Kennedy Institute for North American Studies, Freie Universität, Berlin 9/74 - 7/87 Adjunct Curator, 18th- & 19th-C Art, Whitney Museum of Am. Art, NY 6/81 C. V. Whitney Lectureship, Summer Institute of Western American Studies, Buffalo Bill Historical Center, Cody, Wyoming 9/74 - 8/78 Asso. Prof., Fine Arts/Performing Arts, York College, City University of New York, Queens, and PhD Program in Art History, Graduate Center. 1-6/75 Adjunct Asso. Prof. Grad. School of Arts & Science, Columbia Univ. 1/72-9/74 Asso.
    [Show full text]
  • Symposium on the Dura-Europos Synagogue Paintings, in Tribute to Dr
    SYMPOSIUM ON THE DURA-EUROPOS SYNAGOGUE PAINTINGS, IN TRIBUTE TO DR. RACHEL WISCHNITZER, NOVEMBER, 1968: THE CONTRIBUTIONS OF MORTON SMITH AND MEYER SCHAPIRO* INTRODUCED AND EDITED BY STEVEN FINE Academic conference lectures often afford important University), and art historian Meyer Schapiro glimpses into the process of academic knowledge (Columbia University), with Rachel Wischnitzer as formation and performance in the period prior moderator.2 Shortly after the symposium, a young to publication. They are environments in which Vivian Mann, then teaching at Wichita State scholars try out new ideas and frequently take University, requested and received a recording of chances without the commitment implicit in pub- the conference, which she recently gave to me. The lication. Conference invitations are often occasions recording, both the original reel and in digitized to enter into and try on new areas of research and form, now resides in the Yeshiva University archives. to formulate work for new audiences. Recordings I am most pleased to present transcripts of two of and transcripts of academic conferences are, thus, the more significant contributions at this conference, important historical sources, reflecting the palimpsest those of Morton Smith and Meyer Schapiro, in this nature of academic composition, presentation, and issue of Images honoring Vivian. publication. When no publication results, they are Morton Smith, (1915–1991), professor of Ancient often the only evidence of the conference having History at Columbia University from 1957 to 1985, taken place and of the learning that took place. was an extremely influential, cutting-edge, and On November 6, 1968 Yeshiva University held often provocative historian of ancient Judaism and a conference on the campus of its Stern College Christianity.
    [Show full text]
  • The R U T G E R S a R T R E V I E W Published Annually by the Students
    The RUTGERS ART REVIEW Published Annually by the Students of the Graduate Program in Art History at Rutgers, The State University of New Jersey 1991-1992 Volume XII-XI1I Co-Editors, Volume 12: Scott Montgomery Elizabeth Vogel Editorial Board, Volume 12: Marguerite Barrett Arnold Victor Coonin David Foster Cheryl Kramer Stephanie Smith Faculty Advisor, Volume 12: Professor Matthew Baigell Editor, Volume 13: Marguerite Barrett Editorial Board, Volume 13: Shelly Adams Sheilagh Casey Arnold Victor Coonin Pamela Cohen Joanna Gardner Cheryl Kramer Stephanie Smith Faculty Advisor, Volume 13: Archer St Clair Harvey Consulting Editors Volume 12 and 13: Caroline Goeser Priscilla Schwarz Advisory Board, Volume 12 and 13: Patricia Fortini Brown, Princeton University Phillip Dennis Cate, Jane Voorhees Zimmerli Museum Joseph Connors, American Academy in Rome Patricia Leighten, University of Delaware Constance Lowenthal, International Foundation for Art Research David G. Wilkins, University of Pittsburgh Benefactors ($1,000 or more) The Graduate School, Rutgers, The State University of New Jersey The Graduate Student Association, Rutgers, The State University of New Jersey The Johnson and Johnson Family of Companies Contributors ($100 or more) Rona Goffen Supporters ($50 or more) Shelly Adams and Edgar Morales Matthew and Ren6e Baigell Catherine Puglisi and William Barcham Daniel and Patricia Sheerin Friends ($25 or more) Charles L. Barrett III M. B. Barrett Alice A. Bauer Arnold Victor Coonin Marianne Ficarra Donald Garza Marion Husid Tod Marder Joan Matter Brooke Kamin Rapaport Claire Renkin Stephen A. Somers, with an Employer Match Donation from the Robert Wood Johnson Foundation Jack Spector David and Ann Wilkins The following persons generously donated funds to Volume 11 of the Rutgers Art Review.
    [Show full text]
  • Daniel Michael Zolli
    Daniel Michael Zolli DEPARTMENT OF ART HISTORY • 240 BORLAND BUILDING THE PENNSYLVANIA STATE UNIVERSITY • UNIVERSITY PARK, PA 16802 email: [email protected] • cell: 617.594.5747 http://www.sites.psu.edu/zolli EDUCATION Ph.D., October 2016 Harvard University, History of Art & Architecture Department Dissertation: “Donatello’s Promiscuous Technique” Committee: Frank Fehrenbach, Joseph Koerner, Alina Payne A.M., 2011 Harvard University, History of Art & Architecture Department Qualifying Paper: “Emblems and Enmity in Correggio’s Camera di San Paolo” Research student in Art History, 2008 Ruprechts-Karls Universität, Heidelberg, Germany B.A., 2o07 Wesleyan University (CT), Art History Honors: Phi Beta Kappa, summa cum laude, high distinction and prize for best thesis in art history major (on annotated copies of Aldus Manutius’s Hypnerotomachia Poliphili) Coursework in Studio Art and Art History, 2002 Università degli Studi di Firenze, Florence, Italy APPOINTMENT HISTORY Assistant Professor (tenure-track), 2017- The Pennsylvania State University, Department of Art History Affiliated Faculty: Center for Early Modern Studies; Arts & Design Research Incubator Residential Postdoctoral Fellow, 2016-17 Getty Research Institute Visiting Lecturer, 2014-15 Tufts University, Department of Art & Art History, Curatorial Assistant, 2008-9 Metropolitan Museum of Art, Department of Drawings & Prints RESEARCH AND TEACHING INTERESTS Workshop practice; oral tradition and ethnohistory as art-historical methods; folklore, practical jokes, and the popular novella; trans-mediality; technical studies; media archaeology; conceptual and practical interfaces between art and law; Spanish colonialism; antiquarianism, forgery, and the misidentification of artists or subject matter, especially in southern Italy; physical decay in art; the plague and its impact on art; the nineteenth-century reception of Renaissance art.
    [Show full text]
  • IFA Alumni Newsletter 2017
    Number 52 – Fall 2017 NEWSLETTERAlumni Published by the Alumni Association of Contents From the Director ...............3 The Institute of Fine Arts Alumni Updates ...............20 in the Aftermath of the A Wistful ‘So Long’ to our Beloved May 4, 1970 Kent State Killings ....8 Doctors of Philosophy Conferred and Admired Director Pat Rubin ....4 in 2016-2017 .................30 Thinking out of the Box: You Never From Warburg to Duke: Know Where it Will Lead .........12 Masters Degrees Conferred Living at the Institute ............6 in 2016-2017 .................30 The Year in Pictures ............14 Institute Donors ...............32 Faculty Updates ...............16 Institute of Fine Arts Alumni Association Officers: Advisory Council Members: Committees: President William Ambler Walter S. Cook Lecture Jennifer Eskin [email protected] Jay Levenson, Chair [email protected] Susan Galassi [email protected] [email protected] Yvonne Elet Vice President and Kathryn Calley Galitz Jennifer Eskin Acting Treasurer [email protected] Susan Galassi Jennifer Perry Matthew Israel Debra Pincus [email protected] [email protected] Katherine Schwab Lynda Klich Secretary [email protected] Newsletter Johanna Levy Anne Hrychuk Kontokosta Martha Dunkelman [email protected] [email protected] [email protected] Debra Pincus Connor Hamm, student assistant [email protected] History of the Institute of Fine Arts Rebecca Rushfield, Chair [email protected] Alumni Reunion Alicia Lubowski-Jahn, Chair [email protected] William Ambler 2 From the Director Christine Poggi, Judy and Michael Steinhardt Director Metropolitan Museum of Art, the Frick varied program. It will include occasional Collection, Museum of Modern Art, and a collaboration and co-sponsorship of exhibitions, diverse range of other museums.
    [Show full text]
  • Theory and Philosophy of Ar T
    Theory and Philosophy of Art: Style, Artist, and Society SELECTED PAPERS MEYER SCHAPIRO G EORGE BRAZILLER NEW YORK THEORY AND PHILOSOPHY OF AR T ndemned in perpetuity, he said, to repeat his doubtful successes, the Jtic little landscapes with horsemen, remembered from the African .vels of his youth. In this mood, he undertook the trip to Belgium The Still Life as a Personal Object­ d Holland, not knowing whether a book would come out of it, A Note on Heidegger and van Gogh hough urged to write by his friends who had enjoyed the brilliance his casual talk on the painters of the past and knew his gifts as a ·iter. He was certain only that the journey would not contribute to his (1968) :, for he felt rightly that his troubles as a painter were lodged too deep thin his personality to be resolved by new inspirations from the past. N HIS ESSAY 0 N The Origin of the Work of Art, Martin Lt this concentrated, solitary experience in a foreign land was a pow­ [ul reawakening; it stirred his energies as nothing had done before. Heidegger interprets a painting by van Gogh to illustrate the 1 1e accumulated forces of a lifetime were suddenly sparked, and in a I nature of art as a disclosure of truth. He comes to this picture in the course of distinguishing three N months, with an incredible speed, he wrote out this book which presents his gifts better than his paintings, refined as these may be. It modes of being: of useful artifacts, of natural things, and of works of 1ched a greater public and provoked controversies that have not yet fine art.
    [Show full text]
  • LARRY A. SILVER Curriculum Vitae Born
    LARRY A. SILVER Curriculum Vitae Born: 14 October 1947. U. S. Citizen. married, two children. UNDERGRADUATE EDUCATION: University of Chicago, A. B., June 1969 Concentration: Art. Special Honors. General Honors GRADUATE EDUCATION Harvard University, Department of Fine Arts M. A., 1971; Ph. D., 1974 Dissertation: Quinten Massys (Director: Seymour Slive) ACADEMIC POSITIONS U. of California, Berkeley, 1974-1979 Lecturer in History of Art, 1974-1975 Assistant Professor of History of Art, 1975-1979 Northwestern University, 1979-1997 Associate Professor of Art History, 1979-1985 Professor of Art History, 1985-97 Chairman, Dept. of Art History, 1983-1986, 1997 Master, Chapin/Humanities Residential College, 1988-91, 1992-94, 1996-97 Martin J. and Patricia Koldyke Professor of Teaching Excellence, 1996-98 Smith College, Ruth and Clarence Kennedy Professor in the Renaissance, autumn 1994 Semester at Sea (University of Pittsburgh; University of Virginia; Colorado State) Fall 2001; Fall 2006; Summer 2008; Summer 2010; fall 2012; spring 2018 U. of Pennsylvania, 1997--2017 Farquhar Professor of the History of Art, emeritus 2017--present Chair of Graduate Group in History of Art, 1998-2000 Interim Chair, spring, 2005 Bogen Faculty Exchange Professor, The Hebrew University, fall 2007 Member, graduate group, German, 1999-- Member, graduate group, History, 2001— Director, University Scholars, 2010-17 President, Phi Beta Kappa, Delta Chapter, 2010-12 GRANTS and AWARDS: Woodrow Wilson Fellowship, 1969-1970 Danforth Graduate Fellowship, 1969-1974 Kress Foundation
    [Show full text]
  • Louise Bourgeois at Heide
    HEIDE EDUCATION Louise Bourgeois at Heide Louise Bourgeois: Late Works Exhibition dates: 24 November 2012 to 11 March 2013 Curator: Jason Smith Louise Bourgeois and Australian artists Exhibition dates: 13 October 2012 to 14 April 2013 Curator: Linda Michael Louise Bourgeois: Late Works installation view Heide Museum of Modern Art Photograph: John Gollings, 2012 This Education Resource has been produced by Heide Museum of Modern Art to provide information and support school visits to the museum and as such is intended for this use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means. ©Heide MoMA 2013 Educational use only Page 1 of 28 HEIDE EDUCATION Introduction Louise Bourgeois: Late Works assembles 23 of the most important of Bourgeois’ works from 1996 to 2009. It is only the second significant survey of Bourgeois’ work in Australia. The first was organised by the National Gallery of Victoria in 1995 and travelled to the MCA in 1996. That first exhibition, simply titled Louise Bourgeois, included works from two critical decades in her career: the mid 1940s to mid 1950s, when Bourgeois first exhibited her personages sculptures; and the mid 1980s to early 1990s, the years following her acclaimed 1982 retrospective at the Museum of Modern Art In New York. Heide’s 2012 exhibition has been curated to follow on from the 1995 exhibition with a tightly selected group of works that are central to Bourgeois’ late oeuvre, and which represent the diverse subjects and forms produced in the last years of her life.
    [Show full text]
  • Collana Del Dipartimento Di Studi Storici Università Di Torino 9
    COLLANA DEL DIPARTIMENTO DI STUDI STORICI UNIVERSITÀ DI TORINO 9 Jennifer Cooke Millard Meiss Tra connoisseurship, iconologia e Kulturgeschichte Ledizioni © 2015 Ledizioni LediPublishing Via Alamanni, 11 – 20141 Milano – Italy www.ledizioni.it [email protected] Jennifer Cooke, Millard Meiss. Tra connoisseurship, iconologia e Kulturgeschichte Prima edizione: settembre 2015 ISBN Cartaceo: 978-88-6705-370-4 ISBN ePub: 978-88-6705-371-1 Copertina e progetto grafico: ufficio grafico Ledizioni COLLANA DEL DIPARTIMENTO DI STUDI STORICI DELL’UNIVERSITÀ DI TORINO DIRETTORE DELLA COLLANA: Adele Monaci COMITATO SCIENTIFICo: Secondo Carpanetto, Giovanni Filoramo, Carlo Lippolis, Stefano Musso, Sergio Roda, Gelsomina Spione, Maria Luisa Sturani, Marino Zabbia Nella stessa collana sono stati pubblicati in versione cartacea ed ePub: 1. DAVIDE LASAGNO, Oltre l’Istituzione. Crisi e riforma dell’assistenza psichiatrica a Torino e in Italia 2. LUCIANO VILLANI, Le borgate del fascismo. Storia urbana, politica e sociale della periferia romana 3. ALESSANDRO ROSSI, Muscae moriturae donatistae circumvolant: la costruzione di identità “plurali” nel cristianesimo dell’Africa Romana 4. DANIELE PIPITONE, Il socialismo democratico italiano fra la Liberazione e la legge truffa. Fratture, ricomposizioni e culture politiche di un’area di frontiera. 5. MARIA D’AMURI, La casa per tutti nell’Italia giolittiana. Provvedimenti e iniziative per la municipalizzazione dell’edilizia popolare 6. EMILIANO RUBENS URCIUOLI, Un’archeologia del “noi” cristiano. Le «comunità immaginate»
    [Show full text]
  • Christopher Long
    Christopher Long ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ University Distinguished Teaching Professor School of Architecture 310 Inner Campus Drive, B7500 University of Texas at Austin Austin, TX 78712-1009 tel: (512) 232-4084 e-mail: [email protected] EDUCATION University of Texas at Austin Ph.D., History, 1993 Dissertation: “Josef Frank and the Crisis of Modern Architecture” M.A., History, 1982 Universität Wien, Vienna, Austria, 1985–87 Ludwig-Maximilians-Universität, Munich, Germany, 1980–81 Karl-Franzens-Universität, Institut für südosteuropäische Geschichte, Graz, Austria, 1977–78 University of Texas at San Antonio B.A., Summa cum laude, History, 1978 SELECTED 2016-2017 ACSA Distinguished Professor Award, Association of Collegiate School of FELLOWSHIPS Architecture, 2016 AND AWARDS Book Subvention Award, for The New Space: Movement and Experience in Viennese Architecture, Office of the Vice President for Research, University of Texas at Austin, 2015 Outstanding Scholarship Award, School of Architecture, University of Texas at Austin, 2015 Faculty Research Assignment, University of Texas at Austin, 2015 Fulbright Grant, Vienna, 2014-15 (declined) Kjell och Märta Beijers Stiftelse, Stockholm, publication grant for Josef Frank: Gesammelte Schriften/Complete Writings, 2012 Architectural Research Support Grant, School of Architecture, University of Texas at Austin, 2012 Texas Institute of Letters, Best Scholarly Book Award, 2011 (for The Looshaus) Harwell Hamilton
    [Show full text]
  • Autobiographical in the Oeuvre Of
    CALIFORNIA STATE UNNERSITY, NORTHRIDGE LONGING FOR MAMAN: AUTOBIOGRAPHICAL IMAGES IN THE OEUVRE OF LOUISE BOURGEOIS A the is . ubmitted jn partial fulfillment of the requirement for the degree of Master of Alts in Art Hi tory by Karen Jo Schifmao December 2003 DEDICATION For Norman and Jonathan lll ACKNOWLEDGEMENTS It has been a privilege to learn and write about the work of Louise Bourgeois. I never would have embarked upon this task without the support of many people. First, I would like to acknowledge my mother, Gloria Derchan, who introduced me to the subject of art history back in 1973 when we both began taking classes at Los Angeles Valley College, and who also has instilled in me an appreciation for aesthetics. I thank my father, Harold Derchan, who always encouraged my educational endeavors and taught me to have perseverance and determination. I thank my brother, Randall Derchan, who so patiently assisted me with the desktop publishing of this document, and my sister, Patti Meiselman, who always supports me. I thank my fellow art history graduate students, colleagues, and professors at the university, who have served as mentors and supporters throughout these past years, most especially, Professor Trudi Abram, Nina Berson, Anna Meliksetian, and Rachel Pinto. I thank my thesis committee members for their help and guidance. Firstly, Professor Jean-Luc Bordeaux, who has taught me to recognize and focus on the formal qualities in art, and to keep my knowledge base in the fi eld as broad as possible. Special thanks go to Professor Kenon Breazeale who has served on my committee since its inception.
    [Show full text]