Izvorni znanstveni članak
https://doi.org/10.59014/BBSU7001
Image studies as taste studies?
Sažetak
The paper discusses some rather well-known, but rarely discussed origins ofthe current “immanentism” and “invitationalism” of the images by rootingthem in the discussion that is itself rooted in the very matter of aesthetics – thematters of taste. The introductory remarks justify briefly the chosen historiographical approach, supported by few first-hand insights into the “momentum” of visual studies one decade ago. In the second chapter, a short paperappeared only in German in 2008, “W.J.T. Mitchell und der iconic turn” vonNorbert Schneider (1945-2019) is recapitulated, in which the impression ofthe implied harmony between “like-minded” scholars – W.J.T. Mitchell andG. Boehm – has been deconstructed in a comparative analysis. Further on,Schneider´s arguments are followed up in the third chapter, where Boehm´sPh.D.-supervisor Max Imdahl and doctorate-supervisor Gadamer (as well astheir predecessors Fiedler, Croce and Vico) are discussed in some depth, withreference to what we have baptized as image-immanentism and the hermeneutic of pictures. In the fourth chapter, we criticize a more recent followerof Gadamer´s position, whose aim was to support Gadamer´s theory of aesthetic value as artistic value with the projected value of the “artistic image”.Paul Crowther´s important point was to substantiate the claim of the artworkbeing a “symbolically significant artifact” and hence the extraordinary character of our experience of art and its value. Although Gadamer’s understanding of representation as an ontological event brings with it a metaphysical,Neoplatonist implication, Crowther turned this implication of point to anontological-existential one. The presented case in point is supposed to provide an argument for deep historiographic connections between the currentimmanentism of images and their roots in the continental thinking traditions.
Ključne riječi
Hrčak ID:
326989
URI
Datum izdavanja:
17.1.2025.
Posjeta: 794 *
