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Artists --- Art, Modern --- 7.038 --- Balka Miroslaw --- Beuys Joseph --- Bourgeois Louise --- Butt Hamad --- Coplans John --- Espaliu Pepe --- Gober Robert --- Hatoum Mona --- Hiller Susan --- installaties --- kunst --- lichamelijkheid --- rituelen --- Sterbak Jana --- Stuart Morgan and Frances Morris ; with contrib. by Stephen Greenblatt, Julia Kristeva, Charles Penwarden --- twintigste eeuw --- Viola Bill --- Persons --- Exhibitions --- Tate Gallery --- National Gallery, British Art --- Tate Gallery, London --- National Gallery of British Painting, Modern Foreign Painting and Modern Sculpture --- Tate Britain (Gallery) --- Tate Modern (Gallery) --- Exhibitions. --- Iconography --- Art --- Drawing --- Photography --- Film --- assemblages [sculpture] --- installations [visual works] --- drawing [image-making] --- photography [process] --- video art --- eroticism --- human figures [visual works] --- Hiller, Susan --- Butt, Hamad --- Coplans, John --- Espaliú, Pepe --- Bourgeois, Louise --- Beuys, Joseph --- Hatoum, Mona --- Viola, Bill --- Bałka, Mirosław --- Gober, Robert --- Sterbak, Jana --- anno 1900-1999

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Michelle Zerba engages current debates about the relationship between literature and theory by analyzing responses of theorists in the Western tradition to tragic conflict. Isolating the centrality of conflict in twentieth-century definitions of tragedy, Professor Zerba discusses the efforts of modern critics to locate in Aristotle's Poetics the origins of this focus on agon. Through a study of ethical and political ideas formative of the Poetics, she demonstrates why Aristotle and his Renaissance and Neoclassical beneficiaries exclude conflict from their accounts of tragedy. The agonistic element, the book argues, first emerges in dramatic criticism in nineteenth-century Romantic theories of the sublime and, more influentially, in Hegel's lectures on drama and history.This turning point in the history of speculation about tragedy is examined with attention to a dynamic between the systematic aims of theory and the subversive conflicts of tragic plays. In readings of various Classical and Renaissance dramatists, Professor Zerba reveals that strife in tragedy undermines expectations of coherence, closure, and moral stability, on which theory bases its principles of dramatic order. From Aristotle to Hegel, the philosophical interest in securing these principles determines attitudes toward conflict.Originally published in 1988.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Conflict (Psychology) in literature. --- Tragedy. --- Drama --- Aristotle. --- Aeschylus. --- Aesthetic Theory. --- Anguish. --- Antinomy. --- Antithesis. --- Appeal to emotion. --- Ars Poetica (Horace). --- Averroes. --- Bussy D'Ambois. --- Catharsis. --- Characters of Shakespear's Plays. --- Classical unities. --- Classicism. --- Closed circle. --- Coluccio Salutati. --- Consciousness. --- Contemptus mundi. --- Critical theory. --- Criticism. --- Critique. --- Decorum. --- Deontological ethics. --- Dialectic. --- Disputation. --- Dissoi logoi. --- Divine law. --- Dramatic theory. --- Ethical dilemma. --- Euripides. --- Existentialism. --- Externality. --- Francis Fergusson. --- Good and evil. --- Greek tragedy. --- Hamartia. --- Hannah Arendt. --- Hedonism. --- Hegelianism. --- Hubris. --- Intentionality. --- Irony. --- Irrational Man. --- Irrationality. --- Jacques Derrida. --- Jean Hyppolite. --- Karl Jaspers. --- King Lear. --- Literary criticism. --- Literary theory. --- Lodovico Castelvetro. --- Mental space. --- Mimesis. --- Moral absolutism. --- Moral realism. --- Morality. --- Myth. --- New Thought. --- Nicomachean Ethics. --- On Truth. --- Pathos. --- Philosopher. --- Philosophy. --- Pity. --- Platitude. --- Plautus. --- Poetics (Aristotle). --- Poetry. --- Polonius. --- Pre-Socratic philosophy. --- Prohairesis. --- Quintilian. --- Rationality. --- Renaissance tragedy. --- Republic (Plato). --- Revenge tragedy. --- Rhetoric. --- Romanticism. --- Satire. --- Scholasticism. --- Shakespearean tragedy. --- Sophocles. --- Stephen Greenblatt. --- Suffering. --- Superiority (short story). --- Søren Kierkegaard. --- Teleology. --- The Birth of Tragedy. --- The Marriage of Heaven and Hell. --- The Philosopher. --- Theodicy. --- Theory. --- Thomas Kyd. --- Thought. --- Tragic hero. --- Verisimilitude. --- W. D. Ross. --- William Prynne. --- William Shakespeare.

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A cultural history of the face in Western art, ranging from portraiture in painting and photography to film, theater, and mass mediaThis fascinating book presents the first cultural history and anthropology of the face across centuries, continents, and media. Ranging from funerary masks and masks in drama to the figural work of contemporary artists including Cindy Sherman and Nam June Paik, renowned art historian Hans Belting emphasizes that while the face plays a critical role in human communication, it defies attempts at visual representation.Belting divides his book into three parts: faces as masks of the self, portraiture as a constantly evolving mask in Western culture, and the fate of the face in the age of mass media. Referencing a vast array of sources, Belting's insights draw on art history, philosophy, theories of visual culture, and cognitive science. He demonstrates that Western efforts to portray the face have repeatedly failed, even with the developments of new media such as photography and film, which promise ever-greater degrees of verisimilitude. In spite of sitting at the heart of human expression, the face resists possession, and creative endeavors to capture it inevitably result in masks—hollow signifiers of the humanity they're meant to embody.From creations by Van Eyck and August Sander to works by Francis Bacon, Ingmar Bergman, and Chuck Close, Face and Mask takes a remarkable look at how, through the centuries, the physical visage has inspired and evaded artistic interpretation.

Facial expression in art. --- Facial expression. --- A Thousand Plateaus. --- Aby Warburg. --- Act of Violence. --- Alfred Stieglitz. --- Allegory. --- Ambiguity. --- Analogy. --- Andy Warhol. --- Anecdote. --- Anonymity. --- Anthropomorphism. --- Antonello da Messina. --- Arnulf Rainer. --- Bembo. --- Caput mortuum. --- Caravaggio. --- Cemetery. --- Christian Boltanski. --- Chuck Close. --- Cindy Sherman. --- Court painter. --- Creation myth. --- Cultural history. --- Death mask. --- Dictatorship. --- Distrust. --- Domenico Fetti. --- Edgar Allan Poe. --- Euripides. --- Facial expression. --- Facsimile. --- Family resemblance. --- Film theory. --- Fine art. --- Fine-art photography. --- First appearance. --- Francis Bacon (artist). --- Gertrude Stein. --- Giambattista della Porta. --- Giorgio Vasari. --- Good and evil. --- Hans Belting. --- Hans Memling. --- Homo duplex. --- Idealization. --- Illustration. --- In Death. --- Inception. --- Indication (medicine). --- Jacques Le Goff. --- Jan van Eyck. --- Judith Butler. --- Lucas Cranach the Elder. --- Ludwig Binswanger. --- Male privilege. --- Man Ray. --- Marcel Duchamp. --- Marilyn Monroe. --- Mask. --- Mathew Brady. --- Mirror writing. --- Modern sculpture. --- Modernity. --- Mummy. --- Museum. --- Obsolescence. --- Oil sketch. --- On the Eve. --- Oppression. --- Pablo Picasso. --- Paradigm shift. --- Paul Klee. --- Photography. --- Phrenology. --- Physiognomy. --- Plaster cast. --- Pop art. --- Primitivism. --- Printing. --- Psychoanalysis. --- Quintilian. --- Roland Barthes. --- Romanticism. --- Sebastiano del Piombo. --- Slavery. --- Sophistication. --- Stephen Greenblatt. --- Surrealism. --- Symbolic power. --- Tattoo. --- The Human Face. --- The Loved One. --- The Other Hand. --- The Philosopher. --- The Praise of Folly. --- Verism. --- Wallpaper. --- Walter Benjamin. --- William Hogarth. --- Yves Klein.