Naslov
The Concept of “Imagetext” in Mitchell's Iconology

Autori
Purgar, Krešimir

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, neobjavljeni rad, ostalo

Skup
PRIN 2015 - Il problema dell’indeterminatezza. Significato, conoscenza, azione

Mjesto i datum
Cagliari, Italija, 16.11.2017

Vrsta sudjelovanja
Pozvano predavanje

Vrsta recenzije
Nije recenziran

Ključne riječi
W.J.T. Mitchell, imagetext, iconology, visual studies, art history

Sažetak
W.J.T. Mitchell was originally educated in literary theory and English language, so it comes as no surprise that he is even today considered as an alien in visual disciplines, let alone art history. Having in mind that art history is very reluctant in adopting current insights inspired by changes in culture and society, his “impure” origin in philology is probably the main reason why it was possible for him to enter into the visual field not bearing the heavy burden of disciplinary art history and its many dogmatic traits. On the other hand, Mitchell's literary background probably made him more sensible for the linguistic, or better, textual aspects of images and, at the same time, more critically oriented toward some of the crucial ideas expressed by the art historian Erwin Panofsky. This lecture will try to come to terms with two main issues: 1) his position of a renegade in more then one sense, in both literary theory and art history, and 2) the extremely important consequences that this position had on both disciplines, eventually blurring the self-imposed boundaries between them. We will start with Mitchell's book Iconology – Image, Text, Ideology (1986) in which he for the first time was engaged in what will later become one of most recurrent themes in his scholarship: the relation between images and texts. We will explain the genealogy of the inseparable bond that he recognized connecting the verbal and the visual in all media, in downright opposition to the theses expressed by Lessing in his Laocoon (1766) according to which poetry differs fundamentally from painting in that the former basically needs time to unfold and be read, while the latter in order to be comprehended foremost requires space. While we all know what is verbal and what is pictorial in a classical painting, it will be interesting to see how the difference between seeable and sayable blends in an abstract picture and how, at least according to Mitchell, their self-sufficiency vanishes completely using the theoretical model that he employed.

Izvorni jezik
Engleski

Znanstvena područja
Znanost o umjetnosti

Napomena
Riječ je o pozvanom predavanju održanom studentima diplomskog studija filozofije i povijesti umjetnosti.

POVEZANOST RADA