In this volume, Pop examines how art of the mid 1700s and early 1800s - inspired by translations of Greek tragedy - reveals a view of modern Europe attempting to recognize its own historical status as one culture among many. He analyses this broad view of culture through the lens of Anglo-Swiss artist Henry Fuseli's life and work.
In this volume, Pop examines how art of the mid 1700s and early 1800s - inspired by translations of Greek tragedy - reveals a view of modern Europe attempting to recognize its own historical status as one culture among many. He analyses this broad view of culture through the lens of Anglo-Swiss artist Henry Fuseli's life and work.
Andrei Pop is Associate Professor in the John U. Nef Committee on Social Thought at the University of Chicago.
Inhaltsangabe
Introduction: Classicism and its Discontents 1: Tragedy, the Cultural Relativism of Henry Fuseli 2: Grave Monuments, Writing, and the Antique Present 3: Comedy, Dreaming, and the Sympathetic Spectator 4: Winckelmann's Fake and Activist Neoclassicism 5: The Satyr Play, or Naturalizing Human Nature 6: Ordinary Antiquity Conclusion Appendix I: Fuseli and Herder Appendix II: Fuseli and Homer Bibliography Index
Introduction: Classicism and its Discontents 1: Tragedy, the Cultural Relativism of Henry Fuseli 2: Grave Monuments, Writing, and the Antique Present 3: Comedy, Dreaming, and the Sympathetic Spectator 4: Winckelmann's Fake and Activist Neoclassicism 5: The Satyr Play, or Naturalizing Human Nature 6: Ordinary Antiquity Conclusion Appendix I: Fuseli and Herder Appendix II: Fuseli and Homer Bibliography Index
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