Art, agency and living presence : from the animated image to the excessive object / Caroline van Eck.

Includes bibliographical references and index.

Print version record.

Acknowledgements; Introduction; Rhetoric; Agency; Experience and memory; The animated image: a growing field; The structure of this book; Part One; Enargeia; Enargeia, ekphrasis and phantasia; Phantasia; Phantasia, memory and living presence; The early modern afterlife of ekphras; Agency; Art and agency; The experience of living presence; Living presence as agency and experie; Animacy; 'Laocoon I am'; Bellini's Brera Pietà; Bernini's Medusa; Memory; Simulacra in the chambers of memory; Perception, memory and emotion; Memory is not an art gallery, but a s.

Ekphrasis as imaginative recollectionConclusion; Part Two; François Lemée on the Monument of Lou; A new way of considering idolatry; The living presence of statues: a que; Living presence and idolatry; How to control the undesirable agency; Conclusion; 1 Fetishism; Persuasive figuration as the foundat; Fetishism; 'Les rapports intimes des statues av; 'Le ministre le plus docile des volo; Conclusion; Aesthetic Ambivalence; Pygmalion's dream; Petrifying statue lovers; Goethe's gallery of art lovers; Art fetishism; Kant's epistemological barrier again; Conclusion; Part Three.

Framing, Staging and Acting Living PLiving presence and a visual history; Santa Maria del Priorato: anachronis; 'Killing art to write its history'; 'Glorious visions of the past'; 'The presence of reality instead of; Conclusion; The Afterlife of Art; Aby Warburg on the lives of art work; Pathosformel and Nachleben; The life of art as an artistic issue; The agency of lifelikeness; Mnemosyne: Nachleben as an issue in; Representation; Mnemosyne, Nachleben, and historical; Conclusion; Epilogue: From the Animated Image to; 'The appearance of the soul'; Changing appreciations of viewers at.

An anthropological turnExcessive and transitional objects; Homo animans and homo repraesentans; Notes; Bibliography; List of Illustrations; Index.

Throughout history, and all over the world, viewers have treated works of art as if they are living beings: speaking to them, falling in love with them, kissing or beating them. This book is a contribution towards an understanding of such responses, by drawing on ancient rhetoric and the theories of Aby Warburg and Alfred Gell, and by retracing the history of attempts to understand - or even excite - such response.

English.

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