1/3/2023 0 Comments Downcast eyes martin jay![]() ![]() Color, to be sure, had been increasingly liberated from its subservience to line by such Romantic artists as Delacroix. In painting, the impact of these scientific, technological, and economic developments seems to have been only slowly and imperfectly registered until the 1870s and 1880s. Nor was it possible to privilege any longer a monocular point of view, as the role of both physical eyes in vision was evident in the stereoscopic experience. #Downcast eyes martin jay verificationBy removing the verification of touch-its three-dimensional images were only in the perception of the viewer-the stereoscope called into question the assumed congruence between the geometry of the world and the natural geometry of the mind’s eye. Inventions like the stereoscope also sparked debates about the nature of vision that went well beyond those unleashed by Molyneux’s question in the eighteenth century. Through the popularization of writers like Charles Blanc, whose Grammar of Painting and Engraving was published in 1867, these findings had a strong impact on French painting.6 So too did the research of physiologists and psychologists like Joseph Plateau, Jean Purkinje, Gustav Fechner, Johannes Müller, and Hermann Helmholtz, who analyzed such visual phenomena as after images and binocular fusion. Chevreul investigated color with scientific precision. Goethe’s Farbenlehre challenged Newton’s optics, and chemists like E. One significant implication of this shift-or perhaps even one of its causes-was the renewed prestige of color, which Descartes had relegated to the uncertain workings of the fallible human eye and denigrated in relation to pure form. 作者简介Ĭh3 The crisis of Ancien Scopic Regime: From the Impressionists to Bergson ![]() Certain to generate controversy and discussion throughout the humanities and social sciences, "Downcast Eyes" will consolidate Jay's reputation as one of today's premier cultural and intellectual historians. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of 'scopic regimes'. His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes' writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty. ![]() Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. ![]() Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. Long considered 'the noblest of the senses', vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. ![]()
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