Iconologia, Alegorismo Medieval e o conceito de habitus na obra de E. Panofsky
Autor(a) principal: | |
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Data de Publicação: | 2017 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Artefilosofia |
Texto Completo: | https://periodicos.ufop.br/raf/article/view/585 |
Resumo: | The present article addresses the concept of habitus according to Erwin Panofsky's work Gothic Architecture and Scholasticism, seeking todistance it from past historiographical traditions–such as Wölfflin's, Riegl's, Warburg's and Cassirer's. It also aims at the debates which Panofsky's works engendered, and the influence that his theory and methodology exerted, through the concept of habitus, upon authors coming from the most diverse fields of knowledge. Such influence would cause this concept to be readapted by authors such as Gombrich, Eco, Bourdieu and Chartier. These last two recognized in the concept Panofsky's overcomingof his criticisms of Wölfflin and Riegl: the overcoming of Positivism and Formalism, as well as the abandonment of the search for the pioneer,oftheidea of anindividual's freedom and capacity for invention,of the psychological approach to genius and his detachment from the“History ofthe Spirit”. Despite being an efficient theoretical solution to many open historical questions (some of them common to The Annales School), this concept received very little attention from historians and theoreticians. Most often they turn their sights strictly to his renowned Iconologic method, or to the "symbolic forms". However, both the concept of habitus and the Iconologic method share a common historiographic genesis. Both come from Panofsky's interest in the Gothic phenomena,in Scholasticism–especially from his interest in Aquinas and Suger–and in the Sacred Allegorism. Allegorism–the medieval idea of revealing triple meanings inimages and texts–is the basis upon which Panofsky conceived of his tripartite method of artistic meaning investigation: the Iconology. Likewise, the elaboration of the concept of habitus and his renowned thesis from Gothic Architecture and Scholasticism share a scholastic foundation with Allegorism itself. |
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Iconologia, Alegorismo Medieval e o conceito de habitus na obra de E. PanofskyArt HistoryHistoriographyPanofskyHistória da ArteHistoriografiaPanofskyThe present article addresses the concept of habitus according to Erwin Panofsky's work Gothic Architecture and Scholasticism, seeking todistance it from past historiographical traditions–such as Wölfflin's, Riegl's, Warburg's and Cassirer's. It also aims at the debates which Panofsky's works engendered, and the influence that his theory and methodology exerted, through the concept of habitus, upon authors coming from the most diverse fields of knowledge. Such influence would cause this concept to be readapted by authors such as Gombrich, Eco, Bourdieu and Chartier. These last two recognized in the concept Panofsky's overcomingof his criticisms of Wölfflin and Riegl: the overcoming of Positivism and Formalism, as well as the abandonment of the search for the pioneer,oftheidea of anindividual's freedom and capacity for invention,of the psychological approach to genius and his detachment from the“History ofthe Spirit”. Despite being an efficient theoretical solution to many open historical questions (some of them common to The Annales School), this concept received very little attention from historians and theoreticians. Most often they turn their sights strictly to his renowned Iconologic method, or to the "symbolic forms". However, both the concept of habitus and the Iconologic method share a common historiographic genesis. Both come from Panofsky's interest in the Gothic phenomena,in Scholasticism–especially from his interest in Aquinas and Suger–and in the Sacred Allegorism. Allegorism–the medieval idea of revealing triple meanings inimages and texts–is the basis upon which Panofsky conceived of his tripartite method of artistic meaning investigation: the Iconology. Likewise, the elaboration of the concept of habitus and his renowned thesis from Gothic Architecture and Scholasticism share a scholastic foundation with Allegorism itself.Este trabalho abrange o conceito de habitus segundo a obra Arquitetura Gótica e Escolástica de Erwin Panofsky, visando o seu distanciamento das historiografias passadas – como a de Wölfflin, Riegl, Warburg ou Cassirer –, os debates que os trabalhos de Panofsky produziram, e a influência que sua teoria e metodologia exerceram sobre autores das mais diversas áreas através desse conceito. Tal influência faria com que o conceito fosse reapropriado por autores como Gombrich, Eco, Bourdieu e Chartier. Os dois últimos, especialmente, reconheceram no habitus a superação, por Panofsky, de suas críticas à obra de Wölfflin e Riegl: a superação do positivismo e do formalismo, assim como o abandono da procura pelo precursor, da idéia de uma capacidade e liberdade da invenção individual, da abordagem psicológica do gênio e seu distanciamento da “História do Espírito”. Apesar de se mostrar uma eficaz solução teórica a muitas questões históricas abertas até então (algumas comuns também à escola dos Annales), foi dedicada a esse conceito muita pouca atenção por parte de historiadores e teóricos. Na maioria das vezes, estes se voltam apenas para seu renomado método Iconológico, ou para as “formas simbólicas”. Contudo, há no conceito de habitus e na Iconologia uma gênese historiográfica muito próxima. Ambos surgem do interesse de Panofsky pelo fenômeno gótico, pela escolástica – especialmente por Aquino e Suger – e pelo Alegorismo sagrado. O Alegorismo – a concepção medieval de se revelar sentidos trinos em textos e imagens – é a base na qual Panofsky concebeu seu método tripartite de investigação do significado artístico: a Iconologia. Do mesmo modo, a formulação do habitus e de sua renomada tese em Arquitetura Gótica e Escolástica tem uma base escolástica em comum com o próprio Alegorismo.Universidade Federal de Ouro Preto2017-04-20info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufop.br/raf/article/view/585Artefilosofia; v. 7 n. 12 (2012): Teatro e espaço urbano; 155-176Artefilosofia; Vol. 7 No. 12 (2012): Teatro e espaço urbano; 155-1762526-78921809-8274reponame:Artefilosofiainstname:Universidade Federal de Ouro Preto (UFOP)instacron:UFOPporhttps://periodicos.ufop.br/raf/article/view/585/541Copyright (c) 2017 Revista ArteFilosofiahttps://creativecommons.org/licenses/by-nc-sa/4.0info:eu-repo/semantics/openAccessNeto, Liszt Vianna2022-03-25T11:18:49Zoai:pp.www.periodicos.ufop.br:article/585Revistahttps://periodicos.ufop.br/raf/PUBhttps://periodicos.ufop.br/raf/oaiartefilosofia.defil@ufop.edu.br || periodicos.sisbin@ufop.edu.br1809-82742526-7892opendoar:2022-03-25T11:18:49Artefilosofia - Universidade Federal de Ouro Preto (UFOP)false |
dc.title.none.fl_str_mv |
Iconologia, Alegorismo Medieval e o conceito de habitus na obra de E. Panofsky |
title |
Iconologia, Alegorismo Medieval e o conceito de habitus na obra de E. Panofsky |
spellingShingle |
Iconologia, Alegorismo Medieval e o conceito de habitus na obra de E. Panofsky Neto, Liszt Vianna Art History Historiography Panofsky História da Arte Historiografia Panofsky |
title_short |
Iconologia, Alegorismo Medieval e o conceito de habitus na obra de E. Panofsky |
title_full |
Iconologia, Alegorismo Medieval e o conceito de habitus na obra de E. Panofsky |
title_fullStr |
Iconologia, Alegorismo Medieval e o conceito de habitus na obra de E. Panofsky |
title_full_unstemmed |
Iconologia, Alegorismo Medieval e o conceito de habitus na obra de E. Panofsky |
title_sort |
Iconologia, Alegorismo Medieval e o conceito de habitus na obra de E. Panofsky |
author |
Neto, Liszt Vianna |
author_facet |
Neto, Liszt Vianna |
author_role |
author |
dc.contributor.author.fl_str_mv |
Neto, Liszt Vianna |
dc.subject.por.fl_str_mv |
Art History Historiography Panofsky História da Arte Historiografia Panofsky |
topic |
Art History Historiography Panofsky História da Arte Historiografia Panofsky |
description |
The present article addresses the concept of habitus according to Erwin Panofsky's work Gothic Architecture and Scholasticism, seeking todistance it from past historiographical traditions–such as Wölfflin's, Riegl's, Warburg's and Cassirer's. It also aims at the debates which Panofsky's works engendered, and the influence that his theory and methodology exerted, through the concept of habitus, upon authors coming from the most diverse fields of knowledge. Such influence would cause this concept to be readapted by authors such as Gombrich, Eco, Bourdieu and Chartier. These last two recognized in the concept Panofsky's overcomingof his criticisms of Wölfflin and Riegl: the overcoming of Positivism and Formalism, as well as the abandonment of the search for the pioneer,oftheidea of anindividual's freedom and capacity for invention,of the psychological approach to genius and his detachment from the“History ofthe Spirit”. Despite being an efficient theoretical solution to many open historical questions (some of them common to The Annales School), this concept received very little attention from historians and theoreticians. Most often they turn their sights strictly to his renowned Iconologic method, or to the "symbolic forms". However, both the concept of habitus and the Iconologic method share a common historiographic genesis. Both come from Panofsky's interest in the Gothic phenomena,in Scholasticism–especially from his interest in Aquinas and Suger–and in the Sacred Allegorism. Allegorism–the medieval idea of revealing triple meanings inimages and texts–is the basis upon which Panofsky conceived of his tripartite method of artistic meaning investigation: the Iconology. Likewise, the elaboration of the concept of habitus and his renowned thesis from Gothic Architecture and Scholasticism share a scholastic foundation with Allegorism itself. |
publishDate |
2017 |
dc.date.none.fl_str_mv |
2017-04-20 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufop.br/raf/article/view/585 |
url |
https://periodicos.ufop.br/raf/article/view/585 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.ufop.br/raf/article/view/585/541 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2017 Revista ArteFilosofia https://creativecommons.org/licenses/by-nc-sa/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2017 Revista ArteFilosofia https://creativecommons.org/licenses/by-nc-sa/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Ouro Preto |
publisher.none.fl_str_mv |
Universidade Federal de Ouro Preto |
dc.source.none.fl_str_mv |
Artefilosofia; v. 7 n. 12 (2012): Teatro e espaço urbano; 155-176 Artefilosofia; Vol. 7 No. 12 (2012): Teatro e espaço urbano; 155-176 2526-7892 1809-8274 reponame:Artefilosofia instname:Universidade Federal de Ouro Preto (UFOP) instacron:UFOP |
instname_str |
Universidade Federal de Ouro Preto (UFOP) |
instacron_str |
UFOP |
institution |
UFOP |
reponame_str |
Artefilosofia |
collection |
Artefilosofia |
repository.name.fl_str_mv |
Artefilosofia - Universidade Federal de Ouro Preto (UFOP) |
repository.mail.fl_str_mv |
artefilosofia.defil@ufop.edu.br || periodicos.sisbin@ufop.edu.br |
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1798313557401534464 |