Historical Method and Hermeneutic Creativity

This paper seeks to focus on how the search for a gnoseological and art-historical model, prompted by the article studied here, “Toward a New Model of Renaissance Anachronism,” was articulated by its authors, Alexander Nagel and Christopher S. Wood. Their starting point was a morphological approach...

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Main Author: Alessandro Rossi
Format: Article
Language:deu
Published: Università degli Studi di Torino 2021-06-01
Series:CoSMO
Subjects:
Online Access:https://www.ojs.unito.it/index.php/COSMO/article/view/5914
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author Alessandro Rossi
author_facet Alessandro Rossi
author_sort Alessandro Rossi
collection DOAJ
description This paper seeks to focus on how the search for a gnoseological and art-historical model, prompted by the article studied here, “Toward a New Model of Renaissance Anachronism,” was articulated by its authors, Alexander Nagel and Christopher S. Wood. Their starting point was a morphological approach that sought to identify the artistic model of a specific figure, the Risen Christ, which appears in the Vision of Saint Augustine painted by Vittore Carpaccio in 1502-1503 for the Confraternity of San Giorgio degli Schiavoni in Venice. This matrix of models – gnoseological and morphological – shows how history and morphology, at least in the realm of art history, can only proceed if they are in unison, but at the same time they require particularly attentive reciprocal methodological monitoring in order to avoid creating a theoretical cognitive model based on analogies of form that fail to convince through empirical evidence, as the author believes was true in this case study.
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spelling doaj.art-49e5b42f4fe54754ae180b77758e2bff2022-12-21T19:45:36ZdeuUniversità degli Studi di TorinoCoSMO2281-66582021-06-011810.13135/2281-6658/5914Historical Method and Hermeneutic CreativityAlessandro Rossi0Università San Raffaele, MilanoThis paper seeks to focus on how the search for a gnoseological and art-historical model, prompted by the article studied here, “Toward a New Model of Renaissance Anachronism,” was articulated by its authors, Alexander Nagel and Christopher S. Wood. Their starting point was a morphological approach that sought to identify the artistic model of a specific figure, the Risen Christ, which appears in the Vision of Saint Augustine painted by Vittore Carpaccio in 1502-1503 for the Confraternity of San Giorgio degli Schiavoni in Venice. This matrix of models – gnoseological and morphological – shows how history and morphology, at least in the realm of art history, can only proceed if they are in unison, but at the same time they require particularly attentive reciprocal methodological monitoring in order to avoid creating a theoretical cognitive model based on analogies of form that fail to convince through empirical evidence, as the author believes was true in this case study.https://www.ojs.unito.it/index.php/COSMO/article/view/5914MethodMorphologyGnoseological ModelArtistic ModelA. NagelC.S. Wood
spellingShingle Alessandro Rossi
Historical Method and Hermeneutic Creativity
CoSMO
Method
Morphology
Gnoseological Model
Artistic Model
A. Nagel
C.S. Wood
title Historical Method and Hermeneutic Creativity
title_full Historical Method and Hermeneutic Creativity
title_fullStr Historical Method and Hermeneutic Creativity
title_full_unstemmed Historical Method and Hermeneutic Creativity
title_short Historical Method and Hermeneutic Creativity
title_sort historical method and hermeneutic creativity
topic Method
Morphology
Gnoseological Model
Artistic Model
A. Nagel
C.S. Wood
url https://www.ojs.unito.it/index.php/COSMO/article/view/5914
work_keys_str_mv AT alessandrorossi historicalmethodandhermeneuticcreativity