Migrating Histories of Art: Self-Translations of a Discipline

Description

Art historians have been facing the challenge – even from before the advent of globalization – of writing for an international audience and translating their own work into a foreign language – whether forced by exile, voluntary migration, or simply in order to reach wider audiences. Migrating Histories of Art aims to study the biographical and academic impact of these self-translations, and how the adoption and processing of foreign-language texts and their corresponding methodologies have been fundamental to the disciplinary discourse of art history. While often creating distinctly "multifaceted" personal biographies and establishing an international disciplinary discourse, self-translation also fosters the creation of instances of linguistic and methodological hegemony. Table of Contents Lost in Translation Self-Translation – Translation of the Self Self-Translation and Its Discontents Feminine Inscriptions in the Morellian Method Aby Warburg’s Literal and Intermedial Self-Translation Edgar Wind’s Self-Translations American Panofsky Frederick Antal or a Connoisseur Turned Social Historian of Art Strangers in a Foreign Language ‘Always living in a foreign tongue ...’ Translating Art History, Transmitting Humanitas Seductive Foreignness Identity, Voice and Translation in the Life and Work of Leon Vilaincour Notes Index Picture Credits Acknowledgments A note on the cover illustration