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Books on the topic 'Laocoonte'

Author: Grafiati
Published: 10 March 2023

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1

1964-, Romero Pedro G., and Steingress Gerhard 1947-, eds. Laocoonte salvaje. Cáceres: Editorial Periférica, 2012.

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2

Laocoonte: Loopoesía 2015. Barcelona, España: Versos & Reversos Editorial, 2015.

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3

Settis, Salvatore. Laocoonte, fama e stile. Roma: Donzelli, 1999.

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4

Antonia, Frías Sagardoy Ma. El Laocoonte y la arquitectura. [Pamplona, Spain]: Servicio de Publicaciones, Universidad de Navarra, 1992.

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5

Francesco, Buranelli, Nesselrath Arnold, and Liverani Paolo, eds. Laocoonte: Alle origini dei Musei Vaticani. Roma: L'Erma di Bretschneider, 2006.

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6

Spain), Artium (Vitoria-Gasteiz, DA2 (Salamanca Spain), and Centro José Guerrero (Granada, Spain), eds. Laocoonte devorado: Arte y violencia política. Vitoria-Gasteiz: Artium, 2004.

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7

Fullaondo, Juan Daniel. Laocoonte crepuscular: Conversaciones en torno a Eduardo Chillida. Madrid: Kain, 1991.

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8

Giorgio, Bejor, ed. Il Laocoonte dei Musei Vaticani: 500 anni dalla scoperta. Milano: Cisalpino, 2007.

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9

Gemma, Sena Chiesa, Gagetti Elisabetta, and Albini Marcello 1965-, eds. Laocoonte in Lombardia: 500 anni dopo la sua scoperta. Milano: Viennepierre, 2007.

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10

Rebaudo, Ludovico. Il braccio mancante: I restauri del Laocoonte, 1506-1957. Trieste: Editreg, 2007.

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11

Una mappa delle arti nell'epoca digitale: Per un nuovo Laocoonte. Bologna: Marietti 1820, 2019.

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12

Enigma Laocoonte: Michelangelo, Giulio II e la storia di una contraffazione. Milano: Mimesis, 2021.

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13

d'Aurevilly, J. Barley. Laocoon. Los Angeles: William & Victoria Dailey, 1985.

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14

Ephraim, Lessing Gotthold. Laocoon. Paris: Hermann, 1990.

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15

Codony, Jacint Sala i. Les ombres, Laocoont, les ombres! Barcelona: Columna, 1989.

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16

Penelope, Curtis, Feeke Stephen, and Henry Moore Institute (Leeds, England), eds. Towards a new Laocoon. Leeds: Henry Moore Institute, 2007.

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17

Galleria del Laocoonte (Rome, Italy), ed. Laocoon zoo: Art fauna 16th-21st century. Todi (PG): D'arte, 2021.

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18

Laocoon's body and the aesthetics of pain: Winckelmann, Lessing, Herder, Moritz, Goethe. Detroit, Mich: Wayne State University Press, 1992.

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19

Laocoon: An essay upon the limits of painting and poetry. Mineola, N.Y: Dover Publications, 2005.

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20

Brilliant, Richard. My Laocoön: Alternative claims in the interpretation of artworks. Berkeley: University of California Press, 2000.

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21

Howells, William Dean. Laocoonte Di Lessing... Creative Media Partners, LLC, 2022.

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22

Howells, William Dean. Laocoonte Di Lessing... Creative Media Partners, LLC, 2022.

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23

Laocoonte : fama y estilo . Vaso Roto, 2014.

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24

Lessing, Gotthold Ephraim. Laocoonte Di Lessing... (Italian Edition). Nabu Press, 2012.

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25

Hijo de Laocoonte: Alonso Berruguete y la antigüedad pagana. Ministerio de Educacion, Cultura y Deporte. Secretaria General Tecnica. Centro de Publicaciones, 2017.

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26

Laocoonte, Ou, sobre as Fronteiras da Pintura e da Poesia. Martins Fontes, 1999.

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27

Ephraim, Lessing Gotthold. Laocoonte O Sobre Los Limites En La Pintura y La Poesia. Folio Pub. Corp., 2003.

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28

Laocoonte : (laokoon, laocoon o sobre los límites de la pintura y de la poesía) seguido de las cartas sobre la literatura moderna y cartas sobre el arte antiguo. Ediciones Ibericas, 2012.

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29

Harloe, Katherine. Sympathy, Tragedy, and the Morality of Sentiment in Lessing’s Laocoon. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0005.

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Katherine Harloe surveys Laocoon’s important contributions to the wider field of eighteenth-century aesthetic criticism. The particular focus of Harloe’s chapter concerns Lessing’s thinking about sympathy, above all in the context of ancient tragic drama. Anticipating numerous aspects of Lessing’s later Hamburgische Dramaturgie, his Laocoon forges a theory of drama against the backdrop of both Aristotelian philosophy and ancient dramatic paradigms. Harloe hones in on the fourth chapter of Laocoon, where Lessing has recourse to Sophocles’ Philoctetes in order to engage with Adam Smith’s arguments about the moral force of sympathy.
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30

Lessing, Gotthold Ephraim. Laocoon. Creative Media Partners, LLC, 2018.

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31

Laocoon. Hermann, 1990.

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32

Lessing, Gotthold Ephraim. Laocoon. Forgotten Books, 2017.

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33

Lessing, Gotthold Ephraim. Laocoon. Forgotten Books, 2017.

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34

Laocoon. Creative Media Partners, LLC, 2022.

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35

Lessing, Gotthold Ephraim. Laocoon. Creative Media Partners, LLC, 2018.

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36

Squire, Michael. Laocoon among the Gods,. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0003.

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Michael Squire explores how Greek and Roman materials can illuminate the thinking behind Lessing’s Laocoon. While Lessing’s project is structured around the interpretation of an ancient statue, the Laocoon’s conclusions about aesthetic media—not least, its implicit argument concerning the superiority of ‘ancient’ words over images—are predicated on a particular set of ‘modern’ ideas, themselves conditioned by a certain theological outlook. While purporting to talk about antiquity, Lessing re-imagines a Graeco-Roman ‘world full of gods’ in distinctly ‘Protestant’ terms.
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37

Wellbery, David E. Laocoon Today. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0002.

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David Wellbery charts some of the many ways in which Lessing’s Laocoon has been ‘good to think with’ among the various artistic and literary theoreticians of the twentieth century. Wellbery revises his own earlier interpretative mode: rather than see semiotics and ‘media theory’ as Lessing’s primary contribution, he suggests that the most valuable contexts of Laocoon lie in Lessing’s reflections on the nature of critical judgment, the primacy of human action, and the texture of human emotion.
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38

Lifschitz, Avi, and Michael Squire, eds. Rethinking Lessing's Laocoon. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.001.0001.

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Ever since its publication in 1766, Gotthold Ephraim Lessing’s treatise Laocoon, or On the Limits of Painting and Poetry has shaped debates about aesthetic experience and the medial distinctions between words and images. Rethinking Lessing’s Laocoon provides a reassessment of this seminal work on its 250th anniversary, examining Lessing’s interpretation of ancient art and poetry, the Enlightenment contexts of the treatise, and its subsequent legacy in the fields of aesthetic, semiotics, and philosophy. Lessing’s essay is focused on an ancient statue and its interpretation, revisiting Greek and Roman texts and images to think about the spatial and temporal ‘limits’ (Grenzen) of what Lessing calls ‘poetry’ and ‘painting’. Yet the text is also embedded within Enlightenment theories of art, perception, and historical interpretation—as well as within the nascent eighteenth-century study of classical antiquity (Altertumswissenschaft). Rethinking Lessing’s Laocoon is concerned not just with Lessing’s reception of antiquity, but also with the reception of that reception up to the present day. It examines Lessing’s work from a variety of disciplinary perspectives, highlighting the importance of Lessing’s Laocoon not only to the Enlightenment, but more generally also within shifting attitudes to the classical past.
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39

Giuliani, Luca. Lessing’s Laocoon as Analytical Instrument. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0004.

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Luca Giuliani evaluates Laocoon as an ‘analytical tool’ for twenty-first-century classical archaeology. In doing so, he returns to some of the same literary case studies that so engrossed Lessing 250 years ago—and none more so than Homer’s Iliad. By probing Lessing’s theories of the respective workings of art and text, and exploring them in the context of ancient depictions of the Iliad (especially seventh- and sixth-century BC vase-paintings), the chapter explores both the virtues and the problems of Lessing’s account. As Giuliani argues, this historical perspective can help us formulate the analytical importance of Lessing’s framework; at the same time, the perspective of ancient art can help us see how Lessing’s text is as much a treatise against as about the visual arts.
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40

Beiser, Frederick. Mendelssohn’s Critique of Lessing’s Laocoon. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0006.

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Frederick Beiser’s chapter demonstrates the palpable impact of Moses Mendelssohn on Lessing’s Laocoon. Mendelssohn composed his own treatise about the differences between the arts in 1757, paying particular attention to hybrid artistic forms that combined ‘natural’ and ‘arbitrary’ signs through their fusion of ‘successive’ and ‘instantaneous’ elements. In his comments on an early draft of Laocoon, Mendelssohn reminded Lessing that poetry—due to the arbitrariness of its signs—could also successfully express objects that coexist with one another rather than consecutive actions in time. Of all Mendelssohn’s comments on Laocoon, Beiser argues, this was the one that most troubled Lessing as he tried to develop a system for understanding ancient ‘poetry’ and ‘painting’.
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41

Trabant, Jürgen. Image and Text in Lessing’s Laocoon. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0014.

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Jürgen Trabant argues that Lessing’s distinction between poetry and painting can stand for a wider controversy about the respective status (and developmental history) of words and images. The chapter looks at Lessing’s comparison with an eye to the historical anthropology of language, arguing that word and image share substantial common ground as embodiments of human thought. In particular, Trabant explores Lessing’s Grenzen in relation to the concept of articulation—not only of sounds, but also of cognitive distinctions. He concludes that the specific structure of phonetic articulation allows greater arbitrariness and combinatory possibilities than visual images: if Lessing lets one imagine ‘word’ and ‘image’ as occupying two floors within a shared house, language nonetheless occupies its first floor, above the realm of visual imagery.
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42

Laocoon; or the Limits of Poetry and Painting. Creative Media Partners, LLC, 2022.

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43

Gaiger, Jason. Transparency and Imaginative Engagement. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0011.

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One of the most challenging aspects of Lessing’s Laocoon, Jason Gaiger argues, is its argument about the interplay between an artwork and the imaginative response of the subject. What role does the actual medium of a representation play in Laocoon? Does Lessing champion a ‘transparency theory of art’, whereby the medium of representation is ideally ‘transparent’ to what it represents? Or does Laocoon assume a more dynamic mode of engagement between material form and subjective imagination? Gaiger explores how critics over the last 250 years have differently approached these questions, while also outlining his own art-historical attempts at some critical answers.
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44

Grethlein, Jonas. Lessing’s Laocoon and the ‘As-If’ of Aesthetic Experience. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0012.

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In this chapter Jonas Grethlein tackles the shared but distinct aesthetic mechanics of responding to narratives and pictures. After taking into account ‘deconstructionist’ readings of Laocoon, Grethlein argues that Lessing’s insights are fundamental for articulating how aesthetic experience works. Reformulating Lessing’s categories of temporal ‘poetry’ and spatial ‘painting’, while also concentrating on aesthetic response rather than formal medial difference, Grethlein renders Lessing’s essay into a guide for approaching the poles of what he labels ‘narratives’ and ‘pictures’. According to Grethlein, Lessing’s arguments concerning ‘poetry’ and ‘painting’ can help to advance a phenomenological argument about the ‘as if’ (in Kendall Walton’s terms) of aesthetic experience.
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45

Décultot, Élisabeth. Criticism as Poetry? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0009.

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If Laocoon constitutes an attempt to delineate the boundaries of poetry and painting, to what extent can these categories be applied to Lessing’s essay itself? Is Laocoon an exercise in poetry—and what is the relationship between Lessing’s own mode of writing and his theoretical delimitation of poetry? To answer these questions, Elisabeth Décultot turns to a 1755 text that Lessing composed together with Moses Mendelssohn (Pope—a Metaphysician!), a treatise in which both thinkers had tried to delineate the different realms of poetry and philosophy. Décultot argues that there is a close proximity between what Lessing calls ‘poetry’ and the nature of his own critical writing: criticism, at least as Lessing practises it in Laocoon, narrates action in time through the representation of a sequence of readings and debates with Lessing’s contemporaries.
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46

Ephraim, Lessing Gotthold, and Ellen Frothingham. Laocoon: An Essay upon the Limits of Painting and Poetry. Dover Publications, 2005.

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47

Frothingham, Ellen, and Gotthold Ephraim Lessing. Laocoon: An Essay upon the Limits of Painting and Poetry. Dover Publications, Incorporated, 2013.

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48

Revue germanique internationale, numéro 19 - 2003 : Le Laocoon : Histoire et réception. Presses Universitaires de France - PUF, 2003.

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49

Rethinking Lessing's Laocoon: Antiquity, Enlightenment, and the 'Limits' of Painting and Poetry. Oxford University Press, 2017.

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50

Kottman, Paul A. Art and Necessity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.003.0013.

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This chapter aims to rethink Lessing’s Laocoon by reassessing its fundamental aesthetic contribution. The essay proceeds in three parts. First, it argues that Lessing’s critical practice in Laocoon demonstrates how the amateur’s ‘felt’ responses to an artwork’s aesthetic effect bears on the critic’s judgment concerning both what and how artworks mean. Second, Kottman claims that Lessing’s discussion of medium-specificity is not meant to arrive at any fixed ‘theory’ of different media; rather, it follows from his broader sense of what art does through its solicitation of our imagination. Third, the chapter argues that Lessing’s focus on the ‘limits’ of painting and poetry does not present transcendentally derived criteria according to which different ‘media’ are graspable; rather, Lessing shows how the very view that artworks or practice yield a special understanding of human life, unavailable elsewhere, is earned through the careful consideration of the achievements of specific artworks and practices.
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