Carlo Ginzburg in the context of Montereale Valcellina


Carlo Ginzburg in the context of Montereale Valcellina

⭐ Core Definition: Carlo Ginzburg

Carlo Ginzburg (Italian: [ˈkarlo ˈɡintsburɡ]; born 15 April 1939) is an Italian historian and a proponent of the field of microhistory. He is best known for Il formaggio e i vermi (1976, English title: The Cheese and the Worms), which examined the beliefs of an Italian heretic, Menocchio, from Montereale Valcellina.

In 1966, he published The Night Battles, an examination of the benandanti visionary folk tradition found in sixteenth- and seventeenth-century Friuli in northeastern Italy. He returned to looking at the visionary traditions of early modern Europe for his 1989 book Ecstasies: Deciphering the Witches' Sabbath.

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Carlo Ginzburg in the context of Ernst Gombrich

Sir Ernst Hans Josef Gombrich OM CBE FBA (/ˈɡɒmbrɪk/; German: [ˈgɔmbʁɪç]; 30 March 1909 – 3 November 2001) was an Austrian-born art historian who, after settling in England in 1936, became a naturalised British citizen in 1947 and spent most of his working life in the United Kingdom.

Ernst Gombrich was the author of many works of cultural history and art history, most notably The Story of Art, a book widely regarded as one of the most accessible introductions to the visual arts, and Art and Illusion, a major work in the psychology of perception that influenced thinkers as diverse as Carlo Ginzburg, Nelson Goodman, Umberto Eco, and Thomas Kuhn.

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Carlo Ginzburg in the context of Art and Illusion

Art and Illusion, A Study in the Psychology of Pictorial Representation, is a 1960 book of art theory and history by Ernst Gombrich, derived from the 1956 A. W. Mellon Lectures in the Fine Arts. The book had a wide impact in art history, but also in history (e.g. Carlo Ginzburg, who called it "splendid"), aesthetics (e.g. Nelson Goodman's Languages of Art), semiotics (Umberto Eco's Theory of Semiotics), and music psychology (Robert O. Gjerdingen's schema theory of Galant style music).

In Art and Illusion, Gombrich argues for the importance of "schemata" in analyzing works of art: he claims that artists can only learn to represent the external world by learning from previous artists, so representation is always done using stereotyped figures and methods.

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