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HISTORIOGRAPHY & LANGUAGE * Denotes required readings provided in xerox format and on reserve (R) Denotes optional readings placed on reserve at the Fine Arts Library *Jean-Jacques Rousseau (1712-1778) & Johann Gottfried Herder (1712-1778), "On the Origin of Language(s)", On the Origin of Language, trans. John H. Moran & Alexander Gode (New York: Ungar, 1966), pp. 11-13; 75-83; 167-176 *Giorgio Agamben, "The Dream of Language", The End of the Poem: Studies in Poetics, trans. Daniel Heller-Roazen (Stanford: Stanford University Press, 1996), pp. 43-61 * __________, "The Hunt for Language", Ibid., pp.124-125 (R) __________, Infancy & History: Essays on the Destruction of Experience (London: Verso, 1993) (R) __________, The Coming Community (Minneapolis: University of Minnesota Press, c.1993) (R) Massimo Cacciari, "Abendland", Posthumous People: Vienna at the Turning Point (Stanford: Stanford University Press, 1996) *Isaiah Berlin, "The Concept of Scientific History", Concepts & Categories (Princeton: Princeton University Press, 1999), pp. 103-142 * __________, "Giambattista Vico & Cultural History", The Crooked Timber of Humanity (Princeton: Princeton University Press, 1997), pp. 49-69 * __________, "Apotheosis of the Romantic Will", Ibid., pp. 225-237 *George Steiner, Errata (New Haven: Yale University Press, 1997), pp. 19-29 Simon Schama, "Clio at the Multiplex: What Hollywood and Herodotus Have in Common" The New Yorker (January 19, 1998), pp. 38-43 *Manfredo Tafuri, "Discordant Harmony: From Alberti to Zuccari", Leonis Baptiste Alberti, AD Profile 21, ed. Joseph Rykwert (London: Academy), pp. 36-44 (R) Slavoj Zizek, Mapping Ideology (London: Verso, 1994) (R) __________, The Abyss of Freedom: Ages of the World (Ann Arbor: University of Michigan Press, 1997) *** "Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language many coloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose." --James Joyce, Portrait of the Artist as a Young Man (1916) |
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