The present volume explores for the first time the concept of synagonism (from “σύν”, “together” and “ἀγών”, "struggle”) for an analysis of the productive exchanges between early modern painting, sculpture, architecture, and other art forms in theory and practice. In doing so, it builds on current insights regarding the so-called paragone debate, seeing this, however, as only one, too narrow perspective on early modern artistic production. Synagonism, rather, implies a breaking up of the schematic connections between art forms and individual senses, drawing attention to the multimediality and intersensoriality of art, as well as the relationship between image and body.

This book by Yannis Hadjinicolaou offers an account of the term Handeling in the Netherlandish art and theory of the late Rembrandists (like Arent de Gelder) and hence between 1650 and 1720.

A sweeping history of premodern architecture told through the material of stone Spanning almost five millennia, Painting in Stone tells a new history of premodern architecture through the material of precious stone. Lavishly illustrated examples include the synthetic gems used to simulate Sumerian and Egyptian heavens; the marble temples and mansions of Greece and Rome; the painted palaces and polychrome marble chapels of early modern Italy; and the multimedia revival in 19th-century England. Poetry, the lens for understanding costly marbles as an artistic medium, summoned a spectrum of imaginative associations and responses, from princes and patriarchs to the populace. Three salient themes sustained this “lithic imagination”: marbles as images of their own elemental substance according to premodern concepts of matter and geology; the perceived indwelling of astral light in earthly stones; and the enduring belief that colored marbles exhibited a form of natural—or divine—painting, thanks to their vivacious veining, rainbow palette, and chance images.

This book is a timely revival of the social and political importance of meaningful work, which explores a philosophy of work based upon the value of meaningfulness and argues for the institution of a new politics of meaningfulness.

The Ancient Greek notion of agonism, meaning struggle, has been revived in radical legal and political theory to rethematize class conflict and to conceptualize the conditions of possibility of freedom and social transformation in contemporary society. Insisting that what is ultimately at stake in politics are the terms in which social conflict is represented, agonists highlight the importance of the strategic, affective and aesthetic aspects of politics for democratic praxis. This volume examines the implications of this critical perspective for understanding law and considers how law serves either to sustain or curtail the democratic agon. While sharing a critical perspective on the deliberative turn in legal and political theory and its tendency to depoliticize social conflict, the various contributors to this volume diverge in arguing variously for pragmatic, expressivist or strategic conceptions of agonism. In doing so they question the glib assumptions that often underlie a sometimes too easy celebration of conflict as an antidote to de-politicizing consensus. This thought provoking volume will be of interest to students and researchers working in legal and political theory and philosophy.

Foundations of Public Law offers an account of the formation of the discipline of public law with a view to identifying its essential character, explaining its particular modes of operation, and specifying its unique task. Building on the framework first outlined in The Idea of Public Law (OUP, 2003), the book conceives public law broadly as a type of law that comes into existence as a consequence of the secularization, rationalization and positivization of the medieval idea of fundamental law. Formed as a result of the changes that give birth to the modern state, public law establishes the authority and legitimacy of modern governmental ordering. Public law today is a universal phenomenon, but its origins are European. Part I of the book examines the conditions of its formation, showing how much the concept borrowed from the refined debates of medieval jurists. Part II then examines the nature of public law. Drawing on a line of juristic inquiry that developed from the late sixteenth to the early nineteenth centuries-extending from Bodin, Althusius, Lipsius, Grotius, Hobbes, Spinoza, Locke and Pufendorf to the later works of Montesquieu, Rousseau, Kant, Fichte, Smith and Hegel-it presents an account of public law as a special type of political reason. The remaining three Parts unpack the core elements of this concept: state, constitution, and government. By taking this broad approach to the subject, Professor Loughlin shows how, rather than being viewed as a limitation on power, law is better conceived as a means by which public power is generated. And by explaining the way that these core elements of state, constitution, and government were shaped respectively by the technological, bourgeois, and disciplinary revolutions of the sixteenth century through to the nineteenth century, he reveals a concept of public law of considerable ambiguity, complexity and resilience.

What is the relation between image practices and the iconic power of flying and more specifically falconry? The book investigates for the first time this interaction by focussing on common intersections between culture and nature, vision and gaze, tactility and perception, perspective and surveillance, material and symbol. Also questions concerning political iconology, the migration of objects and images of human-animal interactions are addressed. With contributions by Baudouin van den Abeele, Horst Bredekamp, Robert Felfe, Peter Geimer, Yannis Hadjinicolaou, Christine Kleiter, Klaus Krüger, Tanja Michalsky, Andrea Pinotti, Herman Roodenburg, Monika Wagner, Gerhard Wolf and Frank Zöllner.