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Metaphor has intrigued philosophers, rhetoricians, and poets since Antiquity. The phenomenon of metaphor has been mostly interpreted as a figure of speech, and only in last decades of the 20th Century the so-called cognitive turn defined metaphor as a product first of the thought and then of the language. According to this view metaphor is used in everyday life and it is present, therefore, potentially, in every type of texts. Furthermore, metaphor can be identified also in images that convey specific concepts. Both as a figure of speech and as a cognitive phenomenon, the research of metaphor in the ancient Near Eastern written sources has never been thoroughly investigated. Yet the study of metaphor will consent to win a deeper knowledge of the texts and of the system of thinking of the cultures that produced those texts. Therefore, this volume edited by Marta Pallavidini and Ludovico Portuese aims to research metaphor from different perspectives by considering its presence in ancient Near Eastern written documents. The contributions focus on several ancient Near Eastern cultures and encompass more than two millennia as well as examine various topics, from Sumerian literature, to Hittite written sources, to Neo-Assyrian art to the Biblical world

Metaphor --- Metaphor in art --- Metaphor in literature. --- Middle Eastern literature --- Social aspects --- History

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In Consuming Painting, Allison Deutsch challenges the pervasive view that Impressionism was above all about visual experience. Focusing on the language of food and consumption as they were used by such prominent critics as Baudelaire and Zola, she writes new histories for familiar works by Manet, Monet, Caillebotte, and Pissarro and creates fresh possibilities for experiencing and interpreting them. Examining the culinary metaphors that the most influential critics used to express their attraction or disgust toward painting, Deutsch rethinks French modern-life painting in relation to the visceral reactions that these works evoked in their earliest publics. Writers posed viewing as analogous to ingestion and used comparisons to food to describe the appearance of paint and the painter’s process. The food metaphors they chose were aligned with specific female types, such as red meat for sexualized female flesh, confections for fashionably made-up women, and hearty vegetables for agricultural laborers. These culinary figures of speech, Deutsch argues, provide important insights into both the fabrication of the feminine and the construction of masculinity in nineteenth-century France. Consuming Painting exposes the social politics at stake in the deeply gendered metaphors of sense and sensation.Original and convincing, Consuming Painting upends traditional narratives of the sensory reception of modern painting. This trailblazing book is essential reading for specialists in nineteenth-century art and criticism, gender studies, and modernism.

Art criticism --- Impressionism (Art) --- Metaphor in art criticism --- Painting, French --- History

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Material culture. --- Metaphor in art. --- Metaphor in literature. --- Metaphor --- Social archaeology. --- Social aspects. --- Material culture --- Metaphor in art --- Metaphor in literature --- Social archaeology --- Archaeology --- Parabole --- Figures of speech --- Reification --- Culture --- Folklore --- Technology --- Social aspects --- Methodology

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Arts --- Comparative literature --- Literature, Comparative --- Metaphor in art --- Veils in art --- Veils in literature --- Themes, motives --- Themes, motives --- Themes, motives

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The work of German cultural theorist and art historian Aby Warburg (1866-1929) has had a lasting effect on how we think about images. This book is the first in English to focus on his last project, the encyclopedic Atlas of Images: Mnemosyne. Begun in earnest in 1927, and left unfinished at the time of Warburg's death in 1929, the Atlas consisted of sixty-three large wooden panels covered with black cloth. On these panels Warburg carefully, intuitively arranged some thousand black-and-white photographs of classical and Renaissance art objects, as well as of astrological and astronomical images ranging from ancient Babylon to Weimar Germany. Here and there, he also included maps, manuscript pages, and contemporary images taken from newspapers. Trying through these constellations of images to make visible the many polarities that fueled antiquity's afterlife, Warburg envisioned the Atlas as a vital form of metaphoric thought.While the nondiscursive, frequently digressive character of the Atlas complicates any linear narrative of its themes and contents, Christopher D. Johnson traces several thematic sequences in the panels. By drawing on Warburg's published and unpublished writings and by attending to Warburg's cardinal idea that "pathos formulas" structure the West's cultural memory, Johnson maps numerous tensions between word and image in the Atlas. In addition to examining the work itself, he considers the literary, philosophical, and intellectual-historical implications of the Atlas. As Johnson demonstrates, the Atlas is not simply the culmination of Warburg's lifelong study of Renaissance culture but the ultimate expression of his now literal, now metaphoric search for syncretic solutions to the urgent problems posed by the history of art and culture.

Memory in art. --- Metaphor in art. --- Art, Renaissance --- Art, Classical --- Art criticism --- Renaissance art --- Classical art --- Classical antiquities --- Influence. --- History --- Warburg, Aby,