Movement, Embodiment, Emotion , in: Th. Dufrenne and A.-C. Taylor, eds., Cannibalismes Disciplinaires, Quand l'histoire de l'art et l'anthropologie se rencontrent, Paris: INHA/Musée du quai Branly, pp. 37-61.

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  "Movement, Embodiment, Emotion", in: Th. Dufrenne and A.-C. Taylor, eds., Cannibalismes Disciplinaires, Quand l'histoire de l'art et l'anthropologie se rencontrent, Paris: INHA/Musée du quai Branly, pp. 37-61.
  Ce volume est ssu du colloque Histoire de 'art et anthropologie ui s'est enu du 21. att 23 jujn2007, f initiative de Thierry Dufr€ne, professeur 'histoire de I'art contemporain I'universitdParis Ouest Nanterre La Ddfense et secrdtaire cientifique du Comitd international d'histoirede l'art (CIHA), et d'Anne-Christine Taylor, directrice du ddpartement de la Recherche u musdedu quai Branly.Le colloque a dtd organisd ous 1'dgide u Comitd nternational d'histoire de 'art, du Comitd rangaisd'histoire de 'art, de 'lnstitut national d'histoire de 1'art et du musde du quai Branly, et a bdndficiddu mdcdnat 'Alain Minc.Les actes omplets u colloque ont disponibles n ligne: http://actesbranly.revues.orglThe present volume grew out a conference entitled Histoire de 'art et anthropologie, hich was heldon June 27-23, 2007. The project was nitiated by Thierry Dufr€ne, professor f contemporary rthistory at the Universitd Paris Ouest Nanterre La Ddfense nd academic ecretary f the InternationalCommiftee of Art History (CIHA), and by Anne Christine Taylor, head of the research epartment at the Musde du quai Branly.The conference as organized nder he auspices f the Comitd nternational d'histoire de 'art,the Comitd ranqais d'histoire de 'art, the Institut nationai d'histoire de 'art, and the Musde du quai Branly,and sponsored y Alain Minc.Complete ranscripts f the conference re available nline: http://actesbranly.revues.orgl  CANNIBALISMES ISCIPLINAIRES uand 'histoire e 'art t 'onthropolosje e encontrent SOMMAIRE Tltcnny DumrNE t ANNE-CHRISTINE AyLoR p.7En guise d' ntr o ductionTgteBny umENr nd ANNr-ClRtslNE TAyLoR p.15By way of introduction L'anthropologue,I'hirtorien dc I'art Pttrtppt escoLn .lrL'Envers u visible: ontologie t iconologieDnvo FRrrosrnc .rzMovement, mb diment, Emotion Parcours e ravants JAYNIE NDERSoN .6IThe Creation of Indigenous Collectionsin Melbourne: ow Kenneth Clark,Charles Mountford, and Leonhard AdamInterrogated Austr alian IndigeneityPtrnnr ruoNNlER t ALATN ctNnpp p.zqAndr6. eroi-Gourhan et Pierre FrancastelMRnttnl GueoRoN .rorNature, ddal et caricature.La perception es ypes physiqueschez es premiers anthropologues RAPHAEL oussrLrnu .rlrL'Invention e << 'art tribal >> e 'Inde:Verrier Elwin 1951 DoutNtour JARRASSE .r33Trois gouttes d,'art nd.gre.Gobinisme t mdtissage n histoire de 'artRrnll LagBussE .t4eD 6lir es anthrop ologiques Josef Strzygowski face d Alois Riegl Pas c dcur RornNo ECHT .rcsL'Habitant e a sculpture. emarques urle ocus et la perception u corps lastiqueJrnN-Clnuor cHnrTr .rzeLa Permanence es mageset les changements e emporalitd.Groncrs Dnt-HuerBA4nN .rseImaginer, isloquer, econstruire Ht tR [RltGtR p.197 Aesthetics and Anthropology of Megacities.A New Field of Art Historical ResearchM|CHELE oeurt p.qrSavoir aire et donner orme, ou ce quiadvient lorsqu'on agonne une e.uvre  L'Occidcnt t lcs autrer Tgnrsn CnsrBO p.2reLes << tlas photographiques > un mdcanisme ,e ensde ommun dl'anthropologie t d l'histoire de I'artMONIA ABDALLAH .2a5Polysynthdse ' une caractdrisation entr e<obiet d'art>> et <<objet e civilisation>>Trtouns GOLSENNE .srL'Ornement est-il animiste ?SnLLy PBtct p.lccCultures en dialogue:options pour les musdes du xxt' sid.cleJrnN-PHtltpPr zEL p.ztsLes Objets rickster dans 'artcontemporain autochtone au CanadaCectre Per,ruoEtX .te5IJne contribution de I'iconologie eWarburg d l'dtude des arts lointains:art inuit et ormes de I'dme Carridre 'obiets ANNr-SorrNE OLLAND .rrArt ou ethnologte? uestions eprdsentationdans es Museen ur Volkerkunde enAllemagne pris 1900SnsrNr u CREST .:sDes eliquaires 'un genre ouveauLnuBn ouroUtER .t35La Mdtamorphose es ierres.Les emplois, ntre ebut et souvenirMnuBmN URPHY .*zDu champ ebataille umusde:les ribulations 'une sculpture on JOHN STANTON p.36r Before he Dots, before apunYa:Austr lian Ab srcinal Crayon Dr awingsfrom Birrundudu, T 1.9 5Ruttt PHtLLtps .rzsThe Mask Stripped Bare by its Curators:The Work of Hybridity n the Twenty-FirstCentury  L'ANIHROPOLOGUE, 'HISTORIEN E 'ART MOVEMENT, MBODIMENT, MOTION David FreedbergColrmbiu UniversitvFor a long time, both anthropology and the history of art neglected ssues ofemotion and embodiment. Now these subiects have become all too fashionable' Thein."o-."ological involvement of beholder and investigator n the obiects of obser-vation, whether pictures or people, has come to be taken for granted. Disembodiedanalytic detachment, once the most favored of investigative strategies, as come tobe seen as a hindrance and a disadvantage. he study of motion, or rather, the per-ception of bodies n motion, has also gained ncreasing attention. Let me begin byac-knowledging he many names I wili have o omit, not iust because f lack of time,but as a consequence fihe proliferation of research and discussion n areas n whichwe think we're being srcinal, and of the loss of work from the pre-Google era, workthat precedes modernity and contemporaneity and yet always has something relevantto what we do now. Indeed, n what I have o say oday, here is much that is pertinentnot only in Merleau-Ponty (most obviously of all), but also in the great nineteenth-century empathy heorists, Visscher, Lipps, and even hat eventually most reactionaryof art historians, Heinrich Wolfflin. I speak not of the oldness of the past, but itsnewness, ts topicality, ts always prophetic possibilities'It would be superfluous o mention the differences between anthropology andart history; most of us know what they are. In fact, the fields can now be said to berapidly merging. Instead of simply concentrating on high art, all self-respecting rthistorians now pay attention to the full range of visual images n different cultureswhile anthropologists have long attended. o the esthetic aspects of images and toesthetic ankings within cultures. All this has been salutary and has led to the kindsof discourse we initiate today. The organizers' srcinal idea was for me to talk abouta subiect hat is more or less untranslatable nto English, namely, "L'ceuvre de I'art )I'dpreuve d,e 'histoire et de I'anthropologie," and I take it that the question remains:how much can art be reclaimed at a time when the history of art is so often alleged ohave come to an end, and when the distinctions between art and non-art have cometo be more fluid than ever?
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