Visual and aural intellectual histories: an introduction

Bibliography

• Australian Research Council. Excellence in Research for Australia: ERA 2015 Submission Guidelines. Canberra: Commonwealth of Australia, 2014.
   Google Scholar
• Bartel, Dietrich. Musica Poetica: Musical-Rhetorical Figures in German Baroque Music. Lincoln: University of Nebraska Press, 1997.
   Google Scholar
• Baxandall, Michael. Patterns of Intention: On the Historical Explanation of Pictures. New Haven, CT: Yale University Press, 1985.
   Google Scholar
• Baxandall, Michael. Shadows and Enlightenment. New Haven, CT: Yale University Press, 1995.
   Google Scholar
• Belfiore, Eleonora, and Oliver Bennett. The Social Impact of the Arts: An Intellectual History. Basingstoke: Palgrave Macmillan, 2008.
   Google Scholar
• Bindman, David. Hogarth and His Times. Berkeley: University of California Press, 1997.
   Google Scholar
• Brett, Annabel. “What Is Intellectual History Now?” In What Is History Now?, edited by David Cannadine, 113–131. Houndmills: Palgrave Macmillan, 2002.
   Google Scholar
• Brown, Jonathan. Images and Ideas in Seventeenth-Century Painting. Princeton, NJ: Princeton University Press, 1979.
   Google Scholar
• Bull, Malcolm. Inventing Falsehood, Making Truth: Vico and Neapolitan Painting. Princeton, NJ: Princeton University Press, 2014.
   Google Scholar
• Cheetham, Mark A. Artwriting, Nation, and Cosmopolitanism in Britain: The ‘Englishness’ of English Art Theory since the Eighteenth Century. Farnham: Ashgate, 2012.
   Google Scholar
• Cohen, Sarah. Art, Dance and the Body in French Culture. Cambridge: Cambridge University Press, 2000.
   Google Scholar
• Collini, Stefan, Michael Biddiss, Quentin Skinner, J. G. A. Pocock, and Bruce Kuklick. “What Is Intellectual History?” History Today 35, no. 10 (1985). http://www.historytoday.com/stefan-collini/what-intellectual-history.
   Google Scholar
• Cook, Nicholas, and Nicola Dibben. “Emotion in Culture and History: Perspectives from Musicology.” In Handbook of Music and Emotion: Theory, Research, and Applications, edited by Patrik N. Juslin, 45–72. Oxford: Oxford University Press, 2010.
   Google Scholar
• Crow, Tom. Painters and Public Life in Eighteenth-Century France. New Haven, CT: Yale University Press, 1985.
   Google Scholar
• Domínguez, César, Haun Saussy, and Darío Villanueva. Introducing Comparative Literature: New Trends and Applications. London: Routledge, 2014.
   Google Scholar
• Fenlon, Ian, and I. M. Groote. Heinrich Glarean’s Books: The Intellectual World of a Sixteenth-Century Musical Humanist. Cambridge: Cambridge University Press, 2013.
   Google Scholar
• Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. Paris: Gallimard, 1996.
   Google Scholar
• Galilei, Vincenzo. Dialogo della musica. Florence: Giorgio Marescotti, 1581.
   Google Scholar
• Gordon, Peter. “What Is Intellectual History? A Frankly Partisan Introduction to a Frequently Misunderstood Field.” Unpublished article. Accessed November 5, 2012. http://history.fas.harvard.edu/people/faculty/documents/pgordon-whatisintellhist.pdf.
   Google Scholar
• Holly, Michael Ann. The Melancholy Art. Princeton, NY: Princeton University Press, 2013.
   Google Scholar
• Holly, Michael Ann. Panofsky and the Foundations of Art History. Ithaca, NY: Cornell University Press, 1984.
   Google Scholar
• Kavanagh, Thomas. Esthetics of the Moment: Literature and Art in the French Enlightenment. Philadelphia: University of Pennsylvania Press.
   Google Scholar
• Kemp, Martin. Christ to Coke: How an Image Becomes Icon. Oxford: Oxford University Press, 2011.
   Google Scholar
• Knepler, Georg. “Die Zweite Wiener Schule im Kontext der Österreichischen Geistesgeschichte.” Österreichische Musikzeitschrift 53, nos. 3–4 “Schönberg in Wien” (1998): 24–31.
   Google Scholar
• Levy, Evonne. “The German Art Historians of World War I: Grautoff, Wichert, Weisbach and Brinckmann and the Activities of the Zentralstelle für Auslandsdienst.” Zeitschrift für Kunstgeschichte 3 (2011): 373–400.
   Google Scholar
• Levy, Evonne. “The Political Project of Wölfflin’s Early Formalism.” October 139 (Winter 2012): 39–58.
   Google Scholar
• Lovejoy, Arthur O. The Great Chain of Being: A Study of the History of an Idea. Cambridge, MA: Harvard University Press, 1936.
   Google Scholar
• Mattheson, Johann. Der Vollkommene Capellmeister: Das Ist Gründliche Anzeige Aller Derjenigen Sachen, die einer Wissen, Können, und Vollkommen Inne Haben Muss, der einer Capelle mit Ehren und Nutzen Vorstehen Will. Hamburg: Herold, 1739.
   Google Scholar
• Milam, Jennifer. Fragonard’s Playful Paintings. Visual Games in Rococo Art. Manchester: Manchester University Press, 2007.
   Google Scholar
• Nisbet, H. B., and Claude Julien Rawson, eds. The Cambridge History of Literary Criticism Volume 4: The Eighteenth Century. Cambridge: Cambridge University Press, 1997.
   Google Scholar
• Palisca, Claude V. The Florentine Camerata: Documentary Studies and Translations. Music Theory Translation Series. New Haven, CT: Yale University Press, 1989.
   Google Scholar
• Palisca, Claude V. Music and Ideas in the Sixteenth and Seventeenth Centuries. Chicago, IL: University of Illinois Press, 2006.
   Google Scholar
• Paulson, Ronald. Hogarth, Vol. 3: Art and Politics. New Brunswick: Rutgers University Press, 1993.
   Google Scholar
• Rumph, Stephen. Mozart and Enlightenment Semiotics. Berkeley: University of California Press, 2011.
   Google Scholar
• Sheriff, Mary D., ed. Antoine Watteau: Perspectives on the Artist and the Culture of His Time. Newark: University of Delaware Press, 2006.
   Google Scholar
• Skinner, Quentin. “Ambrogio Lorenzetti: The Artist as Political Philosopher.” Proceedings of the British Academy 72 (1986): 1–56.
   Google Scholar
• Skinner, Quentin. “Ambrogio Lorenzetti’s Buon Governo Frescoes: Two Old Questions, Two New Answers.” Journal of the Warburg and Courtauld Institutes 62 (1999): 1–28. doi: 10.2307/751381
   Web of Science ®Google Scholar
• Skinner, Quentin. “Meaning and Understanding in the History of Ideas.” History and Theory 8, no. 1 (1969): 3–53. doi: 10.2307/2504188
   Web of Science ®Google Scholar
• Small, Christopher. Musicking: The Meanings of Performing and Listening. Hanover: University Press of New England, 1998.
   Google Scholar
• Spariosu, Mihai. Dionysis Reborn: Play and the Aesthetic Dimension in Modern Philosophical and Scientific Discourse. Ithaca, NY: Cornell University Press, 1989.
   Google Scholar
• Spariosu, Mihai. God of Many Names: Play, Poetry, and Power in Hellenic Thought from Homer to Aristotle. Durham, NC: Duke University Press, 1991.
   Google Scholar
• Spariosu, Mihai. The Wreath of Wild Olive: Play, Liminality and the Study of Literature. Albany, NY: SUNY Press, 1997.
   Google Scholar
• Steinberg, Leo. “Velazquez’s Las Meninas.” October 19 (Winter 1981): 45–54.
   Google Scholar
• Vidal, Mary. Watteau’s Painted Conversations: Art, Literature, and Talk in Seventeenth- and Eighteenth-Century France. New Haven, CT: Yale University Press, 1992.
   Google Scholar
• Whatmore, Richard, and Brian Young, eds. A Companion to Intellectual History. Blackwell Companions to History. Malden, MA: Wiley Blackwell, 2016.
   Google Scholar
• Whatmore, Richard, and Brian Young, eds. Palgrave Advances in Intellectual History. Palgrave Advances. Basingstoke: Palgrave Macmillan, 2006.
   Google Scholar
• Wolff, Christoph. Johann Sebastian Bach: The Learned Musician. Oxford: Oxford University Press, 2000.
   Google Scholar
• Young, Brian. “Introduction.” In Palgrave Advances in Intellectual History, edited by Richard Whatmore and Brian Young, 1–7. Palgrave Advances. Basingstoke: Palgrave Macmillan, 2006.
   Google Scholar