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In visible environments: Architectur...

El-Khoury, Rodolphe Georges.

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In visible environments: Architecture and the senses in eighteenth-century France.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	In visible environments: Architecture and the senses in eighteenth-century France./
Author:	El-Khoury, Rodolphe Georges.
Description:	443 p.
Notes:	Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 0321.
Contained By:	Dissertation Abstracts International58-02A.
Subject:	History, European. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9724088
ISBN:	9780591329490

In visible environments: Architecture and the senses in eighteenth-century France.
El-Khoury, Rodolphe Georges.

In visible environments: Architecture and the senses in eighteenth-century France. - 443 p.

Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 0321.

Thesis (Ph.D.)--Princeton University, 1996.

Starting in the late seventeenth century, and throughout the eighteenth, the senses are rehabilitated as legitimate agents and sources of knowledge. Simultaneously, the various sensory fields are colonized by sight, which reasserts its hegemony by dialectically sustaining and undermining their autonomy with visual inflections. For instance, there is a pronounced investment, throughout this period, in the history and philosophy of language that valorizes phonetic articulation; yet phonemes are presented as degraded vestiges of more figurative languages which spoke to the eye as much as to the ear. The corollary aesthetic theories accordingly privilege the imitative signs which are figuratively motivated, such as Quatremere de Quincy's allegory and Denis Diderot's hieroglyph. The same pattern of affirmation and subordination is also found in the visualization of taste and smell. Taste becomes a metaphor for aesthetic discernment, lending the intelligent immediacy of gustative perception to the analytic distance of sight. Smell is emphatically reasserted in the mid-century preoccupation with miasmic threats but ultimately serves to reorganize the city according to an aesthetic of transparency. The dialectic of visual and sensory practice also unfolds in a diachronic process whereby the overt "haptic" sensuality of the Rococo evolves into to the "optic" austerity of Neoclassicism. Subtle variation in a contour line thus come to distill, in the virtual palpability of the visual sign, the manifold categories of sensory experience. In short, this dissertation describes the process through which the "environment" is made increasingly visible, and therefore controllable, with the help of architecture. The two first sections rehearse the process in the dialectical tensions of the optic and haptic and their resolution in the visualization of taste and smell. The tactile vision of taste is examined primarily in the architectural setting of Jean-Francois de Bastide's La Petite Maison; the documentary framework to the olfactory scandal and its visual implications is outlined in Louis-Sebastien Mercier's Tableau de Paris. The third section considers the process semiotically, in the shifting rapport between the eye and the ear with respect to language and aesthetics; their dialogue is examined in Claude-Nicolas Ledoux's architecture parlante.

ISBN: 9780591329490Subjects--Topical Terms:

1018076
History, European.

In visible environments: Architecture and the senses in eighteenth-century France.
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245 1 0 $a In visible environments: Architecture and the senses in eighteenth-century France.
300 $a 443 p.
500 $a Source: Dissertation Abstracts International, Volume: 58-02, Section: A, page: 0321.
502 $a Thesis (Ph.D.)--Princeton University, 1996.
520 $a Starting in the late seventeenth century, and throughout the eighteenth, the senses are rehabilitated as legitimate agents and sources of knowledge. Simultaneously, the various sensory fields are colonized by sight, which reasserts its hegemony by dialectically sustaining and undermining their autonomy with visual inflections. For instance, there is a pronounced investment, throughout this period, in the history and philosophy of language that valorizes phonetic articulation; yet phonemes are presented as degraded vestiges of more figurative languages which spoke to the eye as much as to the ear. The corollary aesthetic theories accordingly privilege the imitative signs which are figuratively motivated, such as Quatremere de Quincy's allegory and Denis Diderot's hieroglyph. The same pattern of affirmation and subordination is also found in the visualization of taste and smell. Taste becomes a metaphor for aesthetic discernment, lending the intelligent immediacy of gustative perception to the analytic distance of sight. Smell is emphatically reasserted in the mid-century preoccupation with miasmic threats but ultimately serves to reorganize the city according to an aesthetic of transparency. The dialectic of visual and sensory practice also unfolds in a diachronic process whereby the overt "haptic" sensuality of the Rococo evolves into to the "optic" austerity of Neoclassicism. Subtle variation in a contour line thus come to distill, in the virtual palpability of the visual sign, the manifold categories of sensory experience. In short, this dissertation describes the process through which the "environment" is made increasingly visible, and therefore controllable, with the help of architecture. The two first sections rehearse the process in the dialectical tensions of the optic and haptic and their resolution in the visualization of taste and smell. The tactile vision of taste is examined primarily in the architectural setting of Jean-Francois de Bastide's La Petite Maison; the documentary framework to the olfactory scandal and its visual implications is outlined in Louis-Sebastien Mercier's Tableau de Paris. The third section considers the process semiotically, in the shifting rapport between the eye and the ear with respect to language and aesthetics; their dialogue is examined in Claude-Nicolas Ledoux's architecture parlante.
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