<section name="raw">
    <SEQUENTIAL>
      <record key="###" att1="###" att2="15747" att3="01000024" recordType="h" att4="h">### 15747nM2.01000024      h</record>
      <field key="001" subfield="">0235626</field>
      <field key="004" subfield="">20130613101246</field>
      <field key="030" subfield="">a|||d</field>
      <field key="036" subfield="b">GBR</field>
      <field key="050" subfield="">B</field>
      <field key="050" subfield="">a</field>
      <field key="051" subfield="">m</field>
      <field key="100" subfield="">Cheetham, Mark A.</field>
      <field key="331" subfield="">Kant, art and art history</field>
      <field key="335" subfield="">moments of discipline</field>
      <field key="359" subfield="">Mark A. Cheetham</field>
      <field key="410" subfield="">Cambridge [u.a.]</field>
      <field key="412" subfield="">Cambridge University Press</field>
      <field key="425" subfield="">2001</field>
      <field key="433" subfield="">X, 222 S. : Ill. ; 23 cm</field>
      <field key="501" subfield="">Literaturverz. S. 199 - 219. - Inhalt: 1. Introduction: bo(a)rders; 2. Place and time: Kant in Rome c. 1800; 3. The genealogy of authority: Kant and art's history in the twentieth century; 4. The sublime is now (again): French theory/international art; 5. Kant's skull: portraits and the image of philosophy, c. 1790-1990.</field>
      <field key="540" subfield="a">ISBN 0-521-80018-8 Ln. : EUR 68,34</field>
      <field key="710" subfield="p">Kant, Immanuel</field>
      <field key="710" subfield="s">Ästhetik</field>
      <field key="750" subfield="">Kant, Art, and Art History is the first systematic study of Kant's reception of and influence on the visual arts and art history. Arguing against Kant's transcendental approach to aesthetic judgment, Cheetham examines five 'moments' of his influence, including the use of Kant's political writings among German-speaking artists and critics in Rome around 1800; the canonized patterns of Kant's reception in late nineteenth- and early twentieth-century art history, particularly in the work of Wölfflin and Panofsky; and the Kantian language in the criticism of Cubism. He also reassesses Clement Greenberg's famous reliance on Kant. The final chapter focuses on Kant's "image", both in contemporary and posthumous portraits, with respect to his status as the image of philosophy within a disciplinary hierarchy. In Cheetham's reading, Kant emerges as a figure who has constantly erected and crossed the borders among art, its history, and philosophy. [Verlagsangabe]</field>
      <field key="902" subfield="p">11╧Kant, Immanuel</field>
      <field key="902" subfield="s">Ästhetik</field>
    </SEQUENTIAL>
  </section>