Aesthetic philosophers, theorizing literary critics and editors, and
reflective commentators on the restoration of paintings, buildings,
and monuments have repeatedly shown that the concept of the work
is anything but self-evident. The present essay examines major attempts
to conceptualize this problematic area since the 1930s, before
proposing a solution based on the semiotics of C. S. Peirce and Theodor
Adorno’s negative dialectics that will help clarify thinking when
practices of preservation and conservation are being determined.
The language and thinking come ultimately from scholarly editorial
activity; the working assumption is that, with suitable adjustments
for the medium, it will apply to other historically orientated forms
of cultural conservation.
Publisher
Johns Hopkins University Press and the Graduate School of Library and Information Science. University of Illinois at Urbana-Champaign.
ISSN
0024-2594
Type of Resource
text
Language
en
Permalink
http://hdl.handle.net/2142/3775
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Copyright 2007 Board of Trustees of the University of Illinois
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