Abstract

Whereas the fictiveness of narrative perspective is taken for granted in literature, it also emerges as a salient element in the experiences of pictorial art and architecture as part of a viewer’s internal response to their altered views of reality. Whether a visual technique or a narrative one for shaping the way things are seen, perspective assumes that the conditions of seeing an object are flexible and open to mental and material variables in diverse historical media and sites. These range from the cognitively provocative trompe l’œil fresco paintings of seventeenth-century Italy, the typographical headings used as chapter divisions in eighteenth-century British novels, and hand-colored eighteenth-century prints of city scenes made to look three-dimensional through an optical device, to the inscribed stones used in post war Berlin monuments, and an art historian’s recent perspectives on memories of his twentieth-century childhood home. Concentrating on perspective foremost as a medium and conduit for the imagination, Getting Perspective reveals its transhistorical role in word and image as a shaper and maker of imagined worlds.

摘要

虽然叙事视角的虚构性在文学中被认为是理所当然的，但它也作为绘画艺术和建筑体验中的一个显着元素出现，作为观众对其改变的现实看法的内在反应的一部分。无论是视觉技术还是塑造事物观察方式的叙事技术，透视法都假设观察物体的条件是灵活的，并且对不同历史媒体和遗址中的心理和物质变量开放。这些范围从认知挑衅trompe l'œil17 世纪意大利的壁画，18 世纪英国小说中用作章节分隔的印刷标题，以及通过光学设备制成的 18 世纪城市场景手绘版画，以及用于战后柏林纪念碑，以及一位艺术史学家最近对他 20 世纪童年故居的记忆的看法。透视最重要的是作为想象的媒介和渠道，获得透视揭示了它作为想象世界的塑造者和制造者在文字和图像中的超历史作用。