书名：The Barbarian Invasions: A Genealogy of the History of Art / 野蛮人入侵：艺术史谱系
定价：245.0
ISBN：9780262043151
作者：Eric Michaud
版次：1
出版时间：2019-12

内容提要：
书名：The Barbarian Invasions: A Genealogy of the History of Art / 蛮族入侵：艺术史的谱系
作者：éric Michaud；翻译：Nicholas Huckle
出版社：The MIT Press，2019年
装帧：精装，270页
语种：英文（译自法文）
尺寸：约 16.0*24.0 cm

ISBN：978-0-2620-4315-1

简介
本书是“October Books”系列之一，由法国社会科学高等研究院（EHESS）研究主任、哥伦比亚大学意大利学院研究员éric Michaud撰写，探讨艺术史如何开始于浪漫主义的蛮族入侵神话——古典永恒性的浪漫碎片化。
Michaud指出，19世纪时，日耳曼人于5世纪对罗马帝国的入侵被视为通往现代性的门户，被理解为一种释放而非灾难。蛮族的“新鲜血液”更新了罗马文化，带来了反罗马、反古典的新艺术。从此，艺术品不再被视为个体的创作，而被认为是“种族”和“民族”的自然产物。
这一叙事与欧洲民族国家的形成和民族主义的兴起密不可分，其基础是“民族的同质性与连续性”这一双重假设。地方和历史特殊性成为针对古典主义普遍性的武器，艺术史将其研究对象与种族群体联系起来——某些品质被指责或赞扬为“拉丁”或“日耳曼”特质。例如，线性元素的主导被认为源于南方传统，而“绘画性”则被视为日耳曼或北方来源。
Michaud指出，即使在今天的全球化当代艺术市场中，作品的族裔来源——如“非裔美国人”、“拉丁裔”或“原住民”等分类——仍在创造附加值，显示出与艺术史学科奠基时相同的“种族”竞争。
本书通过对“蛮族入侵”这一神话的谱系学分析，揭示了艺术史如何被种族化叙事所塑造，以及这一叙事如何至今仍在影响我们对艺术的认知和评价。

How the history of art begins with the myth of the barbarian invasion—the romantic fragmentation of classical eternity. The history of art, argues éric Michaud, begins with the romantic myth of the barbarian invasions. Viewed from the nineteenth century, the Germanic-led invasions of the Roman Empire in the fifth century became the gateway to modernity, seen not as a catastrophe but as a release from a period of stagnation, renewing Roman culture with fresh, northern blood—and with new art that was anti-Roman and anticlassical. Artifacts of art from then on would be considered as the natural product of "races" and "peoples" rather than the creation of individuals. The myth of the barbarian invasions achieved the fragmentation of classical eternity.

This narrative, Michaud explains, inseparable from the formation of nation states and the rise of nationalism in Europe, was based on the dual premise of the homogeneity and continuity of peoples. Local and historical particularities became weapons aimed at classicism's universalism. The history of art linked its objects with racial groups—denouncing or praising certain qualities as "Latin" or "Germanic." Thus the predominance of linear elements was thought to betray a southern origin, and the "painterly" a Germanic or northern source.
Even today, Michaud points out, it is said that art best embodies the genius of peoples. In the globalized contemporary art market, the ethnic provenance of works—categorized, for example, as "African American," "Latino," or "Native American"—creates added value. The market displays the same competition among "races" that was present at the foundation of art history as a discipline.