Cloth $35.00 ISBN: 9780226632612 Will Publish January 2020
E-book $35.00 Available for pre-order. ISBN: 9780226632759 Will Publish January 2020

The Ruins Lesson

Meaning and Material in Western Culture

Susan Stewart

The Ruins Lesson

Susan Stewart

368 pages | 11 color plates, 80 halftones | 7 x 10 | © 2019
Cloth $35.00 ISBN: 9780226632612 Will Publish January 2020
E-book $35.00 ISBN: 9780226632759 Will Publish January 2020
How have ruins become so valued in Western culture and so central to our art and literature? Covering a vast chronological and geographical range, from ancient Egyptian inscriptions to twentieth-century memorials, Susan Stewart seeks to answer this question as she traces the appeal of ruins and ruins images, and the lessons that writers and artists have drawn from their haunting forms.

Stewart takes us on a sweeping journey through founding legends of broken covenants and original sin, the Christian appropriation of the classical past, myths and rituals of fertility, images of decay in early modern allegory and melancholy, the ruins craze of the eighteenth century, and the creation of “new ruins” for gardens and other structures. Stewart focuses particularly on Renaissance humanism and Romanticism, periods of intense interest in ruins that also offer new frames for their perception. The Ruins Lesson looks in depth at the works of Goethe, Piranesi, Blake, and Wordsworth, each of whom found in ruins a means of reinventing art.

Ruins, Stewart concludes, arise at the boundaries of cultures and civilizations. Their very appearance depends upon an act of translation between the past and the present, between those who have vanished and those who emerge. Lively and engaging, The Ruins Lesson ultimately asks what can resist ruination—and finds in the self-transforming, ever-fleeting practices of language and thought a clue to what might truly endure.
Contents
List of Illustrations
Preface

Introduction: Valuing Ruin

I. Matter: This Ruined Earth
II. Marks: Inscriptions and Spolia
III. Mater: Nymphs, Virgins, and Whores—On the Ruin of Women
IV. Matrix: Humanism and the Rise of the Ruins Print
V. Model: The Architectural Imaginary
VI. Mirrors: The Voyages and Fantasies of the Ruins Craze
VII. The Unfinished: On the Nonfinality of Certain Works of Art
VIII. Resisting Ruin: The Decay of Monuments and the Promises of Language

Acknowledgments
Notes
Works Cited
Photography Credits
Name Index
Subject Index
Review Quotes
Martin E. Jay, University of California, Berkeley
“At the crossroads of transience and endurance, form and chaos, memory and materiality, ruins have been among the most poignant markers of the vain human struggle to resist the ravages of time. Drawing on an astonishing range of examples from the histories of art and literature, Stewart brings to their interpretation her unique gifts of analytic acumen and poetic evocation. The Ruins Lesson is a master class in cultural criticism, revealing the sweet melancholy that fuels our fascination with the shards, fragments, and torsos of things past.”
Mary Jacobus, University of Cambridge
The Ruins Lesson explores ruins without end and ruins as an end in themselves in Western culture—autotelic ruins. Wordsworth’s phrase ‘decaying never to be decayed’ signals the Romantic fascination with ruination that Stewart’s erudite book traces from the classical past to its culmination in the work of Goethe, Piranesi, Blake, and Wordsworth. Through dazzlingly imaginative connections and compelling visual illustrations, Stewart argues that ruins are at once the sign of what remains forever unfinished and sites for discovery. Ruins are the vestiges and traces by which the past inspires the future; whether in printmaking, aesthetics, or poetry, they offer a critique of a materialist approach to art.”
Kenneth Gross, University of Rochester
“In this expansive, beautifully wrought history of how ruins are imagined, they become sites of wonder, play, and love, places of making as well as places of destruction. In taking up the lessons of ruins, the book explores the varied, volatile forms in which we imagine and remember and care for, or fail to care for, the made and given world. That care shows itself in Stewart’s own quality of attention, the range of her curiosity, the depth of her scholarship, the risk of her thought. This is cultural history as poetic phenomenology.”
For more information, or to order this book, please visit https://www.press.uchicago.edu
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