Volume 19, Issue 3 - Relativism Versus Universalism & Ernst Hans Gombrich, Editor: Ján Bakoš

Introductory: Gombrich's Struggle Against Metaphysics The paper deals with E. H. Gombrich's lifelong polemics against metaphysics in art history and the humanities. They began in 1937 and continued up until his final (posthumous) book The Preference for the Primitives. Analyzing the "fallacies" and "pitfalls" resulting from metaphysical collectivism, essentialism, expressionism, holism and relativism such as a "belief in hypostatized collective personalities" and "style as a super-artist" or "physiognomic fallacy", Gombrich also unmasked their ideological implications. He first targeted nationalism and racialism, then the perils of totalitarianism and finally all forms of relativism. Gombrich's plea for the universality of the "canon of excellence" can be regarded not only as a defence of humanism but also as a form of apology for the values of Western liberal democratic society.

Form of Thought and Presentational Gesture in Karl Popper and E. H. Gombrich The paper deals with common elements and differences in Popper and Gombrich, especially concerning their forms of thought and presentational gesture. Among others it considers the model of common sense which was basal for both of them as well as the similarities of searchlight theory (Popper) and some postulates of Gestalt psychology (Gombrich). At the end it analyses their approaches to historiography with special focusing on Gombrich's comments on the concept of social history of art.

Sir Ernst Gombrich and the Barber from Tuscany In the spirit of Sir Ernst Gombrich, this essay uses an anecdote—a chat between Gombrich and a barber from Tuscany—to illustrate a deeper point, namely, how cultural memory, tradition, and a canon give rise to an implied language of culture and cultural value. Gombrich staunchly defended tradition against relativism. By relativism, he meant something like "radical subjectivism." To his mind, subjectivism (in the cultural and social sense of the term) is not only impossible, since meaning is conferred through culture and society, but it is also dangerous (in the cultural and ethical sense of the term), since it denies the existence of shared values. Against consensus on the one hand and radical subjectivism on the other, Gombrich advocated a middle way: criticism and self-criticism to ensure latitude; the search for "truth" to ensure a limited plurality of interpretations.

Gombrich and the Problem of Relativity of Vision The essay argues that Ernst Gombrich's views are relevant to the critical examination of the notion of the relativity and historicity of vision which has been widely accepted as one of the central axioms shared by visual studies, art history and film studies.

E. H. Gombrich's Adoption of the Formula form Follows Function: A Case of Mistaken Identity? This article is a longer note on what is a minor problem in the oeuvre of a great art historian. Its theme is E. H. Gombrich's use of the formula form follows function as the summary of his commonsense approach to the problem of style change. Although I am not sure how interesting this inquiry is in an art historical context, from the perspective of my own field of design history and of modernist design theory, Gombrich's adoption of the formula constitutes an intriguing problem.

Cold-War Twins: Mikhail Alpatov's a Universal History of Arts and Ernst Gombrich's the Story of Art This article deals with the "afterlife" of a methodological disagreement in the Vienna School of Art History between the positions of Alois Riegl and Julius von Schlosser in Mikhail Alpatov's and Ernst Gombrich's art history survey texts published during the Cold War on different sides of the Iron Curtain. Though these surveys are methodological antipodes, the difference itself, I argue, is possible only within the framework of the larger art historical discourse they share. In addition, I will draw on the radical ideological critique of Alpatov's survey inside the Soviet Union and the case of the Stalinist survey meant to replace it, in order to address the ideological commonality between Alpatov's and Gombrich's surveys.

E. H. Gombrich in 1968: Methodological Individualism and the Contradictions of Conservatism The commonalities Gombrich affirmed between his own positions on science, politics, and art and those of his friend Karl Popper are key to understanding both his work on the history of style and the conservative fulminations on method he published from the early 1950s onwards. United with Popper by their shared experience of exile from fascism, Gombrich failed to register the amateurish character of Popper's political theory and that his aversion to notions of social determination disabled the historian. Popper's skepticism regarding the ontological status of social collectivities and rejection of the concept of totality reinforced Gombrich's suspicions of holistic analysis and led him to fall back on naturalistic descriptions of individuals acting in a social world glued together by such commonsensical categories as "traditions" and "institutions". In this regard he is representative of the common aversion to sociology of the British intellectual establishment in the early Cold War.

Ten Reasons Why E. H. Gombrich is not Connected to Art History This is a speculative essay on the place of E. H. Gombrich in art history. Gombrich is universally known, and still often studied at the undergraduate and graduate levels. He is indispensable for the historiography of the discipline. But at the same time, he is not often cited, and his work is not usually part of the ongoing conversations of the current state of art history or visual studies. This brief essay questions that condition.

Privatization and the Social Value of Water in Africa The paper assesses the current clamor and actual privatization of water in Africa. Though this is said to be done in view of wastage and declining access of people to water, this paper submits that the transformation of the social value of water to economic, is rather a continuation of capitalist quest for profit making, which eventually is at the expense of the poor majority.

John Dewey's Ethics: Democracy as Experience