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By David Ricks, Paul Magdalino

This choice of commissioned essays goals to give an outline of a few of the several trends manifested by means of glossy Greek attitudes to Byzantium because the past due 18th-century Enlightenment. the purpose of the booklet is to teach simply how formative perspectives of Byzantium were for contemporary Greek lifestyles and letters: for historiography and innovative literature and language, legislations, and the definition of a tradition. All Greek has been translated, and the quantity is aimed toward Byzantinists and Neohellenists alike.

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7 1 26 The End of Art Theory In its implications for art theory, Formalist and structuralist analysis ranges beyond the prior categories of 'high' culture to identify 'aesthetic' strata within the general semiotic landscape, exposing the community of such formations across the totality of signifying practices. Its demonstration of the ubiquitousness of the 'poetic' was necessary to materialist art theory; as an end in itself however it was reductionist, yielding a universal poetics of pansemiotic features which elided all that distinguishes one signifying practice from another.

Photography is itself, of course, quite capable of being assimilated to conservative aesthetics; but the assimilation is never entirely successful, some- 38 The End of Art Theory thing in photography resists, and a 'special effort' must be made to render photography, uneasily, assimilable. For example, as I have remarked, one of several reasons for the recourse to photography in conceptual art was to exorcise a ghostly 'logos' in the ideological machinery of art; the author as punctual origin of the meanings of the work.

3 As a statement of intent, this had the advantage of being sufficiently vague to allow anything to happen. The ensuing decade has been a period of working out and working through various specific responses to the problem of going beyond conceptual art. I have mentioned the re-emergence, out of conceptualism, of attention to the political; an initial, and continuing, consequence has been the production of work in which political issues of the day are represented - often, and it seems to me increasingly, by means of painting.

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