Results for 'Aesthetics, Modern'

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  1.  9
    David Roberts: Images of Aesthetic Modernity.John Rundell - 2019 - Thesis Eleven 152 (1):76-86.
    David Roberts has always had a keen, sharp and even mischievous eye for paradox, for pointing to what used to be termed in Hegelianese, ‘contradictions’ or ‘dialectics’ of modern society and its forms. Roberts’ keen eye has focused on the paradoxes of aesthetic modernity and the forms that these paradoxes have taken within the historical time consciousness and self-understanding of modernity. This paper will suggest – although only sketchily and in outline – that Roberts’ keen eye notices and reconstructs (...)
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  2.  39
    Constructing a Sociology for an Icon of Aesthetic Modernity: Olympia Revisited.Robert W. Witkin - 1997 - Sociological Theory 15 (2):101-125.
    I address the problem of constructing a sociology of the artwork through analyzing one particular painting-Manet's Olympia. The painting is an acknowledged icon of modernist art and has been variously located in discourses concerning modernity, gender, and sexuality in the modern world. My purpose is to locate this painting and modernist painting generally in the social formation. While the interpretation of a particular work of art plays a central part, here the ground of that interpretation lies in social theory. (...)
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  3.  5
    The Aesthetics of Mimesis: Ancient Texts and Modern Problems.Stephen Halliwell - 2002 - Princeton, USA: Princeton University Press.
    A comprehensive reassessment of the concept of mimesis in the history of ancient Greek aesthetics and philosophy of art, with particular attention to Plato, Aristotle, Hellenistic philosophy, and neoplatonism. There is also a wide-ranging review of arguments pro and contra the idea of artistic mimesis from the Renaissance to modern literar theory. The book challenges standard accounts in numerous respects and builds a new dialectical model with which to make sense of the entire history of mimeticist thinking in aesthetics.
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  4.  9
    The Aesthetics of Mimesis: Ancient Texts and Modern Problems.Stephen Halliwell - 2002 - Princeton University Press.
    Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, painting, (...)
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  5. Reconstructing the Enlightenment Project: David Rasmussen's Immanent Critique of Aesthetics, Modernity and Law.James Swindal - 1998 - Philosophy and Social Criticism 24 (2-3):5-24.
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  6.  29
    The Aesthetics of Mimesis. Ancients Texts and Modern Problems. [REVIEW]Dimitri El Murr & S. Halliwell - 2002 - Journal of Hellenic Studies 124 (215):219-220.
  7. Adorno's Social Lyric, and Literary Criticism Today: Poetics, Aesthetics, Modernity.Robert Kaufman - 2004 - In Tom Huhn (ed.), The Cambridge Companion to Adorno. Cambridge University Press. pp. 354--375.
     
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  8.  2
    Aesthetics and Modernity: Essays by Agnes Heller.John Rundell (ed.) - 2010 - Lexington Books.
    Aesthetics and Modernity brings together Agnes Heller's most recent essays on aesthetic genres such as painting, music, literature and comedy, aesthetic reception and embodiment in the context of the continuing pitfalls of modernity. The essays also throw light on Heller's theories of values, emotions and feelings, embodiment, and modernity. Those with an interest in philosophy, critical theory, aesthetics, and social theory will find this collection illuminating, and an essential addition to any philosophy bookshelf.
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  9.  18
    The Adulteration of the Infant Aesthetic: Modern Art Through the Eyes of the Child.Colin Symes - 1996 - Journal of Aesthetic Education 30 (3):107.
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  10. The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature.Emily Brady - 2013 - Cambridge University Press.
    In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect (...)
     
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  11.  67
    The Persistence of Modernity: Essays on Aesthetics, Ethic, and Postmodernism.Albrecht Wellmer - 1991 - MIT Press.
    Truth, semblance, reconciliation -- The dialectic of modernism and postmodernism -- Art and industrial production -- Ethics and dialogue.
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  12.  46
    Nietzsche, Aesthetics and Modernity.Matthew Rampley - 1999 - Cambridge University Press.
    Nietzsche, Aesthetics and Modernity analyzes Nietzsche's response to the aesthetic tradition, tracing in particular the complex relationship between the work and thought of Nietzsche, Kant, and Hegel. Focusing in particular on the critical role of negation and sublimity in Nietzsche's account of art, it explores his confrontation with modernity and his attempt to posit a revitalized artistic practice as the counter-movement to modern nihilism. Drawing on the full range of his published and unpublished writings, together with his comments on (...)
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  13.  42
    The Modern System of the Arts: A Study in the History of Aesthetics.Paul Oskar Kristeller - 1951 - Journal of the History of Ideas 12 (1/4):496.
  14.  67
    The Modern System of the Arts: A Study in the History of Aesthetics.Paul Oskar Kristeller - 1952 - Journal of the History of Ideas 13 (1/4):17.
  15.  8
    The Aesthetic Contract: Statutes of Art and Intellectual Work in Modernity.Henry Sussman - 1997 - Stanford University Press.
    Ambitious in scope and innovative in concept, this book offers an overview and critique of the conventions surrounding artistic creativity and intellectual endeavour since the outset of 'the broader modernity', which the author sees as beginning with the decline of feudalism and the Church. As a work of intellectual history, it suggests that art and the conventions associated with the artistic constitute a secular institution that has supplanted pre-Reformation theology. Beginning with Luther, Calvin, and Shakespeare and culminating with the Kantian (...)
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  16.  1
    The Emergence of Modern Aesthetic Theory: Religion and Morality in Enlightenment Germany and Scotland.Simon Grote - 2017 - Cambridge University Press.
    Broad in its geographic scope and yet grounded in original archival research, this book situates the inception of modern aesthetic theory – the philosophical analysis of art and beauty - in theological contexts that are crucial to explaining why it arose. Simon Grote presents seminal aesthetic theories of the German and Scottish Enlightenments as outgrowths of a quintessentially Enlightenment project: the search for a natural 'foundation of morality' and a means of helping naturally self-interested human beings transcend their own (...)
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  17.  2
    Aesthetics and Modernity From Schiller to the Frankfurt School.Jerome Carroll, Steve Giles & Maike Oergel (eds.) - 2008 - Peter Lang.
    Proceedings of a conference held in Sept. 2009 in London, England.
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  18. Modern Aesthetics: An Historical Introduction.William Francis Hare Listowel - 1967 - London: Allen & Unwin.
     
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  19.  2
    Forbidden Aesthetics, Ethical Justice, and Terror in Modern Western Culture.Emmanouil Aretoulakis - 2016 - Langham: Lexington Books.
    The book explores the forbidden feelings of beauty, admiration, or satisfaction before instances of terror and human pain from eighteenth-century natural disasters to twenty-first-century terrorist destruction. It explores the fascination felt by the subject witnessing major disasters directly or in a mediated fashion. Emmanouil Aretoulakis' makes the challenging proposition that there is, paradoxically, an ethics in the aesthetic appraisal of terror.
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  20.  7
    The Aesthetics of the Invisible: George Berkeley and the Modern Aesthetics.Endre Szécsényi - 2022 - History of European Ideas 48 (6):731-743.
    ABSTRACT George Berkeley is usually not discussed in the canonical histories of modern aesthetics. Similarly, Berkeley scholars do not seem to have paid attention to his possible contribution to modern aesthetics. Berkeley exploited certain theoretical potentials of the emerging aesthetic experience that was invented and formulated especially by his contemporaries like Joseph Addison, Richard Steele and Lord Shaftesbury. He applied these elements in shaping a theologico-aesthetic language in the very same period when Francis Hutcheson and Alexander Baumgarten wrote (...)
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  21.  16
    Aesthetics, Morality, and the Modern Community: Wang Guowei, Cai Yuanpei, and Lu Xun.Ban Wang - 2020 - Critical Inquiry 46 (3):496-514.
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  22.  19
    Why Modern Architecture Emerged in Europe, Not America: The New Class and the Aesthetics of Technocracy.David Gartman - 2000 - Theory, Culture and Society 17 (5):75-96.
    Using theories by Pierre Bourdieu and the Frankfurt School that causally link art to class interests, this article examines the differential development of modern architecture in the United States and central Europe during the early 20th century. Modern architecture was the aesthetic expression of technocracy, a movement of the new class of professionals, managers and engineers to place itself at the center of rationalized capitalism. The aesthetic of modernism, which glorified technology and instrumental reason, was weak and undeveloped (...)
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  23. A History of Modern Aesthetics.Paul Guyer - 2014 - Cambridge University Press.
    A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely (...)
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  24.  43
    Reflexive Modernization: The Aesthetic Dimension.Scott Lash - 1993 - Theory, Culture and Society 10 (1):1-23.
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  25.  7
    Nietzsche, Aesthetics and Modernity.Matthew Rampley - 1999 - Cambridge University Press.
    Nietzsche, Aesthetics and Modernity analyses Nietzsche's response to the aesthetic tradition, tracing in particular the complex relationship between the work and thought of Nietzsche, Kant and Hegel. Focusing in particular on the critical role of negation and sublimity in Nietzsche's account of art, it explores his confrontation with modernity and his attempt to posit a revitalized artistic practice as the counter-movement to modern nihilism. Drawing on the full range of his published and unpublished writings, together with his comments on (...)
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  26.  13
    Modernity, Aesthetics, and the Bounds of Art.Peter J. McCormick - 1990 - Ithaca: Cornell University Press.
  27. "The Aesthetic Attitude" in the Rise of Modern Aesthetics.Jerome Stolnitz - 1978 - Journal of Aesthetics and Art Criticism 36 (4):409-422.
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  28.  20
    The Aesthetics of Modern Life: Simmel's Interpretation.David Frisby - 1991 - Theory, Culture and Society 8 (3):73-93.
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  29.  26
    The Aesthetic State: A Quest in Modern German Thought.Lydia Goehr - 1992 - Journal of Aesthetics and Art Criticism 50 (3):260-262.
  30.  2
    Early Modern Aesthetics: Antony and Cleopatra and the Afterlife of Domination.Nigel Mapp - 2020 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 13 (2):169-184.
    This essay argues that Antony and Cleopatra’s pitting of Egypt against Rome is a cipher of aesthetic resistance to modern rationality. The coordinates are Adornian. Antony’s and Cleopatra’s complex identities elude the disenchanting, nominalist machinery in which diffuse indeterminacy necessitates conceptual imposition. Here, the individuals are essentially dramatized: sensate, embodied selves composed and expressed in relations of passionate recognition. The lovers’ deaths, and especially Cleopatra’s self-conscious theatre, rewrite the ascetic, dominative, and pseudo-theatrical rationality of Octavian Rome. The protest, the (...)
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  31. Early Modern Aesthetics.J. Colin McQuillan - 2015 - Rowman & Littlefield International.
    A clear and concise account of the relationship between aesthetics and philosophy in Europe during the seventeenth and eighteenth centuries and the development of aesthetics as a discipline in its own right.
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  32.  7
    The Aesthetic State: A Quest in Modern German Thought.Allan Megill - 1991 - History and Theory 30 (1):70.
  33.  17
    A Modern Introduction to Indian Aesthetic Theory: The Development From Bharata to Jagannātha.Surendra Sheodas Barlingay - 2007 - D.K. Printworld.
    All Arts In India Owe Their Roots To The Theoretical Structure Developed By Bharatamuni In His Celebrated Work Natyasastra. His Theory Of Beauty Is Known As The Theory Of Rasa. The Present Volume Has Shown How The Insight Of Bharata Was Developed By The Classical Scholars From Abhinavagupta To Jagannatha Who Propounded The Theories With Names Like Rasa, Alamkara, Riti, Vakrokti, Dhvani Etc. To Employ The Theory Of Beauty From Natya (Drama) To Kavya (Poetry).
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  34. Aesthetic in a Modern Philosophy of Life.Allen John Workman - 1957 - Pacific Philosophical Quarterly 38 (1):27.
     
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  35.  27
    The Aesthetics of Mimesis Ancient Texts and Modern Problems. [REVIEW]Sarah E. Worth - 2004 - Dialogue 43 (1):194-194.
    Steven Halliwell’s book has set a new standard in the scholarship on the philosophical aspects of mimesis. The book is clearly written, extensively researched, and, most importantly, it is a comprehensive analysis of the history and development of the complex, but often oversimplified, notion of mimesis. This is the kind of book scholars are lucky to come across in doing their own research, and a book of this level of achievement is something that we can all use as a model (...)
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  36. American Modern: The Path Not Taken: Aesthetics, Metaphysics, and Intellectual History in Classic American Philosophy.Victorino Tejera - 1996 - Rowman & Littlefield Publishers.
    Written in the American tradition, American Modern: The Path Not Taken describes how four major American thinkers practiced philosophy non-reductively by incorporating the arts and other human activities. Tejera provides a detailed analysis of Peirce, Dewey, Santayana, and Buchler, showing that the importance they placed on the human can cure what is missing in recent philosophy. American Modern will interest philosophers, historians of philosophy, and scholars of American intellectual history.
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  37. Nietzsche, Aesthetics, and Modernity.Matthew Rampley - 2003 - Journal of Nietzsche Studies 25:106-108.
     
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  38.  41
    Marcuse, Aesthetics, and the Logic of Modernity.Gavin Rae - 2010 - Epoché: A Journal for the History of Philosophy 14 (2):383-398.
    Herbert Marcuse is a thinker associated with one of the most radical and totalising critiques of modernity ever produced. Marcuse maintains that contemporary capitalist society is a one-dimensional prison that is capable of perpetuating itself by incorporating any criticism into its logic. Despite this totalisation, Marcuse insists that the realm of aesthetics is capable of escaping the logic of modern capitalism and establishing an alternative society that is grounded in an alternative non-repressive logic. However, it is argued that not (...)
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  39.  72
    The Modern Concept of Aesthetic Experience: From Ascetic Pleasure to Social Criticism.Alison Ross - 2010 - Critical Horizons 11 (3):333-339.
    This paper examines the use of “pleasure” as the distinguishing mark of aesthetic experience in post-Kantian philosophy. It shows how the distinctive features of aesthetic experience, such as pleasure, qualify this experience as a platform for social criticism. The key argument is that the autonomy of the aesthetic experience is not “false”, rather it is paradoxical in the strong sense that the fact of its communicative efficacy, which follows from distinctive, “autonomous” aesthetic features, necessarily loads it with functions and expectations (...)
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  40.  19
    Modern Aesthetics on Trial: Revisiting a Century of Avant-Gardes.Aleš Erjavec & Oana Serban - 2017 - Annals of the University of Bucharest - Philosophy Series 66 (1).
    This interview is inspired the most important working-hypothesis presented in the volume Aesthetic Revolutions and the Twentieth-Century Avant-Garde Movements, edited by Aleš Erjavec, that questions the legitimacy of the distinction between aesthetic and artistic avant-gardes, supported by the relationship of each concept with the modern revolutionary politics. The relevance of this contrast for determining modernity both in its ideological shape and its continuity, in the terms of postmodernity will be criticized in our discussion with professor Erjavec, reflecting on the (...)
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  41.  27
    Aesthetics Rethinking Modern Sports.Mikhail Saraf - 2008 - Proceedings of the Xxii World Congress of Philosophy 47:29-34.
    Sport has become a significant part of the contemporary society culture. There has been developed a system of sciences dealing with sports. Philosophy figures prominently among them and it deals with aesthetic problems of sport. The problem of the aesthetic of sport is really of great importance as; first of all, it creates new fields of aesthetic activity and exerts aesthetic influence upon millions of people. Secondly, sports exert profound influence upon modern architecture, design, performing and fine arts, fashion (...)
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  42.  16
    Nietzsche, Aesthetics, and Modernity.Daniel White - 2003 - The European Legacy 8 (1):13-19.
    Rampley's Nietzsche, Aesthetics, and Modernity offers a valuable understanding of Nietzsche's Will to Power as the Will to Form and of the Overman as an artist inspired by the sublime who has overcome the reactive mentality of cultural pessimism by means of "active nihilism." Rampley argues that Nietzsche is a post metaphysical dialectician, building an aesthetic practice based on the productive play of transfigurative immanence that makes and affirms forms. Nietzsche differs from Lyotard and Derrida, Rampley argues, in his commitment (...)
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  43.  17
    Modernity against Nature: About the aesthetic argument in defense of landscapes and territories (Regarding HidroAysén).Sergio Mansilla Torres - 2013 - Alpha (Osorno) 37:115-134.
    Se propone una aproximación a las significaciones del argumento estético utilizado en defensa de paisajes y territorios naturales ante intervenciones industriales mayores. Se indaga en algunas variables que entran en juego en este argumento, como la representación de y actitudes hacia la naturaleza, el paisaje, los lugares, el territorio, atendiendo a los ambivalentes efectos que tiene o puede tener la apelación a la belleza paisajística: desde su conversión en fetiche estético para beneficio de las elites que tienen recursos para hacer (...)
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  44.  11
    A Critical History of Modern Aesthetics.William Francis Hare Earl of Listowel - 1933 - Haskell House.
    Probably the most useful survey of modern aesthetics published in recent years.
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  45.  17
    Aesthetics and Politics in Modern German Culture: Festschrift in Honour of Rhys W. Williams.Brigid Haines, Stephen Parker, Colin Riordan & Rhys W. Williams (eds.) - 2010 - Peter Lang.
    Cywydd Ffarwelio Rhys MERERID HOPWOOD Mae awr i fwynhau miri, y mae awr mi wn am hwyl cwmni, ond nawr, yn ein dathliad ni, mae un na fynnaf mo'ni. ...
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  46.  5
    Aesthetic Illusion as a Connection of Cognitive Neural Basis, Art Appreciation and Modern Ideology.Fanjun Meng - 2021 - Philosophia 49 (4):1601-1617.
    Illusion is a significant concept in philosophy, art history, literary theory and aesthetics. It has a concrete scientific basis in the perspective of modern cognitive neuroscience. Historically, it has been critically discussed by many philosophers, including Plato, Bacon, Descartes, Kant, and Nietzsche, who considered it to be a distortion of reality. Yet illusion is connected with so many basic aesthetic issues -- such as ambiguity, imagination, and imagery -- that it remains an indispensable concept in modern aesthetics. In (...)
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  47. Aesthetic Criticism And The Poetics Of Modern Music.Roger W. H. Savage - 1993 - British Journal of Aesthetics 33 (2):142-151.
  48.  47
    Modernity and Subjectivity: From an Aesthetic Point of View.Christoph Menke - 1999 - Graduate Faculty Philosophy Journal 21 (2):217-232.
    It is a well-known fact that the term ‘subject’ acquired its still predominant meaning only as late as the mid-eighteenth century, and that this led to the formation of the term ‘subjectivity’ at the end of the century. In this recent or ‘modern’ use, the term ‘subject’ is no longer taken just in its grammatical meaning where a subject is that of which something can be predicated, but refers to anything that can say ‘I’. In this sense, the predicate (...)
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  49. Modern Japanese Aesthetics: A Reader.Michele Marra - 2001 - Journal of Aesthetics and Art Criticism 59 (1):113-115.
     
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  50. The Modern Quarterly Beginnings of Aesthetic Realism, 1922-1923.Eli Siegel - 1969 - Definition Press.
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