Results for 'Aesthetics, Modern'

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  1. By dw Masterson.Sport in Modern Painting - 1974 - In H. T. A. Whiting & D. W. Masterson (eds.), Readings in the Aesthetics of Sport. [Distributed by] Kimpton.
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  2.  8
    The Victorians and the Visual Imagination.Kate Flint & Reader in Victorian and Modern English Literature and Fellow Kate Flint - 2000 - Cambridge University Press.
    Richly illustrated study drawing on art, literature and science to explore Victorian attitudes towards sight.
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  3.  15
    David Roberts: Images of aesthetic modernity.John Rundell - 1987 - 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 (rather than negative dialectics) 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 (...)
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  4.  10
    An introduction to György Márkus’s aesthetics: Transformation from praxis aesthetics to theory of aesthetic modernity.Fu Qilin - 2023 - Thesis Eleven 178 (1):47-65.
    György Márkus, as a leading member of the Budapest School led by György Lukács in Hungary, is closely concerned with aesthetics. His final unfinished writings in political exile in Sydney were focused on the question of modern cultural autonomy. From the 1960s to the new century, from Budapest to Sydney in Australia, he established a new form of Neo-Marxist aesthetics on the basis of critical theory drawn from Lukács to the Frankfurt School. His aesthetics includes three dimensions: an aesthetics (...)
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  5.  30
    Nietzsche, Aesthetics and Modernity.Matthew Rampley - 1999 - New York: 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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  6. 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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  7.  24
    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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  8.  22
    The Adulteration of the Infant Aesthetic: Modern Art through the Eyes of the Child.Colin Symes - 1996 - The Journal of Aesthetic Education 30 (3):107.
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  9. 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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  10.  30
    Aesthetics, Morality, and the Modern Community: Wang Guowei, Cai Yuanpei, and Lu Xun.Ban Wang - 2020 - Critical Inquiry 46 (3):496-514.
    In Mao’s era, China’s policy makers and intellectuals viewed aesthetic experience and thought as handmaidens in the service of the political order. As China opened up and engaged more intensely with modern traditions of the West, aesthetic thinkers such as Li Zehou critiqued the subordinated role of aesthetics and reasserted notions of aesthetic autonomy and liberal humanism, calling for the separation of arts and literature from political, social, and moral concerns. This truncated aesthetic view stems from a modernist version (...)
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  11.  53
    Nietzsche, aesthetics, and modernity.Matthew Rampley - 1999 - New York: 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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  12.  28
    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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  13.  14
    The Emergence of Modern Aesthetic Theory: Religion and Morality in Enlightenment Germany and Scotland.Simon Grote - 2017 - New York: 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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  14.  10
    A History of Modern Aesthetics.Paul Guyer - 2014 - New York , NY: 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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  15.  24
    Modernity, aesthetics, and the bounds of art.Peter McCormick - 1990 - Ithaca: Cornell University Press.
  16.  6
    A Modern Diotima: Johanna Charlotte Unzer between Wolffianism, Aesthetics and Popular Philosophy.Stefanie Buchenau - unknown
    Johanna Charlotte Unzer (1725–1782), born Ziegler, is the author of the first metaphysical treatise intended specifically for women. In the preface of this treatise, published in 1751, she justifies her ‘unhabitual’ enterprise, emphasizing that her intention is not to instruct but only to please her female readership. A closer glance, however, reveals a genuine philosophical intention and an active participation in the debate on popular philosophy and aesthetics in Halle. Challenging an all-too narrow and all-too mathematical conception of practical philosophy, (...)
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  17.  14
    Early Modern Aesthetics.J. Colin McQuillan - 2015 - Lanham: 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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  18.  14
    Aesthetics and modernity from Schiller to the Frankfurt School.Jerome Carroll, Steve Giles & Maike Oergel (eds.) - 2008 - New York: Peter Lang.
    Proceedings of a conference held in Sept. 2009 in London, England.
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  19.  16
    The aesthetic contract: statutes of art and intellectual work in modernity.Henry Sussman - 1997 - Stanford, Calif.: 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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  20.  10
    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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  21.  33
    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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  22. Modern aesthetics: an historical introduction.William Francis Hare Listowel - 1967 - London,: Allen & Unwin.
     
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  23.  13
    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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  24. The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature.Emily Brady - 2013 - New York, NY: 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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  25.  29
    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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  26.  8
    A History of Modern Aesthetics 3 Volume Set.Paul Guyer - 2014 - New York , NY: 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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  27.  89
    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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  28.  17
    Adorno, aesthetics, dissonance: on dialectics in modernity.William S. Allen - 2022 - New York: Bloomsbury Academic.
    An analysis of the development and range of Adorno's aesthetics, incorporating the influence of other thinkers and musicians.
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  29.  14
    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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  30.  7
    Aesthetic technologies of modernity, subjectivity, and nature: opera · orchestra · phonograph · film.Richard D. Leppert - 2015 - Oakland, California: University of California Press.
    The book addresses how music (especially opera), the phonograph, and film served as cultural agents facilitating the many extraordinary social, artistic, and cultural shifts that characterized the nascent twentieth century and much of what followed long thereafter, even to the present. Three tropes are central: the tensions and traumas---cultural, social, and personal---associated with modernity; changes in human subjectivity and its engagement and representation in music and film; and the more general societal impact of modern media, sound recording (the development (...)
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  31.  67
    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.
  32.  56
    Pragmatist aesthetics and new visions of the contemporary art museum: The Tate modern and the baltic centre for contemporary art.Angela Marsh - 2004 - Journal of Aesthetic Education 38 (3):91-106.
    In lieu of an abstract, here is a brief excerpt of the content:Pragmatist Aesthetics and New Visions of the Contemporary Art Museum:The Tate Modern and the Baltic Centre for Contemporary ArtAngela Marsh (bio)John Dewey mandated the repositioning of our experience of art within the realm of the everyday, and recognized the importance of art objects principally with regard to how they operate within an experience as "carriers of meaning."1 In this quote from Art as Experience, Dewey illustrates the segue (...)
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  33.  21
    Pragmatist Aesthetics and New Visions of the Contemporary Art Museum: The Tate Modern and the Baltic Centre for Contemporary Art.Angela Marsh - 2004 - Journal of Aesthetic Education 38 (3):91.
    In lieu of an abstract, here is a brief excerpt of the content:Pragmatist Aesthetics and New Visions of the Contemporary Art Museum:The Tate Modern and the Baltic Centre for Contemporary ArtAngela Marsh (bio)John Dewey mandated the repositioning of our experience of art within the realm of the everyday, and recognized the importance of art objects principally with regard to how they operate within an experience as "carriers of meaning."1 In this quote from Art as Experience, Dewey illustrates the segue (...)
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  34. Modern Japanese Aesthetics and the Neo-Kantians.Alejandro Bárcenas - 2009 - In Raquel Bouso James W. Heisig (ed.), Frontiers of Japanese Philosophy 6: Confluences and Cross-Currents. Nanzan Institute for Religion and Culture.
  35.  15
    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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  36.  30
    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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  37.  96
    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.
  38.  42
    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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  39.  23
    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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  40.  3
    Aesthetics and modernity: toward a new philosophical functionalization of art.Iwona Lorenc - 2021 - Berlin: Peter Lang. Edited by Jan Burzyński.
    The book is a reflection over how art functions in late modernity. It emphasizes processes of fictionalizing reality and exposes, how phenomenology can be used to extract this problem on a foundation of aesthetics. It is a panoramic outlook over existing views, but also a self-sufficient theoretical proposal.
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  41.  10
    The aesthetics of Gannan Hakka architecture in modern housing: A design psychology perspective.Xiang Lei, Hao Cao & Limin Guo - 2023 - HTS Theological Studies 79 (4):7.
    The rapid acceleration of societal change has subjected contemporary individuals to prolonged periods of diverse pressures, leading to substantial psychological strain, resulting in anxiety, depression, and compromised mental well-being. Within this context, the home has evolved into a vital refuge for modern individuals, offering both physical and psychological respite. Through experimental intervention, this study examines two distinct residential groups: those adhering to traditional housing and those residing in characteristic folk houses, specifically Gannan Hakka architecture. Analysing the psychological state of (...)
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  42.  49
    A modern introduction to Indian aesthetic theory: the development from Bharata to Jagannātha.Surendra Sheodas Barlingay - 2007 - New Delhi: 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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  43.  20
    A critical history of modern aesthetics.William Francis Hare Listowel - 1933 - New York: Haskell House.
    Probably the most useful survey of modern aesthetics published in recent years.
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  44.  67
    Reflexive Modernization: The Aesthetic Dimension.Scott Lash - 1993 - Theory, Culture and Society 10 (1):1-23.
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  45.  98
    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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  46.  5
    The Insistence of Art: Aesthetic Philosophy after Early Modernity.Paul A. Kottman (ed.) - 2017 - New York: Fordham University Press.
    Philosophers working on aesthetics have paid considerable attention to art and artists of the early modern period. Yet early modern artistic practices scarcely figure in recent work on the emergence of aesthetics as a branch of philosophy over the course the eighteenth century. This book addresses that gap, elaborating the extent to which artworks and practices of the fifteenth through the eighteenth centuries were accompanied by an immense range of discussions about the arts and their relation to one (...)
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  47.  49
    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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  48.  20
    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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  49. Modern Aesthetics: An Historical Introduction.Earl of Listowel - 1969 - Philosophy 44 (167):74-75.
     
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  50.  3
    Modern Japanese Aesthetics: A Reader.Michael F. Marra - 1999 - University of Hawaii Press.
    Annotation This is the first work in English on the history of the Japanese philosophy of art, from its inception in the 1870s to the present.
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