93 found
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  1. The Kantian sublime: from morality to art.Paul Crowther - 1989 - New York: Oxford University Press.
  2.  9
    The Phenomenology of Aesthetic Consciousness and Phantasy: Working with Husserl.Paul Crowther - 2021 - New York, NY: Routledge.
    This is the first book dedicated to Husserl's aesthetics. Paul Crowther pieces together Husserl's ideas of phantasy and image and presents them as a unified and innovative account of aesthetic consciousness. He also shows how Husserl's ideas can be developed to solve problems in aesthetics, especially those related to visual art, literature, theatre, and nature. After outlining the major components of Husserl's phenomenological method, Crowther addresses the scope and structure of Husserl's notion of aesthetic consciousness. For Husserl, aesthetic consciousness in (...)
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  3.  57
    The Kantian aesthetic: from knowledge to the avant-garde.Paul Crowther - 2010 - New York: Oxford University Press.
    This is done by exploring some of his other ideas concerning how critical comparisons inform our cultivation of taste, and art's relation to genius.
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  4.  25
    The phenomenology of modern art: exploding Deleuze, illuminating style.Paul Crowther - 2012 - New York, NY: Continuum.
    The first sustained phenomenological approach to modern art, taking a new approach and drawing upon an unsual selection of thinkers.
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  5. The Kantian Sublime: From Morality to Art.Paul Crowther - 1990 - Philosophy 65 (253):380-382.
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  6.  9
    How Pictures Complete Us: The Beautiful, the Sublime, and the Divine.Paul Crowther - 2016 - Stanford University Press.
    Despite the wonders of the digital world, people still go in record numbers to view drawings and paintings in galleries. Why? What is the magic that pictures work on us? This book provides a provocative explanation, arguing that some pictures have special kinds of beauty and sublimity that offer aesthetic transcendence. They take us imaginatively beyond our finite limits and even invoke a sense of the divine. Such aesthetic transcendence forges a relationship with the ultimate and completes us psychologically. Philosophers (...)
  7. Defining art, creating the canon: artistic value in an era of doubt.Paul Crowther - 2007 - New York: Oxford University Press.
    Introduction : normative aesthetics and artistic value -- Culture and artistic value -- Cultural exclusion and the definition of art -- Defining art, defending the canon, contesting culture -- The aesthetic and the artistic -- From beauty to art : developing Kant's aesthetics -- The scope and value of the artistic image -- Distinctive modes of imaging -- Twofoldness : pictorial art and the imagination -- Between language and perception : literary metaphor -- Musical meaning and value -- Eternalizing the (...)
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  8.  4
    What Drawing and Painting Really Mean: The Phenomenology of Image and Gesture.Paul Crowther - 2017 - New York: Routledge.
    There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers. If these intrinsic meanings are explained and further developed, then (...)
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  9.  4
    Phenomenology of the Visual Arts (Even the Frame).Paul Crowther - 2009 - Stanford University Press.
    Why are the visual arts so important and what is it that makes their forms significant? Countering recent interpretations of meaning that understand visual artworks on the model of literary texts, Crowther formulates a theory of the visual arts based on what their creation achieves both cognitively and aesthetically. He develops a phenomenology that emphasizes how visual art gives unique aesthetic expression to factors that are basic to perception. At the same time, he shows how various artistic media embody these (...)
  10.  4
    Art and Embodiment: From Aesthetics to Self-Consciousness.Paul Crowther - 1993 - Oxford, GB: Oxford University Press.
    Paul Crowther argues that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. He proposes an ecological definition of art: by making sensible or imaginative material into symbolic form, it harmonizes and conserves what is unique and what is general about human experience.
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  11. The significance of Kant's pure aesthetic judgement.Paul Crowther - 1996 - British Journal of Aesthetics 36 (2):109-121.
  12. Defining art, defending the canon, contesting culture.Paul Crowther - 2004 - British Journal of Aesthetics 44 (4):361-377.
    This paper criticizes contemporary relativist scepticism concerning the universal validity of the concepts ‘art’ and the ‘aesthetic’. As an alternative, it offers a normative definition of art based on intrinsic aesthetic meaning contextualized by innovation and refinement in the diachronic history of art media. In section I, anti-foundationalist relativism, and softer versions (found in the Institutional definitions of art) are expounded in relation to art and the aesthetic. In section II, it is argued that antifoundationalism is conceptually flawed and tacitly (...)
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  13.  1
    The Significance Of Kant's Pure Aesthetic Judgement.Paul Crowther - 1996 - British Journal of Aesthetics 36 (2):109-120.
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  14. Art and embodiment: from aesthetics to self-consciousness.Paul Crowther - 1993 - New York: Oxford University Press.
    In his Critical Aesthetics and Postmodernism, Paul Crowther argued that art and aesthetic experiences have the capacity to humanize. In Art and Embodiment he develops this theme in much greater depth, arguing that art can bridge the gap between philosophy's traditional striving for generality and completeness, and the concreteness and contingency of humanity's basic relation to the world. As the key element in his theory, he proposes an ecological definition of art. His strategy involves first mapping out and analyzing the (...)
  15.  71
    Critical aesthetics and postmodernism.Paul Crowther - 1993 - New York: Oxford University Press.
    In recent times considerable controversy has raged around the question of postmodern culture and its products. Paul Crowther attempts to overcome some of the antagonistic viewpoints involved by expounding and developing key themes from the work of Kant and Merleau-Ponty in the context of contemporary culture. His work analyzes topics such as the relation between art and politics, the problems of poststructuralist and feminist approaches to art, the re-emergence and relevance of theories of the sublime, and the continuing possibilities of (...)
  16.  2
    Philosophy After Postmodernism: Civilized Values and the Scope of Knowledge.Paul Crowther - 2003 - New York: Routledge.
    Formulating a new approach to philosophy which, instead of simply rejecting postmodern thought, tries to assimilate some of its main features, Paul Crowther identifies conceptual links between value, knowledge, personal identity and civilization understood as a process of cumulative advance. To establish these links, Crowther deploys a mode of analytic philosophy influenced by Cassirer. This approach recontextualizes precisely those aspects of postmodernism which appear, superficially, to be fuel for the relativist fire. This method also enables him to illuminate some of (...)
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  17. The experience of art: Some problems and possibilities of hermeneutical analysis.Paul Crowther - 1983 - Philosophy and Phenomenological Research 43 (3):347-362.
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  18. Creativity and originality in art.Paul Crowther - 1991 - British Journal of Aesthetics 31 (4):301-309.
  19.  4
    Phenomenology of the Visual Arts.Paul Crowther - 2009 - Stanford University Press.
    Why are the visual arts so important and what is it that makes their forms significant? Countering recent interpretations of meaning that understand visual artworks on the model of literary texts, Crowther formulates a theory of the visual arts based on what their creation achieves both cognitively and aesthetically. He develops a phenomenology that emphasizes how visual art gives unique aesthetic expression to factors that are basic to perception. At the same time, he shows how various artistic media embody these (...)
  20. Ontology and aesthetics of digital art.Paul Crowther - 2008 - Journal of Aesthetics and Art Criticism 66 (2):161–170.
  21.  78
    Performing Live: Aesthetic Alternatives for the Ends of Art.Paul Crowther - 2002 - Mind 111 (444):909-912.
  22.  16
    Autonomy and authenticity: A prelude to educational hermeneutics.Paul Crowther - 1981 - Educational Philosophy and Theory 13 (1):15–22.
  23.  70
    The aesthetic domain: Locating the sublime.Paul Crowther - 1989 - British Journal of Aesthetics 29 (1):21-31.
  24. Greenberg's Kant and the problem of modernist painting.Paul Crowther - 1985 - British Journal of Aesthetics 25 (4):317-325.
    This paper analyzes the kantian aspects of greenberg's theory of modernism. It is argued first that the distinctiveness of greenberg's theory lies not in a kantian-Style aesthetic formalism, But rather in an intellectualist notion of aesthetic value which greenberg associates with a kantian-Style self-Critical method. It is then argued that greenberg's use of this kantian notion of self-Criticism in order to explain the development of modernist painting, Leads him into insuperable problems.
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  25. Cultural exclusion, normativity, and the definition of art.Paul Crowther - 2003 - Journal of Aesthetics and Art Criticism 61 (2):121-131.
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  26.  14
    How Images Creates Us: Imagination and the Unity of Self-Consciousness.Paul Crowther - 2013 - Journal of Consciousness Studies 20 (11-12):101-123.
    This paper offers a phenomenology of the structure and scope of imagination's cognitive significance. It does so through discussing the unifying role of imagination in self-consciousness, and then the way in which this role is continued through the making of pictures in physical media such as drawing and painting. The study begins with discussion of four key features in terms of which imagination is often characterized. Particular emphasis is assigned to the quasi-sensory aspect. Part one then explains imagination as a (...)
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  27. Book-reviews.Paul Crowther - 1988 - British Journal of Aesthetics 28 (1):79-81.
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  28. Merleau–ponty: Perception into art.Paul Crowther - 1982 - British Journal of Aesthetics 22 (2):138-149.
  29.  59
    Aesthetic aspects.Paul Crowther - 1987 - British Journal of Aesthetics 27 (1):9-19.
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  30. Art and autonomy.Paul Crowther - 1981 - British Journal of Aesthetics 21 (1):12-21.
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  31.  8
    Autonomy and Authenticity: A Prelude to Educational Hermeneutics.Paul Crowther - 1981 - Educational Philosophy and Theory 13 (1):15-22.
  32.  2
    Artistic Creativity: Illusions, Realities, Futures.Paul Crowther - 2008 - In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices from Art History, Philosophy, and Art Practice. Stanford University Press. pp. 133-146.
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  33.  1
    9 Artistic Creativity Illusions, Realities, Futures.Paul Crowther - 2008 - In Francis Halsall, Julia Jansen & Tony O’Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press. pp. 133-146.
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  34. After Heidegger: The place of sculpture.Paul Crowther - 2006 - Filozofski Vestnik 27 (3):45 - +.
     
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  35.  34
    Art, Knowledge and Historicity.Paul Crowther - 1993 - Nordic Journal of Aesthetics 6 (10).
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  36. A Rediscovered Contemporary Full-length Sketch-portrait Of Schopenhauer By Frederic, Lord Leighton.Paul Crowther & Miruna Cuzman - 2011 - Schopenhauer Jahrbuch:301-306.
     
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  37.  37
    Books Articles Review s Papers presented.Paul Crowther - unknown
    This is the first volume of an impressive project on the relation of art, philosophy and social change. In an on-going argument and review ing several important aesthetic theories Paul Crow ther in this book argues for the idea that aesthetics should be a kind of critical assessment of art w orks' experiential consequences. Although I go along w ith his resistance against postmodernist reasoning, w hich functions as the starting point of his book, beyond that, our w ays often (...)
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  38.  39
    Beauty and Transcendence: From Plato to the Ideal.Paul Crowther - 2016 - Estetika: The European Journal of Aesthetics 53 (2):132-148.
    The Greek notion of beauty encompasses not only nature and artifice, but also the Good. This paper explains the connection by interpreting Plato in a way that allows his theory to be developed beyond the confines of his philosophy. It is argued that we could read his theory of beauty as based on fineness of appearance. This arises when a sensory particular transcends itself and suggests the presence of its sustaining Form, or when sophrosynē in human agency discloses the Good’s (...)
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  39.  3
    Beauty and Transcendence: From Plato to the Ideal.Paul Crowther - 2020 - Estetika: The European Journal of Aesthetics 53 (2):132.
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  40. Beyond formalism: Kant's theory of art.Paul Crowther - 1991 - Filozofski Vestnik 12 (1):27-40.
     
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  41.  8
    Digital Art, Aesthetic Creation: The Birth of a Medium.Paul Crowther - 2018 - Routledge.
    In this book we learn that computers can generate visual art with unique aesthetic effects based on innovations in computer technology, and a postmodern naturalization of technology wherein technology becomes something we live in as well as use.
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  42.  9
    Derrida’s Errors and the Possibility of Canonic Art.Paul Crowther - 2016 - Journal of Aesthetics and Phenomenology 3 (1):15-25.
    One of the problems in phenomenological approaches to art, is to understand the link between the ontologies of art media and questions of value. Unfortunately, recent discussions of art’s broader cultural context have not helped in this task. There has been a widespread assumption that the historical circumstances of art’s cultural production, its constituencies of reception, and contexts of transmission and the like, render artistic value relative to the time and place of its production. My purpose in this critical discussion, (...)
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  43.  30
    Fundamental Ontology and Transcendent Beauty: An Approach to Kant's Aesthetics.Paul Crowther - 1985 - Kant Studien 76 (1-4):55-71.
  44. Geneses of Postmodern Art: Technology as Iconology.Paul Crowther - 2018 - Routledge.
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  45. Heidegger and the Question of Aesthetics.Paul Crowther - 1988 - Journal of the British Society for Phenomenology 19 (1):51-63.
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  46. Henry Staten, Wittgenstein and Derrida.Paul Crowther - 1986 - Radical Philosophy 44:46.
  47.  2
    Judgement, Self-Consciousness, and Imagination: Kant’s Transcendental Deduction and Beyond.Paul Crowther - 1998 - In Herman Parret (ed.), Kants Ästhetik · Kant's Aesthetics · L'esthétique de Kant. De Gruyter. pp. 117-135.
  48.  74
    Kant and Greenberg's varieties of aesthetic formalism.Paul Crowther - 1984 - Journal of Aesthetics and Art Criticism 42 (4):442-445.
  49. Les immatériaux and the postmodern sublime.Paul Crowther - 1992 - In Andrew E. Benjamin (ed.), Judging Lyotard. Routledge. pp. 192--205.
     
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  50. Literary metaphor and philosophical insight. The significance of Archilochus.Paul Crowther - 2003 - In G. R. Boys-Stones (ed.), Metaphor, Allegory, and the Classical Tradition: Ancient Thought and Modern Revisions. Oxford University Press.
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