Search results for 'Aesthetics, European' (try it on Scholar)

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  1. Editorial Board Estetika (2009). The 2010 European Society for Aesthetics Conference Call for Papers. Estetika: The Central European Journal of Aesthetics:220-220.score: 48.0
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  2. Tereza Hadravová & Štěpán Kubalík (2010). The 2010 Annual Conference of the European Society for Aesthetics (Conference Report). Estetika: The Central European Journal of Aesthetics:246-250.score: 48.0
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  3. Jakub Stejskal (2009). European Society for Aesthetics Established. Estetika: The Central European Journal of Aesthetics:104-104.score: 48.0
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  4. Robert Edward Norton (1991). Herder's Aesthetics and the European Enlightenment. Cornell University Press.score: 42.0
    Introduction Herder's status within German intellectual history has largely rested on the premise that he, along with his friend Johann Georg Hamann, ...
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  5. Richard Kearney & David M. Rasmussen (eds.) (2001). Continental Aesthetics: Romanticism to Postmodernism: An Anthology. Blackwell Publishers.score: 39.0
    The range and significance of the primary sources presented, together with the editors' introductions, make this volume essential for anyone interested in ...
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  6. Rolf-Dieter Herrmann (1971). How a European Views the Journal of Aesthetics and Art Criticism. Journal of Aesthetics and Art Criticism 29 (4):499-505.score: 39.0
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  7. Clive Cazeaux (ed.) (2000). The Continental Aesthetics Reader. Routledge.score: 36.0
    The Continental Aesthetics Reader is the first comprehensive anthology of classic writings on art and aesthetics from the major figures in Continental thought. The Reader is divided into six sections, each clearly placed in its historical and philosophical context: Nineteenth Century German Aesthetics, Phenomenology and Hermeneutics, Marxism and Critical Theory, Poststructuralism and Postmodernism, and Psychoanalysis and Feminism. The collection features the most widely read and representative writings of each movement by 34 major thinkers: Kant * Sartre * Benjamin * Lyotard (...)
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  8. David Roberts (2011). The Total Work of Art in European Modernism. Cornell University Library.score: 36.0
    In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution.
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  9. Ernest A. Menze (1993). Herder's Aesthetics and the European Enlightenment. Review of Metaphysics 47 (1):163-164.score: 36.0
  10. Helmut Müller-Sievers (1993). Herder's Aesthetics and the European Enlightenment (Review). Journal of the History of Philosophy 31 (1):143-144.score: 36.0
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  11. Robert Bird (2004). The Suspended Aesthetic: Slavoj Žižek on Eastern European Film. Studies in East European Thought 56 (4):357-382.score: 33.0
    Slavoj iek's writings on Krzysztof Kies´lowski and Andrej Tarkovskij represent direct challenges to the Central and Eastern European tradition of spiritual art and to dominant aesthetic concepts as such. He refuses to separate the solemn films of Kies´lowski and Tarkovskij from popular culture and stresses their import as ethical statements by their directors. Despite this ethical emphasis, iek makes an important contribution to philosophical aesthetics. He implicitly defines art as a suspension of reality which reveals time in its fragility (...)
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  12. Charles Bernheimer (2002). Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy, and Culture of the Fin De Siècle in Europe. Johns Hopkins University Press.score: 30.0
    Charles Bernheimer described decadence as a "stimulant that bends thought out of shape, deforming traditional conceptual molds." In this posthumously published work, Bernheimer succeeds in making a critical concept out of this perennially fashionable, rarely understood term. Decadent Subjects is a coherent and moving picture of fin de siècle decadence. Mature, ironic, iconoclastic, and thoughtful, this remarkable collection of essays shows the contradictions of the phenomenon, which is both a condition and a state of mind. In seeking to show why (...)
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  13. Verena Krieger, Rachel Mader & Katharina Jesberger (eds.) (2010). Ambiguität in der Kunst: Typen Und Funktionen Eines Ästhetischen Paradigmas. Böhlau.score: 30.0
    Die hier versammelten Beiträge analysieren Typen und Funktionen der Ambiguität an Beispielen aus der mittelalterlichen bis zur zeitgenössischen Kunst.
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  14. Xianguang Feng (ed.) (2010). Quan Qiu Hua Wen Hua Yu Jing Zhong de Zhong Xi Wen Yi Mei Xue Bi Jiao Yan Jiu. Ba Shu Shu She.score: 30.0
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  15. Yongwen Jiang (2007). Zhong Xi Shen Mei Zhi Si. Yunnan da Xue Chu Ban She.score: 30.0
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  16. Elisa Pontini (2006). The Aesthetic Import of the Act of Knowledge and its European Roots in Merab Mamardašvili. Studies in East European Thought 58 (3):161 - 178.score: 28.0
    What Mamardašvili meant by “process of knowledge” is not an all-embracing vision of reality accomplished “once-and-for-all”; it is not a step by step procedure of deduction; rather it is an anti-dialectical reconstruction of a constellation of signs put together over and over again by the subject by an act of non-premeditated genius. It is a kind of aesthetic act that makes the sense appear, like a vertical cut in the sequential line of space and time.
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  17. David Hopkins & Anna Katharina Schaffner (eds.) (2006). Neo-Avant-Garde. Rodopi.score: 24.0
    'ART' AND 'LIFE'... AND DEATH: MARCEL DUCHAMP, ROBERT MORRIS AND NEO-AVANT- GARDE IRONY DAVID HOPKINS Peter Bürger charges avant-garde art of the and 60s ...
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  18. Ahmet Ersoy, Maciej Górny & Vangelis Kechriotis (eds.) (2010). Modernism: The Creation of Nation States. Central European Press.score: 24.0
    Notwithstanding the advantages of physical power, the struggle for survival among societies is not merely a matter of serial armed clashes but of the nation's spiritual resources that in the end always decide upon the victory.
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  19. John L. Lepage (2012). The Revival of Antique Philosophy in the Renaissance. Palgrave Macmillan.score: 24.0
    This book examines the revival of antique philosophy in the Renaissance as a literary preoccupation informed by wit.
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  20. Alba Carosio (ed.) (2007). Lógicas y Estrategias de Occidente. Fondo Editorial Ipasme.score: 24.0
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  21. Rolf Dieter Herrmann (1971). How a European Views the Journal of Aestehtics and Art Criticism. Journal of Aesthetics and Art Criticism 29:499-506.score: 24.0
    How have the theories of aesthetics which were worked out in europe evolved in america? are there widely differing standpoints between european and american aestheticians? what herrmann tried to do, to shed light on these questions, was to look over the issues of "the journal of aesthetics and art criticism" since 1941. thomas munro, a pupil of john dewey and founder of the journal tried to provide in the united states a broader and more open-ended and undogmatic platform for (...)
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  22. Endre Szécsényi (2014). Gustus Spiritualis: Remarks on the Emergence of Modern Aesthetics. Estetika: The Central European Journal of Aesthetics 51 (1):62-85.score: 24.0
    The article considers the concept of gustus spiritualis, in particular its possible historical connection with (aesthetic) taste in the seventeenth century. By ‘aesthetic’, I mean a radically modern phenomenon, attitude, sensibility, and so forth, that is, a new type of experience. Its discourse has many keywords; one of them is taste, an inner faculty by which its possessor is able to make sharp and proper distinctions, and simultaneously to enjoy fine delights. Here, I am obliged to confine myself to the (...)
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  23. Liisa Steinby (2011). Hermann Cohen and Bakhtin's Early Aesthetics. Studies in East European Thought 63 (3):227-249.score: 21.0
    In this article, Bakhtin’s early aesthetics is reread in the context of Hermann Cohen’s system of philosophy, especially his aesthetics. Bakhtin’s thinking from the early ethical writing Toward a Philosophy of Act to Author and Hero in Artistic Activity and Problems of Dostoevsky’s Poetics is followed. In Author and Hero , an individual is in his life conceived as involved in cognitive and ethical action but as remaining without a consummative form; the form, or the ‘soul’, is bestowed upon a (...)
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  24. Hans Lindahl (2008). Collective Self-Legislation as an Actus Impurus : A Response to Heidegger's Critique of European Nihilism. [REVIEW] Continental Philosophy Review 41 (3):323-343.score: 21.0
    Heidegger’s critique of European nihilism seeks to expose self-legislation as the governing principle of central manifestations of modernity such as science, technology, and the interpretation of art as aesthetics. Need we accept the conclusion that modern constitutional democracies are intrinsically nihilistic, insofar as they give political and legal form to the principle of collective self-legislation? An answer to this question turns on the concept of power implied in constituent and constituted power. A confrontation of the genealogies of modern subjectivity (...)
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  25. Nikolaj Plotnikov (2012). «The Person is a Monad with Windows»: Sketch of a Conceptual History of 'Person' in Russia. [REVIEW] Studies in East European Thought 64 (3-4):269-299.score: 21.0
    The basic concepts 'person' (Person), I/self (Ich) and 'subject' (Subjekt) structuring the Russian discourse of personhood (Personalität) developed during the philosophical discussions of the 1820s-1840s. The development occurred in the course of an intense reception of German Idealism and Romanticism. Characteristic of this process is that the modern meaning of personhood going back to the theological and natural-law interpretations of the person in Western Europe does not exist in the Russian cultural consciousness. Therefore the Russian concepts of personhood demonstrate the (...)
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  26. Monika Bokiniec, Adrián Kvokačka, Zoltán Papp & Jakub Stejskal (2012). New Publications (Aesthetics in Central Europe). Estetika: The Central European Journal of Aesthetics 49 (1):109-115.score: 21.0
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  27. Fabian Dorsch (2013). Announcing the Winner of the Estetika Essay Competition (Aesthetics in Central Europe). Estetika: The Central European Journal of Aesthetics 50 (2):232-233.score: 21.0
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  28. Marvin Fisher (1961). Functional Adaptation or Aesthetic Devaluation: Two European Views of Early American Industrial Design. Journal of Aesthetics and Art Criticism 19 (4):433-437.score: 21.0
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  29. Diaconu Madalina (2008). 'Eine weite wohnung unter freiem himmel'? On the aesthetics of gardens of the senses ('eine weite wohnung unter freiem himmel'? Zu einer asthetik der sinnesgaerten). Estetika: The Central European Journal of Aestetics; Until 2008: Estetika (Aesthetics) 45 (2).score: 21.0
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  30. K. Stibral & M. Stella (2006). Konrad Lorenz: From Aesthetics to Environmental Protection. Estetika: The Central European Journal of Aestetics; Until 2008: Estetika (Aesthetics) 42 (1-3).score: 21.0
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  31. Eric Dayton (ed.) (1999). Art and Interpretation: An Anthology of Readings in Aesthetics and the Philosophy of Art. Broadview Press.score: 21.0
    Art and Interpretation is a comprehensive anthology of readings on aesthetics. Its aim is to present fundamental philosophical issues in such a way as to create a common vocabulary for those from diverse backgrounds to communicate meaningfully about aesthetic issues. To that end, the editor has provided selections from a wide variety of challenging works in aesthetic theory, both classical and modern. The approach is often cross-disciplinary. Within the discipline of philosophy it seeks to balance readings from the analytic tradition (...)
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  32. Thomas Docherty (1999). Criticism and Modernity: Aesthetics, Literature, and Nations in Europe and its Academies. OUP Oxford.score: 21.0
    Criticism and Modernity traces the conditions under which criticism emerges as a socio-cultural practice within the institutionalized forms of European modernity and democracy. It argues that criticism is born out of anxieties about national supremacy in the late seventeenth century, with the consequence that the emergent national cultures of the eighteenth century and since become sites for the regulation of the democratic subject through the academic form of arguments about the proper relations of aesthetics to ethics and politics. The (...)
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  33. Tereza Hadravová & Jakub Stejskal (2011). The 5th Mediterranean Congress of Aesthetics (Conference Report). Estetika: The Central European Journal of Aesthetics:246-247.score: 21.0
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  34. Tomáš Hlobil (2011). Announcement: FORMESTH-Aesthetic Formalism in Central Europe in the Nineteenth and Twentieth Centuries (Aesthetics in Central Europe). Estetika: The Central European Journal of Aesthetics:119-120.score: 21.0
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  35. Jakub Stejskal (2010). Artistic Revolutions: The 38th International Colloquium of the Slovenian Society of Aesthetics (Conference Report). Estetika: The Central European Journal of Aesthetics:251-253.score: 21.0
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  36. Karel Stibral (2013). The 19th International Congress of Aesthetics (Conference Report). Estetika: The Central European Journal of Aesthetics 2:233-235.score: 21.0
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  37. Monika Bokiniec, Adrián Kvokačka, Zoltán Papp & Tereza Hadravová (2010). New Publications (Aesthetics in Central Europe). Estetika: The Central European Journal of Aesthetics 47 (1):97-104.score: 21.0
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  38. Viktor V. Bychkov (1990). International Aesthetics in Seventeenth Century Russia (in Serbo Croation). Filozofska Istrazivanja 36 (3):697-714.score: 21.0
    This article analyzes the fundamental aesthetic views of two major representatives of European culture, the Croation Juraj Krizanic and the Moldavian Nicolai Spatarul, who worked in Russia in the second half of the 17th century, and who through their works made it possible for Russian culture of the time to adopt the ideas of Western European aesthetics. (edited).
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  39. Ondřej Dadejík, Oliver Bakoš, Mária Valentová, Jana Sošková, Tomáš Hlobil, Jakub Stejskal, Piotr J. Przybysz, Monika Bokiniec & Zoltán Papp (2009). The Research and Teaching of Aesthetics in the Visegrad Countries: A Survey (Aesthetics in Central Europe). Estetika: The Central European Journal of Aesthetics:203-218.score: 21.0
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  40. Fabian Dorsch (2012). Announcing the Second Estetika Essay Competition (Aesthetics in Central Europe). Estetika: The Central European Journal of Aesthetics 49 (1):115-116.score: 21.0
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  41. Editorial Board Estetika (2008). Ph. D. Theses in Progress (Aesthetics in Central Europe). Estetika: The Central European Journal of Aesthetics:104-107.score: 21.0
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  42. Tereza Hadravová (2010). Announcing a Student Competition (Aesthetics in Central Europe). Estetika: The Central European Journal of Aesthetics 47 (1):104-105.score: 21.0
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  43. Tomáš Hlobil (2008). Ph. D. Theses in Progress (Aesthetics in Central Europe). Estetika: The Central European Journal of Aesthetics 45 (1):104-108.score: 21.0
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  44. Adrián Kvokačka, Jakub Stejskal, Monika Bokiniec & Zoltán Papp (2009). Aesthetics in Central Europe: New Publications. Estetika: The Central European Journal of Aesthetics:97-103.score: 21.0
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  45. Cristian Nae (2011). Communicability and Empathy: The Problem of Sensus Communis in Kester's Dialogical Aesthetics. Estetika: The Central European Journal of Aesthetics:4-28.score: 21.0
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  46. Zofia Rosińska (2011). Leopold Blaustein's Aesthetics. Estetika: The Central European Journal of Aesthetics 48 (2).score: 21.0
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  47. Martina Sedláková (2009). Book Review: Edward Winters: Aesthetics and Architecture. [REVIEW] Estetika: The Central European Journal of Aesthetics:111-116.score: 21.0
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  48. Jakub Stejskal (2009). Book Review: Janet Wolff: The Aesthetics of Uncertainty. [REVIEW] Estetika: The Central European Journal of Aesthetics:221-229.score: 21.0
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  49. Linda Walsh (2008). The “Hard Form” of Sculpture: Marble, Matter and Spirit in European Sculpture From the Enlightenment Through Romanticism. Modern Intellectual History 5 (3):455-486.score: 21.0
    The apparently distinct aesthetic values of naturalism (a fidelity to external appearance) and neoclassicism (with its focus on idealization and intangible essence) came together in creative tension and fusion in much late eighteenth-century and early nineteenth-century sculptural theory and practice. The hybrid styles that resulted suited the requirements of the European sculpture-buying public. Both aesthetics, however, created difficulties for the German Idealists who represented a particularly uncompromising strain of Romantic theory. In their view, naturalism was too closely bound to (...)
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  50. V. Zuska & O. Dadejik (2007). Landscape as a Mask of Nature: The Aesthetics of Subversion Versus the Aesthetics of Conformity. Estetika: The Central European Journal of Aestetics; Until 2008: Estetika (Aesthetics) 44 (1-4):28-44.score: 21.0
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