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

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  1. Robert Edward Norton (1991). Herder's Aesthetics and the European Enlightenment. Cornell University Press.score: 132.0
    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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  2. 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: 126.0
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  3. Ernest A. Menze (1993). Herder's Aesthetics and the European Enlightenment. Review of Metaphysics 47 (1):163-164.score: 120.0
  4. Editorial Board Estetika (2009). The 2010 European Society for Aesthetics Conference Call for Papers. Estetika:220-220.score: 120.0
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  5. Tereza Hadravová & Štěpán Kubalík (2010). The 2010 Annual Conference of the European Society for Aesthetics (Conference Report). Estetika:246-250.score: 120.0
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  6. Helmut Müller-Sievers (1993). Herder's Aesthetics and the European Enlightenment (Review). Journal of the History of Philosophy 31 (1):143-144.score: 120.0
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  7. Jakub Stejskal (2009). European Society for Aesthetics Established. Estetika:104-104.score: 120.0
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  8. Robert Bird (2004). The Suspended Aesthetic: Slavoj Žižek on Eastern European Film. Studies in East European Thought 56 (4):357-382.score: 90.0
    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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  9. Richard Kearney & David M. Rasmussen (eds.) (2001). Continental Aesthetics: Romanticism to Postmodernism: An Anthology. Blackwell Publishers.score: 90.0
    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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  10. Clive Cazeaux (ed.) (2000). The Continental Aesthetics Reader. Routledge.score: 84.0
    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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  11. David Roberts (2011). The Total Work of Art in European Modernism. Cornell University Library.score: 84.0
    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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  12. 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: 80.0
    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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  13. 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: 66.0
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  14. 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: 60.0
    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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  15. Verena Krieger, Rachel Mader & Katharina Jesberger (eds.) (2010). Ambiguität in der Kunst: Typen Und Funktionen Eines Ästhetischen Paradigmas. Böhlau.score: 60.0
    Die hier versammelten Beiträge analysieren Typen und Funktionen der Ambiguität an Beispielen aus der mittelalterlichen bis zur zeitgenössischen Kunst.
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  16. 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: 60.0
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  17. 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: 60.0
    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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  18. Yongwen Jiang (2007). Zhong Xi Shen Mei Zhi Si. Yunnan da Xue Chu Ban She.score: 60.0
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  19. Liisa Steinby (2011). Hermann Cohen and Bakhtin's Early Aesthetics. Studies in East European Thought 63 (3):227-249.score: 54.0
    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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  20. 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: 54.0
    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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  21. 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: 54.0
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  22. 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: 54.0
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  23. 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: 54.0
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  24. Viktor V. Bychkov (1990). International Aesthetics in Seventeenth Century Russia (in Serbo Croation). Filozofska Istrazivanja 36 (3):697-714.score: 54.0
    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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  25. Eric Dayton (ed.) (1999). Art and Interpretation: An Anthology of Readings in Aesthetics and the Philosophy of Art. Broadview Press.score: 54.0
    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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  26. Aleksandr Dobrokhotov (2011). GAKhN: An Aesthetics of Ruins, or Aleksej Losev's Failed Project. Studies in East European Thought 63 (1):31-42.score: 54.0
    In the course of his collaboration with GAKhN, whose task was to create a systemic 'scientific' theory of art, Losev undertook a systematic interpretation of German classical aesthetics as the historical presupposition for his own Christian, Platonist doctrine of art conceived as a dialectical universe comprising totalizing connections at all levels. This interpretation was concealed in a masterful way within the ' Commentaries' to Dialektika khudozestvennoj formy. Independently of the significant results achieved by this revival of the classical tradition, Losev's (...)
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  27. Thomas Docherty (1999). Criticism and Modernity: Aesthetics, Literature, and Nations in Europe and its Academies. OUP Oxford.score: 54.0
    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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  28. 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: 54.0
    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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  29. Johan De Smedt & Helen De Cruz (2013). Delighting in Natural Beauty: Joint Attention and the Phenomenology of Nature Aesthetics. European Journal for Philosophy of Religion 5 (4):167-186.score: 50.0
    Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an analogy between (...)
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  30. Derek Allan (2003). André Malraux and the Challenge to Aesthetics. Journal of European Studies 33 (128): 23-40.score: 48.0
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  31. David Hopkins & Anna Katharina Schaffner (eds.) (2006). Neo-Avant-Garde. Rodopi.score: 48.0
    '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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  32. Ahmet Ersoy, Maciej Górny & Vangelis Kechriotis (eds.) (2010). Modernism: The Creation of Nation States. Central European Press.score: 48.0
    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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  33. John M. Dunaway & Eric O. Springsted (eds.) (1996). The Beauty That Saves: Essays on Aesthetics and Language in Simone Weil. Mercer University Press.score: 48.0
    The Beauty That Saves, a collection of essays by many of the most prominent American and European scholars on Weil, begins with a foreword by well-known writer ...
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  34. John L. Lepage (2012). The Revival of Antique Philosophy in the Renaissance. Palgrave Macmillan.score: 48.0
    This book examines the revival of antique philosophy in the Renaissance as a literary preoccupation informed by wit.
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  35. Alba Carosio (ed.) (2007). Lógicas y Estrategias de Occidente. Fondo Editorial Ipasme.score: 48.0
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  36. Kelly Comfort (2011). European Aestheticism and Spanish American Modernismo: Artist Protagonists and the Philosophy of Art for Art's Sake. Palgrave Macmillan.score: 44.0
    Introduction: Redefining the role of art and the artist at the turn of the century -- pt. 1. The artist avoids "art for life's sake." The artist as critic and liar: the unreal and amoral as art in Oscar Wilde -- The artist and creative receptor: the subjective impression as art in José Asunción Silva -- pt. 2. The artist protests "art for the market's sake." The artist as elitist taster: the unprofaned and unconsumed as art in J.-K. Huysmans -- (...)
     
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  37. Angela Breitenbach (2013). Beauty in Proofs: Kant on Aesthetics in Mathematics. European Journal of Philosophy 22 (3):n/a-n/a.score: 42.0
    It is a common thought that mathematics can be not only true but also beautiful, and many of the greatest mathematicians have attached central importance to the aesthetic merit of their theorems, proofs and theories. But how, exactly, should we conceive of the character of beauty in mathematics? In this paper I suggest that Kant's philosophy provides the resources for a compelling answer to this question. Focusing on §62 of the ‘Critique of Aesthetic Judgment’, I argue against the common view (...)
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  38. Constantinos Maritsas (2012). Language, Music and the Sign: A Study in Aesthetics, Poetics and Poetic Practice From Collins to Coleridge. By Kevin Barry. The European Legacy 17 (3):417 - 417.score: 42.0
    The European Legacy, Volume 17, Issue 3, Page 417, June 2012.
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  39. Kitty Millet (2012). Jewish Aesthetics and the Birth of Humanism. The European Legacy 17 (1):95 - 97.score: 42.0
    The European Legacy, Volume 17, Issue 1, Page 95-97, February 2012.
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  40. 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: 42.0
    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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  41. K. Tybirk, H. F. Alrøe & P. Frederiksen (2004). Nature Quality in Organic Farming: A Conceptual Analysis of Considerations and Criteria in a European Context. [REVIEW] Journal of Agricultural and Environmental Ethics 17 (3):249-274.score: 42.0
    Nature quality in relation to farming is a complex field. It involves different traditions and interests, different views of what nature is, and different ways of valuing nature. Furthermore there is a general lack of empirical data on many aspects of nature quality in the farmed landscape. In this paper we discuss nature quality from the perspective of organic farming, which has its own values and goals in relation to nature – the Ecologist View of Nature. This is in contrast (...)
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  42. Lorna Clymer (ed.) (2006). Ritual, Routine and Regime: Repetition in Early Modern British and European Cultures. Published by the University of Toronto Press in Association with the Ucla Center for Seventeenth-and Eighteenth-Century Studies and the William Andrews Clark Memorial Library.score: 42.0
     
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  43. Alison Ross, The Aesthetic Anomaly: Criticism, Art and Politics in European Philosophy (From Adorno to Ranciere).score: 40.0
  44. Yu Liu (2010). Tapping Into a Different Cultural Tradition: Sir William Temple's Aesthetic Innovations. The European Legacy 15 (3):301-315.score: 40.0
    Studies of Sir William Temple usually associate him with the English Battle of the Books. Since his defense of the old against the new in European arts and sciences was known even in his day to be inadequate, his role in the literary history of England has so far been largely trivialized. Challenging this conventional reading, this essay strives to show that the innovation and significance of Temple's aesthetics was closely connected with his somewhat known—but hitherto insufficiently scrutinized—longstanding interest (...)
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  45. Noboru Tanaka (2007). Concepts of Aesthetic Education: Japanese and European Perspectives ‐ Edited by Yasuo Imai and Christoph Wulf. British Journal of Educational Studies 55 (4):482-483.score: 40.0
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  46. Amanda Dennis (2011). Dithyrambs and Ploughshares: The Cycle of Creation and Criticism in Nietzsche's Aesthetics. The European Legacy 16 (4):469 - 485.score: 38.0
    Pairing Thus Spoke Zarathustra with On the Genealogy of Morality foregrounds tensions between artistic creation and critical interpretation in Nietzsche's work. From The Birth of Tragedy to his genesis of the concept, Will to Power, Nietzsche describes the real, or ?what is,? in terms of a creative, form-giving force. We might therefore read Zarathustra?a linguistically experimental, richly allegorical, self-reflexive, modernist prose poem?as the pre-eminent, artistic mode of philosophical expression, at least for Nietzsche. But Zarathustra is followed by a sober Abhandlung (...)
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  47. Éva Forgács (2008). The Safe Haven of a New Classicism: The Quest for a New Aesthetics in Hungary 1904-1912. Studies in East European Thought 60 (1/2):75 - 95.score: 38.0
    Seen through the quest for a new metaphysics, the visual arts were interpreted in the framework of the particular sense of progress that the generation of György Lukács developed in the first decade of the twentieth century. They saw Impressionism as the veritable symptom of the deficiencies of their age and dreamed of a great, solid, lasting new Hungarian culture which would transcend the fragmentariness, sociological interests, and ethereality of Impressionism. Although exhibitions of contemporary modernist art were organized in Budapest (...)
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  48. Paul Guyer (2008). Back to Truth: Knowledge and Pleasure in the Aesthetics of Schopenhauer. European Journal of Philosophy 16 (2):164-178.score: 36.0
  49. Fiona Hughes (2009). Review: Kukla, Aesthetics and Cognition in Kant's Critical Philosophy. [REVIEW] European Journal of Philosophy 17 (3):455-460.score: 36.0
  50. Kathryn Pauly Morgan (2011). Foucault, Ugly Ducklings, and Technoswans: Analyzing Fat Hatred, Weight-Loss Surgery, and Compulsory Biomedicalized Aesthetics in America. International Journal of Feminist Approaches to Bioethics 4 (1):188-220.score: 36.0
    Once upon a time, an ugly duckling became famous in the history of European fairy tales. It was said of him that "… the poor duckling, who had come last out of his eggshell, and was so ugly, was bitten, pecked, and teased by both ducks and hens.… The poor thing scarcely knew what to do; he was quite distressed because he was so ugly."Today, in America—the mecca of MakeOver culture—that ugly duckling would know exactly what to do: tell (...)
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