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

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  1.  8
    Robert Edward Norton (1991). Herder's Aesthetics and the European Enlightenment. Cornell University Press.
    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.  11
    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.
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  3.  4
    Helmut Müller-Sievers (1993). Herder's Aesthetics and the European Enlightenment. Journal of the History of Philosophy 31 (1):143-144.
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  4.  9
    Ernest A. Menze (1993). Herder's Aesthetics and the European Enlightenment. Review of Metaphysics 47 (1):163-164.
  5. Tereza Hadravová & Štěpán Kubalík (2010). The 2010 Annual Conference of the European Society for Aesthetics (Conference Report). Estetika:246-250.
     
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  6. Dezső Csejtei (2014). Ortega’s Aesthetics: A Dialogue Between Spanish Reality and European Aesthetic Currents. Symposium 18 (1):77-101.
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  7. Editorial Board Estetika (2009). The 2010 European Society for Aesthetics Conference Call for Papers. Estetika:220-220.
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  8. Jakub Stejskal (2009). European Society for Aesthetics Established. Estetika:104-104.
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  9.  6
    Thomas Docherty (1999). Criticism and Modernity: Aesthetics, Literature, and Nations in Europe and its Academies. OUP Oxford.
    Can subjective taste regulate social norms or political practices? This book argues that from the late seventeenth century to the present national cultures have sought to regulate the democratic subject through the academic form of arguments about the proper relations of aesthetics to ethics and politics. In so doing it offers a radical reconsideration of the history of modernity, tracing the emergence of criticism as a socio-cultural practice across all the major European nations, and drawing on an extensive range (...)
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  10. Steve Odin (2005). Artistic Detachment in Japan and the West: Psychic Distance in Comparative Aesthetics. Journal of Aesthetics and Art Criticism 63 (3):291-292.
     
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  11.  27
    Richard Kearney & David M. Rasmussen (eds.) (2001). Continental Aesthetics: Romanticism to Postmodernism: An Anthology. Blackwell Publishers.
    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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  12. Hugh Terence Bredin & Liberato Santoro (2000). Philosophies of Art and Beauty Introducing Aesthetics. Monograph Collection (Matt - Pseudo).
     
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  13.  24
    Clive Cazeaux (ed.) (2000). The Continental Aesthetics Reader. Routledge.
    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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  14.  8
    David Roberts (2011). The Total Work of Art in European Modernism. Cornell University Library.
    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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  15.  10
    Giulia Martina (2016). Pictorial Aesthetics and Two Kinds of Inflected Seeing-In. Estetika: The Central European Journal of Aesthetics 53 (1):74-92.
    Inflected seeing-in is a special experience of the vehicle and subject of a picture, which are experienced as related to each other. Bence Nanay recently defended the idea that inflected picture perception is central to the aesthetic appreciation of pictures. Here I critically discuss his characterization of inflection, and advance a new one, that better accounts for the structure and content of inflected experience in terms of properties of the pictures themselves and also clarifies the distinctive contribution of inflection to (...)
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  16.  9
    J. M. Bernstein (1992). The Fate of Art: Aesthetic Alienation From Kant to Derrida and Adorno. Penn State University Press.
    Aesthetic alienation may be described as the paradoxical relationship whereby art and truth have come to be divorced from one another while nonetheless remaining entwined. J. M. Bernstein not only finds the separation of art and truth problematic, but also contends that we continue to experience art as sensuous and particular, thus complicating and challenging the cultural self-understanding of modernity. Bernstein focuses on the work of four key philosophers—Kant, Heidegger, Derrida, and Adorno—and provides powerful new interpretations of their views. Bernstein (...)
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  17. Christine James (2015). Aesthetics in the Age of Austerity: Building the Creative Class. In Anthology of Philosophical Studies 9. Athens Institute for Education and Research 37-48.
    Aesthetic theorists often interpret and understand works of art through the social and political context that creates and inspires the work. The recent economic recessions, and the accompanying austerity measures in many European countries, provide an interesting test case for this contextual understanding. Economists debate whether or not spending on entertainment and arts drops during times of recession and austerity. Some economists assume that spending will decline in times of austerity, but others point to evidence that spending on creative (...)
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  18.  46
    Robert Bird (2004). The Suspended Aesthetic: Slavoj Žižek on Eastern European Film. Studies in East European Thought 56 (4):357-382.
    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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  19.  4
    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.
    The article considers the possibilities of the function and constitution of aesthetic value in the contemporary, ambivalent notion of landscape. It begins with a preliminary analysis of three key concepts central to current discussions – namely, nature, landscape, and environment. It presents one of the dominant models of contemporary ideas about the aesthetics of landscape – the natural environmental model –, and in particular its ambition to accommodate both the true character of today’s relationship between man and his habitat and (...)
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  20.  1
    Rolf Dieter Herrmann (1971). How a European Views the Journal of Aestehtics and Art Criticism. Journal of Aesthetics and Art Criticism 29:499-506.
    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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  21.  28
    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.
    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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  22. 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.
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  23. Yongwen Jiang (2007). Zhong Xi Shen Mei Zhi Si. Yunnan da Xue Chu Ban She.
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  24. Athanasius Kircher, Eugenio Lo Sardo, Roman Vlad & Umberto Eco (1999). Iconismi & Mirabilia da Athanasius Kircher.
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  25.  4
    Verena Krieger, Rachel Mader & Katharina Jesberger (eds.) (2010). Ambiguität in der Kunst: Typen Und Funktionen Eines Ästhetischen Paradigmas. Böhlau.
    Die hier versammelten Beiträge analysieren Typen und Funktionen der Ambiguität an Beispielen aus der mittelalterlichen bis zur zeitgenössischen Kunst.
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  26. Aaron Scharf (1976). The Emerging of Modern Art in the Early Twentieth Century.
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  27. Louis Dupre (2013). The Quest of the Absolute: Birth and Decline of European Romanticism. University of Notre Dame Press.
    This eagerly awaited study brings to completion Louis Dupré's planned trilogy on European culture during the modern epoch. Demonstrating remarkable erudition and sweeping breadth, _The Quest of the Absolute_ analyzes Romanticism as a unique cultural phenomenon and a spiritual revolution. Dupré philosophically reflects on its attempts to recapture the past and transform the present in a movement that is partly a return to premodern culture and partly a violent protest against it. Following an introduction on the historical origins of (...)
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  28. Peter Kivy (2003). Seventh Sense: Francis Hutchenson and Eighteenth-Century British Aesthetics. Oxford University Press Uk.
    The Seventh Sense is the definitive study of the aesthetic theory of the great eighteenth-century philosopher Francis Hutcheson, arguably the founder of the modern discipline of aesthetics, and one of the most important figures of the Scottish Enlightenment. This new edition brings Peter Kivy's seminal work back into print, substantially expanded by the addition of seven essays, which deal primarily with Hutcheson's relation to other thinkers, and his influence on eighteenth- and early nineteenth-century aesthetics.Part I of The Seventh Sense presents (...)
     
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  29.  11
    Liisa Steinby (2011). Hermann Cohen and Bakhtin's Early Aesthetics. Studies in East European Thought 63 (3):227-249.
    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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  30.  4
    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).
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  31.  13
    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.
    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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  32.  3
    Viktor V. Bychkov (1990). International Aesthetics in Seventeenth Century Russia (in Serbo Croation). Filozofska Istrazivanja 36 (3):697-714.
    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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  33.  3
    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).
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  34.  1
    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.
    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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  35.  3
    Eric Dayton (ed.) (1999). Art and Interpretation: An Anthology of Readings in Aesthetics and the Philosophy of Art. Broadview Press.
    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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  36. Nina Gourianova (2012). The Aesthetics of Anarchy: Art and Ideology in the Early Russian Avant-Garde. University of California Press.
    In this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an “aesthetics of anarchy”—art-making without rules—that greatly influenced early twentieth-century modernists. Setting the early Russian avant-garde movement firmly within a broader European context, Gurianova draws on a wealth of primary and archival sources by individual writers and artists, Russian theorists, theorizing artists, and German philosophers. (...)
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  37. Kang Liu (2000). Aesthetics and Marxism: Chinese Aesthetic Marxists and Their Western Contemporaries. Duke University Press Books.
    Although Chinese Marxism—primarily represented by Maoism—is generally seen by Western intellectuals as monolithic, Liu Kang argues that its practices and projects are as diverse as those in Western Marxism, particularly in the area of aesthetics. In this comparative study of European and Chinese Marxist traditions, Liu reveals the extent to which Chinese Marxists incorporate ideas about aesthetics and culture in their theories and practices. In doing so, he constructs a wholly new understanding of Chinese Marxism. Far from being secondary (...)
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  38. Kang Liu (2000). Aesthetics and Marxism: Chinese Aesthetic Marxists and Their Western Contemporaries. Duke University Press Books.
    Although Chinese Marxism—primarily represented by Maoism—is generally seen by Western intellectuals as monolithic, Liu Kang argues that its practices and projects are as diverse as those in Western Marxism, particularly in the area of aesthetics. In this comparative study of European and Chinese Marxist traditions, Liu reveals the extent to which Chinese Marxists incorporate ideas about aesthetics and culture in their theories and practices. In doing so, he constructs a wholly new understanding of Chinese Marxism. Far from being secondary (...)
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  39. Gary Smith (ed.) (1989). Benjamin: Philosophy, Aesthetics, History. University of Chicago Press.
    Walter Benjamin has been called by Hannah Arendt the "greatest critic of the century." While an increasing number of Anglo-American literary critics draw upon Benjamin's writings in their own works, their colleagues in the philosophical community remain relatively unacquainted with his legacy. In the European intellectual world, by contrast, Benjamin's critical epistemological program, his philosophies of history and language, and his aesthetics have long since become part of philosophical discourse. The present collection of articles, many of which were contained (...)
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  40.  97
    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.
    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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  41.  72
    Derek Allan (2003). André Malraux and the Challenge to Aesthetics. Journal of European Studies 33 (128): 23-40.
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  42.  3
    Crispin Sartwell (1995). The Art of Living: Aesthetics of the Ordinary in World Spiritual Traditions. State University of New York Press.
    This is a multicultural philosophy of art applied to common American and European experience and discussed in relation to Taoist, Buddhist, Hindu, Native American, and African traditions.
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  43.  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.
    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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  44. Alba Carosio (ed.) (2007). Lógicas y Estrategias de Occidente. Fondo Editorial Ipasme.
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  45.  7
    John M. Dunaway & Eric O. Springsted (eds.) (1996). The Beauty That Saves: Essays on Aesthetics and Language in Simone Weil. Mercer University Press.
    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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  46.  10
    Ahmet Ersoy, Maciej Górny & Vangelis Kechriotis (eds.) (2010). Modernism: The Creation of Nation States. Central European Press.
    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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  47.  14
    David Hopkins & Anna Katharina Schaffner (eds.) (2006). Neo-Avant-Garde. Rodopi.
    '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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  48.  6
    John L. Lepage (2012). The Revival of Antique Philosophy in the Renaissance. Palgrave Macmillan.
    This book examines the revival of antique philosophy in the Renaissance as a literary preoccupation informed by wit.
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  49. John Ruskin & Robert L. Herbert (1964). The Art Criticism of John Ruskin. Doubleday Anchor Books.
     
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  50.  59
    Angela Breitenbach (2015). Beauty in Proofs: Kant on Aesthetics in Mathematics. European Journal of Philosophy 23 (4):955-977.
    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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