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

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  1. C. Stephen Jaeger (ed.) (2010). Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.score: 180.0
     
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  2. Elizabeth A. Newby (1987). A Portrait of the Artist: The Legends of Orpheus and Their Use in Medieval and Renaissance Aesthetics. Garland.score: 180.0
     
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  3. C. Barrett (2005). Medieval Aesthetics. In Władysław Tatarkiewicz (ed.), History of Aesthetics. New York,Continuum.score: 126.0
     
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  4. Joseph Margolis (2001). Medieval Aesthetics. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.score: 126.0
     
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  5. Anne E. Monius (2004). Love, Violence, and the Aesthetics of Disgust: Śaivas and Jains in Medieval South India. [REVIEW] Journal of Indian Philosophy 32 (2/3):113-172.score: 120.0
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  6. Willene B. Clark (1999). Debra Hassig, Medieval Bestiaries: Text, Image, Ideology.(RES Monographs on Anthropology and Aesthetics.) Cambridge, Eng.: Cambridge University Press, 1995. Pp. Xx, 300 Plus 176 Black-and-White Figures. $90. [REVIEW] Speculum 74 (2):424-426.score: 120.0
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  7. Antanas Andrija Uskas (2005). Traditional Japanese Medieval Aesthetics: Comparative Studies. In Jurate Baranova (ed.), Contemporary Philosophical Discourse in Lithuania. Council for Research in Values and Philosophy. 163.score: 120.0
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  8. Stephen Halliwell (2012). Aesthetics (O.V.) Bychkov Aesthetic Revelation. Reading Ancient and Medieval Texts After Hans Urs von Balthasar. Pp. Xviii + 349. Washington, D.C.: The Catholic University of America Press, 2010. Cased, US$79.95. ISBN: 978-0-8132-1731-4. (O.V.) Bychkov, (A.) Sheppard (Edd., Trans.) Greek and Roman Aesthetics. Pp. Xlii + 249. Cambridge: Cambridge University Press, 2010. Paper, £17.99, US$30.99 (Cased, £55, US$95). ISBN: 978-0-521-54792-5 (978-0-521-83928-0 Hbk). [REVIEW] The Classical Review 62 (2):428-431.score: 120.0
  9. W. Beierwaltes (1976). Negati-Affirmatio-World as Metaphor-Foundation of Medieval Latin Aesthetics by Johannes-Scotus-Eriguena. Philosophisches Jahrbuch 83 (2):237-265.score: 120.0
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  10. Kalman P. Bland (1993). Medieval Jewish Aesthetics: Maimonides, Body, and Scripture in Profiat Duran. Journal of the History of Ideas 54 (4):533-559.score: 120.0
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  11. Jana K. Schulman (2008). Elizabeth M. Tyler, Old English Poetics: The Aesthetics of the Familiar in Anglo-Saxon England. York: York Medieval Press, in Association with Boydell and Brewer and the Centre for Medieval Studies, University of York, 2006. Pp. Xvi, 194. $85. [REVIEW] Speculum 83 (1):247-248.score: 120.0
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  12. Umberto Eco (1988). The Aesthetics of Thomas Aquinas. Harvard University Press.score: 96.0
    As the only book-length treatment of Aquinas's aesthetics available in English, this volume should interest philosophers, medievalists, historians, critics, and ...
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  13. Lawrence D. Roberts (ed.) (1982). Approaches to Nature in the Middle Ages: Papers of the Tenth Annual Conference of the Center for Medieval & Early Renaissance Studies. Center for Medieval & Early Renaissance Studies.score: 90.0
     
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  14. Edgar de Bruyne (1969). The Esthetics of the Middle Ages. New York, F. Ungar Pub. Co..score: 80.0
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  15. Umberto Eco (1986). Art and Beauty in the Middle Ages. Yale University Press.score: 72.0
    In this book, the Italian novelist and philosopher Umberto Eco presents a learned summary of medieval aesthetic ideas.
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  16. Thomas Gilby (1934/1977). Poetic Experience: An Introduction to Thomist Aesthetic. Folcroft Library Editions.score: 70.0
  17. Alessandro Giovannelli (ed.) (2012). Aesthetics: The Key Thinkers. Continuum.score: 66.0
    Offers a comprehensive historical overview of the field of aesthetics. Eighteen specially commissioned essays introduce and explore the contributions of those philosophers who have shaped the subject, from its origins in the work of the ancient Greeks to contemporary developments in the 21st Century. -/- The book reconstructs the history of aesthetics, clearly illustrating the most important attempts to address such crucial issues as the nature of aesthetic judgment, the status of art, and the place of the arts within society. (...)
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  18. Ákos Cseke (2011). A Középkor És Az Esztétika. Akadémiai Kiadó.score: 60.0
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  19. José Acácio Aguiar de Castro (2006). O Sentido Do Belo No Século Xii: E Outros Estudos. Imprensa Nacional-Casa da Moeda.score: 60.0
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  20. Maria-Christine Leitgeb (2010). Concordia Mundi: Platons Symposion Und Marsilio Ficinos Philosophie der Liebe. Holzhausen.score: 60.0
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  21. Andreas Speer (2000). Beyond Art and Beauty: In Search of the Object of Philosophical Aesthetics. International Journal of Philosophical Studies 8 (1):73 – 88.score: 54.0
    This article deals with the ambigous situation of philosophical aesthetics, which now seems to have lost its proper object. Moreover, Arthur C. Danto has popularized talk of an end of art, in which he ties that end to the end of any aesthetic master narrative. Comparing modern and medieval approaches to art, this paper tries to reformulate the question of philosophical aesthetics, which has to be understood in a hermeneutical way. Taken in a heuristic manner 'art' and 'beauty' remain (...)
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  22. Jack Dudley (2013). Transcendence and the End of Modernist Aesthetics. Renascence 65 (2):103-124.score: 54.0
    Taking into account Jones’s adoption of principles of modernist poetics—juxtaposition, allusion, and parataxis, all geared “to create newness”—this essay examines the theological ramifications for the poet’s breaking down, in his semi-autobiographical World War I poem, of modernist order and control. Jones unravels modernist aesthetics, conveying their inadequacy to the brutal realities of war. A space for religious belief appears through this process, but one not of heightened understanding; instead it is a via negativa, an unknowing, consonant with ideas from (...) mysticism but applied to the modern Waste Land. This pattern is borne out in Jones’s handling of the medieval trope of “misadventure,” his references to Eliot, his play on the word “line,” and his development of the concept of “parenthesis.”. (shrink)
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  23. Paul Binski (2010). Reflections on the "Wonderful Height and Size" of Gothic Great Churches and the Medieval Sublime. In C. Stephen Jaeger (ed.), Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.score: 54.0
     
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  24. Adam S. Cohen (2010). Magnificence in Miniature : The Case of Early Medieval Manuscripts. In C. Stephen Jaeger (ed.), Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.score: 54.0
     
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  25. Emma Dilon (2010). Listening to Magnificence in Medieval Paris. In C. Stephen Jaeger (ed.), Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.score: 54.0
     
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  26. G. W. F. Hegel (1998). Aesthetics: Volume 2. Clarendon Press.score: 54.0
    In his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory. -/- The substantial Introduction is Hegel's best exposition of his general philosophy of art, and provides the ideal way (...)
     
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  27. G. W. F. Hegel (1998). Aesthetics: Volume 1. Clarendon Press.score: 54.0
    In his Aesthetics Hegel gives full expression to his seminal theory of art. He surveys the history of art from ancient India, Egypt, and Greece through to the Romantic movement of his own time, criticizes major works, and probes their meaning and significance; his rich array of examples gives broad scope for his judgement and makes vivid his exposition of his theory. -/- The substantial Introduction is Hegel's best exposition of his general philosophy of art, and provides the ideal way (...)
     
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  28. C. Stephen Jaeger (2010). Richard of St. Victor and the Medieval Sublime. In , Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.score: 54.0
     
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  29. Areli Marina (2010). Magnificent Architecture in Late Medieval Italy. In C. Stephen Jaeger (ed.), Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.score: 54.0
     
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  30. Martino Rossi Monti (2010). Opus Es Magnificum" : The Image of God and the Aesthetics of Grace. In C. Stephen Jaeger (ed.), Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.score: 54.0
     
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  31. Beth Williamson (2010). How Magnificent Was Medieval Art? In C. Stephen Jaeger (ed.), Magnificence and the Sublime in Medieval Aesthetics: Art, Architecture, Literature, Music. Palgrave Macmillan.score: 54.0
     
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  32. Dana LaCourse Munteanu (2012). Tragic Pathos: Pity and Fear in Greek Philosophy and Tragedy. Cambridge University Press.score: 50.0
    Machine generated contents note: Introduction; Part I. Theoretical Views about Pity and Fear as Aesthetic Emotions: 1. Drama and the emotions: an Indo-European connection? 2. Gorgias: a strange trio, the poetic emotions; 3. Plato: from reality to tragedy and back; 4. Aristotle: the first 'theorist' of the aesthetic emotions; Part II. Pity and Fear within Tragedies: 5. An introduction; 6. Aeschylus: Persians; 7. Prometheus Bound; 8. Sophocles: Ajax; 9. Euripides: Orestes; Appendix: catharsis and the emotions in the definition of tragedy (...)
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  33. Harald Kleinschmidt (2005). Perception and Action in Medieval Europe. Boydell Press.score: 48.0
    Perception and action : the genesis of their separation as concepts -- The transformation of perception in the early eleventh century : dance historical records from the village of Kölbigk in East Saxony -- Impacts from the environment : the perception of odour, touch and taste -- Impacts on the environment : the rationality of action -- Aesthetics and ethics : their separation as concepts.
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  34. Bueno Domínguez & María Luisa (2010). Belleza y Crueldad En la Edad Media. Dilex.score: 48.0
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  35. Bruce W. Holsinger (2001). Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Stanford University Press.score: 48.0
    Ranging chronologically from the twelfth to the fifteenth century and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages. Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to Chaucer's representation of pedagogical violence in the Prioress's Tale, from early Christian writings on the music of the body to the plainchant and poetry of Hildegard of Bingen, the author (...)
     
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  36. Daud Ali (2011). Padmaśrī's Nāgarasarvasva and the World of Medieval Kāmaśāstra. Journal of Indian Philosophy 39 (1):41-62.score: 44.0
    This essay focuses on a neglected and important text, the Nāgarasarvasva of Padmaśrī, as an index to the changing contours of kāmaśāstra in the early second millennium (1000-1500) CE. Focusing on a number of themes which linked Padmaśrī’s work with contemporary treatises, the essay argues that kāmaśāstra incorporated several new conceptions of the body and related para-technologies as well as elements of material and aesthetic culture which had become prominent in the cosmopolitan, courtly milieu. Rather than seeing this development as (...)
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  37. Fadlou Shehadi (1995). Philosophies of Music in Medieval Islam. E.J. Brill.score: 42.0
    This surveys the philosophies of music of the most important thinkers in Islam between the 9th and the 15th centuries A.D. It covers topics ranging from the ...
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  38. R. D. Sweeney (2010). Arts, Language and Hermeneutical Aesthetics: Interview with Paul Ricoeur (1913-2005). Philosophy and Social Criticism 36 (8):935-951.score: 42.0
    Responding to the interlocutors, Ricoeur, utilizing Kantian aesthetic theory, addresses the nature of the work of art, its universality and communicability, and explores its temporality — its ‘transhistoricity’ — by utilizing concepts derived from medieval philosophy, including ‘sempiternality’ and ‘monstration’. He expands on hermeneutics, defends it against charges of relativism, expatiates on the danger of aestheticism, and explains the value of mimesis in art. He explores the different art forms, focusing with Merleau-Ponty on Cézanne as a model of the (...)
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  39. Ricardo Luiz Silveira da Costa (2012). The Aesthetics of the Body in the Philosophy and Art of the Middle Ages: Text and Image. Trans/Form/Ação 35 (SPE):161-178.score: 42.0
    A ideia de beleza - e sua consequente fruição estética - variou conforme as transformações das sociedades humanas, no tempo. Durante a Idade Média, coexistiram diversas concepções de qual era o papel do corpo na hierarquia dos valores estéticos, tanto na Filosofia quanto na Arte. Nossa proposta é apresentar a estética do corpo medieval que alguns filósofos desenvolveram em seus tratados (particularmente Isidoro de Sevilha, Hildegarda de Bingen, João de Salisbury, Bernardo de Claraval e Tomás de Aquino), além de (...)
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  40. Irmgard Scherer (2007). Irrationalism in Eighteenth Century Aesthetics. The Proceedings of the Twenty-First World Congress of Philosophy 12:23-29.score: 42.0
    This essay deals with a particularly recalcitrant problem in the history of ideas, that of irrationalism. It emerged to full consciousness in mid-eighteenth century thought. Irrationalism was a logical consequence of individualism which in turn was a direct outcome of the Cartesian self-reflective subject. In time these tendencies produced the "critical" Zeitgeist and the "epoch of taste" during which Kant began thinking about such matters. Like Alfred Bäumler, I argue that irrationalism could not have arisen in ancient or medieval (...)
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  41. Bo Helmich (2011). Aesthetic Revelation: Reading Ancient and Medieval Texts After Hans Urs von Balthasar – By Oleg V. Bychkov. Modern Theology 27 (4):704-706.score: 40.0
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  42. Cynthia Freeland (2001). But is It Art?: An Introduction to Art Theory. Oxford University Press.score: 36.0
    From Andy Warhol's Brillo boxes to provocative dung-splattered madonnas, in today's art world many strange, even shocking, things are put on display. This often leads exasperated viewers to exclaim--is this really art? In this invaluable primer on aesthetics, Freeland explains why innovation and controversy are so highly valued in art, weaving together philosophy and art theory with many engrossing examples. Writing clearly and perceptively, she explores the cultural meanings of art in different contexts, and highlights the continuities of tradition that (...)
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  43. Cyril Barret (1965). Medieval Art Criticism. British Journal of Aesthetics 5 (1):25-36.score: 36.0
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  44. David Summers (1987). The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthestics. Cambridge University Press.score: 36.0
    'ith the rise of naturalism in the art of the late Middle Ages and the Renaissance there developed an extensive and diverse literature about art which helped to explain, justify, and shape its new aims. In this book, David Summers provides an original investigation of the philosophical and psychological notions invoked in this new theory and criticism. From a thorough examination of the sources, he shows how the medieval language of mental discourse derived from an understanding of classical thought. (...)
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  45. Julius Portnoy (1949). Similarities of Musical Concepts in Ancient and Medieval Philosophy. Journal of Aesthetics and Art Criticism 7 (3):235-243.score: 36.0
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  46. Michele Marra (1995). Japanese Aesthetics: The Construction of Meaning. Philosophy East and West 45 (3):367-386.score: 36.0
    Two major hermeneutical practices in the history of interpretation in premodern Japan are located. The first--a deconstructive practice followed by medieval thinkers (Dōgen) and poets (Fujiwara Shunzei and Fujiwara Teika)--interprets reality by deferring and dispersing it in its representations. The analogies of this methodology are highlighted with what the Italian philosopher Gianni Vattimo has called "pensiero debole" (weak thought). The latter recuperates the centrality of the concept of presence whose disclosure becomes the major task of the interpreter. Examples of (...)
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  47. Eliot S. Deutsch (1965). Śakti in Medieval Hindu Sculpture. Journal of Aesthetics and Art Criticism 24 (1):81-89.score: 36.0
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  48. Dorothy Koenigsberger (1989). The Judgement of Sense: Renaissance Naturalism and the Rise of Aesthetics. History of European Ideas 10 (2):258-259.score: 36.0
    With the rise of naturalism in the art of the late Middle Ages and the Renaissance there developed an extensive and diverse literature about art which helped to explain, justify and shape its new aims. In this book, David Summers provides an investigation of the philosophical and psychological notions invoked in this new theory and criticism. From a thorough examination of the sources, he shows how the medieval language of mental discourse derived from an understanding of classical thought.
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  49. Catherine Oakes (2004). St John the Divine: The Deified Evangelist in Medieval Art and Theology. British Journal of Aesthetics 44 (1):102-104.score: 36.0
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  50. Robert M. Berchman (ed.) (2000). Mediterranean Perspectives: Philosophy, Theology, Aesthetics. State University of New York Press.score: 36.0
    Characterize several lines of intellectual development by which some of the fundamental features of ancient, medieval, and modern pictures of God, Nature, Beauty, the State, and the Self came to be accepted as common knowledge in the Mediterranean world today.
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