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.
     
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  2. Michael F. Marra (1991). The Aesthetics of Discontent Politics and Reclusion in Medieval Japanese Literature. Monograph Collection (Matt - Pseudo).
     
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  3. Elizabeth A. Newby (1987). A Portrait of the Artist: The Legends of Orpheus and Their Use in Medieval and Renaissance Aesthetics. Garland.
     
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  4.  1
    Wladyslaw Tatarkiewicz (1972). History of Aesthetics. I: Ancient Aesthetics. II: Medieval Aesthetics. Journal of Aesthetics and Art Criticism 31 (1):129-130.
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  5. C. Barrett (2005). Medieval Aesthetics. In Władysław Tatarkiewicz (ed.), History of Aesthetics. New York,Continuum
     
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  6. Joseph Margolis (2001). Medieval Aesthetics. In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge
     
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  7.  27
    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.
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  8.  13
    Stephen Halliwell (2012). Aesthetics 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. Bychkov, Sheppard Greek and Roman Aesthetics. Pp. Xlii + 249. Cambridge: Cambridge University Press, 2010. Paper, £17.99, US$30.99 . ISBN: 978-0-521-54792-5. [REVIEW] The Classical Review 62 (2):428-431.
  9.  7
    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.
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  10.  4
    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.
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  11.  5
    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.
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  12.  2
    Kalman P. Bland (1993). Medieval Jewish Aesthetics: Maimonides, Body, and Scripture in Profiat Duran. Journal of the History of Ideas 54 (4):533-559.
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  13. C. Barrett, History of Aesthetics. Vol 2: Medieval Aesthetics.
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  14. Werner Beierwaltes (1977). Negati Affirmatio: A Foundation for Medieval Aesthetics From the Writings of John Scotus Eriugena. Dionysius 1:127-159.
     
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  15. W. Beierwaltes (1976). Negati-Affirmatio-World as Metaphor-Foundation of Medieval Latin Aesthetics by Johannes-Scotus-Eriguena. Philosophisches Jahrbuch 83 (2):237-265.
     
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  16. John Wallace (1992). Review Of: Michele Marra, The Aesthetics of Discontent: Politics and Reclusion in Medieval Japanese Literature. [REVIEW] Japanese Journal of Religious Studies 19 (1):85-90.
     
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  17.  52
    Umberto Eco (1988). The Aesthetics of Thomas Aquinas. Harvard University Press.
    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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  18.  1
    Edgar de Bruyne (1969). The Esthetics of the Middle Ages. New York, F. Ungar Pub. Co..
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  19. Umberto Eco (1982). The Aesthetics of Chaosmos the Middle Ages of James Joyce. University of Tulsa.
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  20. 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.
     
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  21.  27
    Umberto Eco (1986). Art and Beauty in the Middle Ages. Yale University Press.
    In this book, the Italian novelist and philosopher Umberto Eco presents a learned summary of medieval aesthetic ideas.
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  22.  15
    Alessandro Giovannelli (ed.) (2012). Aesthetics: The Key Thinkers. Continuum.
    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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  23. Marsilio Ficino & Sears Reynolds Jayne (1985). Commentary on Plato's Symposium on Love.
     
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  24. Karl F. Morrison (1990). History as a Visual Art in the Twelfth-Century Renaissance. Princeton University Press.
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  25. Ákos Cseke (2011). A Középkor És Az Esztétika. Akadémiai Kiadó.
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  26. José Acácio Aguiar de Castro (2006). O Sentido Do Belo No Século Xii: E Outros Estudos. Imprensa Nacional-Casa da Moeda.
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  27. Umberto Eco (1997). Arte E Bellezza Nell'estetica Medievale.
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  28. Thomas Gilby (1934/1977). Poetic Experience: An Introduction to Thomist Aesthetic. Folcroft Library Editions.
  29. Maria-Christine Leitgeb (2010). Concordia Mundi: Platons Symposion Und Marsilio Ficinos Philosophie der Liebe. Holzhausen.
  30. Armand A. Maurer (1983). About Beauty a Thomistic Interpretation.
     
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  31.  38
    Andreas Speer (2000). Beyond Art and Beauty: In Search of the Object of Philosophical Aesthetics. International Journal of Philosophical Studies 8 (1):73 – 88.
    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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  32. 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
     
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  33.  42
    Stephen Davies (2009). Aesthetics and Music • by Andy Hamilton. Analysis 69 (2):397-398.
    Aesthetics and Music is a rich and interesting study. Hamilton's approach is innovative. He interleaves chapters on the history of philosophical thought about music with more theoretical discussions of music, sound, rhythm and improvisation, but does not cover the work–performance relation, depiction or expression. He draws on an atypically broad range of examples, including avant-garde, medieval, non-Western and jazz. The assumptions are humanist: ‘I wish to argue for an aesthetic conception of music as an art … according to which (...)
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  34.  12
    Jack Dudley (2013). Transcendence and the End of Modernist Aesthetics. Renascence 65 (2):103-124.
    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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  35.  2
    C. Barrett (1971). II. The Aesthetics of the High Middle Ages. In History of Aesthetics. Vol 2: Medieval Aesthetics. De Gruyter 110-304.
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  36.  1
    C. Barrett (1971). A. Eastern Aesthetics. In History of Aesthetics. Vol 2: Medieval Aesthetics. De Gruyter 1-47.
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  37. 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
     
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  38. Andrea Denny-Brown (2012). Fashioning Change: The Trope of Clothing in High- and Late-Medieval England. Ohio State University Press.
    Medieval European culture was obsessed with clothing. In _Fashioning Change: The Trope of Clothing in High-and Late-Medieval England,_ Andrea Denny-Brown explores the central impact of clothing in medieval ideas about impermanence and the ethical stakes of human transience. Studies of dress frequently contend with a prevailing cultural belief that bodily adornment speaks to interests that are frivolous, superficial, and cursory. Taking up the vexed topic of clothing’s inherent changeability, Denny-Brown uncovers an important new genealogy of clothing as (...)
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  39. 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
     
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  40. 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
     
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  41. 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
     
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  42. John Marenbon (ed.) (2015). The Oxford Handbook of Medieval Philosophy. Oxford University Press Usa.
    This Handbook is intended to show the links between the philosophy written in the Middle Ages and that being done today. Essays by over twenty medieval specialists, who are also familiar with contemporary discussions, explore areas in logic and philosophy of language, metaphysics, epistemology, moral psychology ethics, aesthetics, political philosophy and philosophy of religion. Each topic has been chosen because it is of present philosophical interest, but a more or less similar set of questions was also discussed in the (...)
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  43. 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
     
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  44. Paula M. Varsano (ed.) (2007). In Praise of Blandness: Proceeding From Chinese Thought and Aesthetics. Zone Books.
    Already translated into six languages, Francois Jullien's In Praise of Blandness has become a classic. Appearing for the first time in English, this groundbreaking work of philosophy, anthropology, aesthetics, and sinology is certain to stir readers to think and experience what may at first seem impossible: the richness of a bland sound, a bland meaning, a bland painting, a bland poem. In presenting the value of blandness through as many concrete examples and original texts as possible, Jullien allows the undifferentiated (...)
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  45. 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
     
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  46. Bruce W. Holsinger (2001). Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Stanford University Press.
    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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  47. Bueno Domínguez & María Luisa (2010). Belleza y Crueldad En la Edad Media. Dilex.
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  48.  13
    Harald Kleinschmidt (2005). Perception and Action in Medieval Europe. Boydell Press.
    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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  49.  23
    Dana LaCourse Munteanu (2012). Tragic Pathos: Pity and Fear in Greek Philosophy and Tragedy. Cambridge University Press.
    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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  50.  73
    Sucharita Gamlath (1969). Indian Aesthetics and the Nature of Dramatic Emotions. British Journal of Aesthetics 9 (4):372-386.
    A short exposition, With comments, Of the philosophical investigations into the nature and aesthetic experience of emotions represented in drama by the mediaeval indian philosophers, Bharata, Bhatt lollata, Shri shankuka, Bhatta nayaka and abhinavagupta. The conclusions reached by these philosophers are contrasted briefly with the position taken up regarding this problem by contemporary english and american aestheticians.
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