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

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  1. Peter Osborne (2014). Temporalization as Transcendental Aesthetics - Avant-Garde, Modern, Contemporary. Nordic Journal of Aesthetics 23 (44-45).score: 150.0
    Reflections on the relationship of aesthetics to politics tend to circle, almost compulsively, around a relatively stable set of conceptual oppositions, inherited from German philosophies of the late 18th century. This essay proposes an expansion of the theoretical terms of the debate by extending the field of transcendental aesthetics into the domain of historical temporalization. Fundamental art-historical categories may thereby be incorporated, philosophically transformed, into ‘aesthetics’ as forms of historical temporalization: avant-garde, modern, contemporary. The essay expounds two theses, in (...)
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  2. William Francis Hare Listowel (1933/1974). A Critical History of Modern Aesthetics. Haskell House.score: 132.0
     
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  3. William Francis Hare Listowel (1967). Modern Aesthetics: An Historical Introduction. London, Allen & Unwin.score: 132.0
     
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  4. Matthew Rampley (2000). Nietzsche, Aesthetics, and Modernity. Cambridge University Press.score: 120.0
    Nietzsche, Aesthetics and Modernity analyzes Nietzsche's response to the aesthetic tradition, tracing in particular the complex relationship between the work and thought of Nietzsche, Kant, and Hegel. Focusing in particular on the critical role of negation and sublimity in Nietzsche's account of art, it explores his confrontation with modernity and his attempt to posit a revitalized artistic practice as the counter-movement to modern nihilism. Drawing on the full range of his published and unpublished writings, together with his comments on (...)
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  5. Ciprian Lupse (2010). Estetica Arhitecturii Moderne Si Productia Artistica/ The Aesthetics of Modern Architecture and the Artistic Production. Journal for the Study of Religions and Ideologies 2 (4):75-83.score: 108.0
    The period that has begun after the last quarter of the 19th century brings an open conflict between the ‘histori- cal’ aspect of modernity and the ‘aesthetical’ one. The situation raises a question about the modern architectural shape’s dependency on architectonic function. Utility, production, profit become the keywords of the ideology; new social utopias and their reflection on the architecture- for-the masses projects emerge. This leads to the urban alienation of the modern man, in spite of the well-intended (...)
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  6. Paul Mattick (ed.) (1993). Eighteenth-Century Aesthetics and the Reconstruction of Art. Cambridge University Press.score: 102.0
    This collection of essays explores the rise of aesthetics as a response to, and as a part of, the reshaping of the arts in modern society. The theories of art developed under the name of 'aesthetics' in the eighteenth century have traditionally been understood as contributions to a field of study in existence since the time of Plato. If art is a practice to be found in all human societies, then the philosophy of art is the search for universal (...)
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  7. Endre Szécsényi (2014). Gustus Spiritualis: Remarks on the Emergence of Modern Aesthetics. Estetika: The Central European Journal of Aesthetics 51 (1):62-85.score: 102.0
    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 (...)
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  8. Mihai Spariosu (1989). Dionysus Reborn: Play and the Aesthetic Dimension in Modern Philosophical and Scientific Discourse. Cornell University Press.score: 96.0
    Introduction: Play, Power, and the Western Mentality Whereas play has always had an important, if sometimes unthemat- ized, role in Western literary ...
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  9. Ewa Ziarek (2011). Towards a Feminist Aesthetics of Melancholia: Kristeva, Adorno, and Modern Women Writers. Critical Horizons 11 (3):443 - 461.score: 96.0
    Melancholia is a hybrid concept, deployed in feminist and philosophical theories politics and aesthetics, but ‘properly” belonging to neither. This heterogeneity of melancholia as both an aesthetic and a political category allows us to interrogate the interrelationship between gender politics and aesthetics without, however, abolishing their differences. Reinterpreted in the context of a feminist aesthetics, melancholia not only points to art’s origin in the unjust and gendered division of labor and power but also to the ethical and political task of (...)
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  10. Peter McCormick (1990). Modernity, Aesthetics, and the Bounds of Art. Cornell University Press.score: 96.0
  11. Jerome Carroll, Steve Giles & Maike Oergel (eds.) (2008/2011). Aesthetics and Modernity From Schiller to the Frankfurt School. Peter Lang.score: 96.0
     
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  12. Albrecht Wellmer (1991). The Persistence of Modernity: Essays on Aesthetics, Ethic, and Postmodernism. MIT Press.score: 96.0
    Truth, semblance, reconciliation -- The dialectic of modernism and postmodernism -- Art and industrial production -- Ethics and dialogue.
     
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  13. Chunshi Yang (2009). Transcending the Opposition Between Consciousness Aesthetics and Somaesthetics. Frontiers of Philosophy in China 4 (4):616-630.score: 90.0
    Modern aesthetics in its early phase was “consciousness aesthetics” which upheld spirit but obviated body, hence offered demonstration for the priority of refined art as well as elite culture. In its later period, modern aesthetics converted into “somaesthetics” which, at the same time when it affirmed the identity of consciousness and body, laid particular stress on body, hence offered basis for the reasonableness of popular art as well as mass culture. Thus consciousness aesthetics and somaesthetics have their respective (...)
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  14. Mark Jarzombek (2000). The Psychologizing of Modernity: Art, Architecture, and History. Cambridge University Press.score: 90.0
    In The Psychologizing of Modernity, Mark Jarzombek examines the impact of psychology on twentieth-century aesthetics. Analysing the interface between psychology, art history and avant-gardist practices, he also reflects on the longevity of the myth of aesthetic individuality as it infiltrated not only avant-garde art, but also history writing. The principal focus of this study is pre-World War II Germany, where theories of empathy and Entartung emerged; and post-war America, where artists, critics and historians gradually shifted from their reliance on psychology (...)
     
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  15. David Simpson (ed.) (1988). The Origins of Modern Critical Thought: German Aesthetic and Literary Criticism From Lessing to Hegel. Cambridge University Press.score: 86.0
    Originally published in 1988, this book provides a comprehensive anthology in English of the major texts of German literary and aesthetic theory between Lessing ...
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  16. Henry Sussman (1997). The Aesthetic Contract: Statutes of Art and Intellectual Work in Modernity. Stanford University Press.score: 86.0
    Ambitious in scope and innovative in concept, this book offers an overview and critique of the conventions surrounding artistic creativity and intellectual endeavour since the outset of 'the broader modernity', which the author sees as beginning with the decline of feudalism and the Church. As a work of intellectual history, it suggests that art and the conventions associated with the artistic constitute a secular institution that has supplanted pre-Reformation theology. Beginning with Luther, Calvin, and Shakespeare and culminating with the Kantian (...)
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  17. Matthew Kieran (ed.) (2006). Contemporary Debates in Aesthetics and the Philosophy of Art. Blackwell Pub..score: 84.0
    Contemporary Debates in Aesthetics and the Philosophy of Art features pairs of newly commissioned essays by some of the leading theorists working in the field today. Brings together fresh debates on eleven of the most controversial issues in aesthetics and the philosophy of art Topics addressed include the nature of beauty, aesthetic experience, artistic value, and the nature of our emotional responses to art. Each question is treated by a pair of opposing essays written by eminent scholars, and especially commissioned (...)
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  18. Kathleen Stock & Katherine Thomson-Jones (eds.) (2008). New Waves in Aesthetics. Palgrave Macmillan.score: 84.0
    Leading young scholars present a collection of wide-ranging essays covering central problems in meta-aesthetics and aesthetic issues in the philosophy of mind, as well as offering analyses of key aesthetic concepts, new perspectives on the history of aesthetics, and specialized treatment of individual art forms.
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  19. Michael Kelly (2003). Iconoclasm in Aesthetics. Cambridge University Press.score: 84.0
    Although philosophers have characteristically taken the view that art is a vehicle of some universal meaning or truth, art historians emphasize the concrete, historical location of the individual work of art. Is aesthetics capable of sustaining these two approaches? Or, as Michael Kelly argues: Is art actually determined by its historical particularity? His book covers the views of four philosophers--Heidegger, Adorno, Derrida, and Danto--ultimately iconoclasts, despite their significant philosophical engagement with the arts.
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  20. Wolfgang Welsch (1997). Undoing Aesthetics. Sage Publications.score: 84.0
    Wolfgang Welsch examines global aestheticization phenomena, probes the relationship of aesthetics and ethics, and considers the broad relevance of aesthetics for contemporary thinking. He argues that modes of thought familiar from the aesthetic realm comprise fundamental paradigms for understanding todayÆs reality. The implications for specific and everyday issues are demonstrated in studies of architecture, advertising, the Internet, and our perception of the life world. Surgically precise, innovative, and, above all, relevant, this book is an essential resource, providing the analysis of (...)
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  21. Gérard Genette (2005). Essays in Aesthetics. University of Nebraska Press.score: 84.0
    Over the course of the past forty years, Ge;rard Genette’s work has profoundly influenced scholars of narratology, poetics, aesthetics, and literary and cultural criticism, and he continues to be one of France’s most influential theorists. The eighteen pieces in Essays in Aesthetics are of international interest because they are concerned either with universal aesthetic problems (the receiver’s relationship to an aesthetic object, abstract art, the role of repetition in aesthetics, genre theory, and the rapport between literature and music) or with (...)
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  22. Daniel A. Dombrowski (2004). Divine Beauty: The Aesthetics of Charles Hartshorne. Vanderbilt University Press.score: 84.0
    While considered by many as one of the greatest philosophers of religion and metaphysicians of the 20th century, Charles Hartshorne’s (1897-2000) contributions to the study of aesthetics are perhaps the most neglected aspect of his extensive and highly nuanced thought. DIVINE BEAUTY offers the first detailed explication of Hartshorne’s aesthetic theory and its place within his theocentric philosophy.
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  23. 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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  24. Giorgio Agamben (1999). The Man Without Content. Stanford University Press.score: 84.0
    In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He takes seriously Hegel's claim that art has exhausted its spiritual vocation. He argues, however, that Hegel by no means proclaimed the 'death of art' (as many still imagine) but proclaimed rather the indefinite continuation of art in a 'self-annulling' mode. With astonishing breadth and originality, he probes the meaning, aesthetics, and historical consequences of that self-annulment. He argues (...)
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  25. Emory Elliott, Louis Freitas Caton & Jeffrey Rhyne (eds.) (2002). Aesthetics in a Multicultural Age. Oxford University Press.score: 84.0
    Aesthetics in a Multicultural Age examines a variety of significant multidisciplinary and multicultural topics within the subject of aesthetics. Addressing the vexed relation of the arts and criticism to current political and cultural concerns, the contributors to this volume attempt to bridge the two decades-old gap between scholars and critics who hold conflicting views of the purposes of art and criticism. By exploring some of the ways in which global migration and expanding ethnic diversity are affecting cultural productions and prompting (...)
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  26. Barry Brummett (1999). Rhetoric of Machine Aesthetics. Praeger.score: 84.0
    Introduces a scheme of machine aesthetics, including classical industrial machines, high technology, and decaying machines, and then explores the rhetorical ...
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  27. Brigid Haines, Stephen Parker, Colin Riordan & Rhys W. Williams (eds.) (2010). Aesthetics and Politics in Modern German Culture: Festschrift in Honour of Rhys W. Williams. Peter Lang.score: 84.0
    Cywydd Ffarwelio Rhys MERERID HOPWOOD Mae awr i fwynhau miri, y mae awr mi wn am hwyl cwmni, ond nawr, yn ein dathliad ni, mae un na fynnaf mo'ni. ...
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  28. Gregg Horowitz (2001). Sustaining Loss: Art and Mournful Life. Stanford University Press.score: 84.0
    Sustaining Loss explores the uncanny, traumatic weaving together of the living and the dead in art, and the morbid fascination it holds for modern philosophical aesthetics. Beginning with Kant, the author traces how aesthetic theory has been drawn back repeatedly to the moving power of the undead body of the work of art. He locates the most potent expressions of this philosophical compulsion in Hegel's thesis that art is a thing of the past, and in Freud's view that the (...)
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  29. Mikhail Saraf (2008). Aesthetics Rethinking Modern Sports. Proceedings of the Xxii World Congress of Philosophy 47:29-34.score: 84.0
    Sport has become a significant part of the contemporary society culture. There has been developed a system of sciences dealing with sports. Philosophy figures prominently among them and it deals with aesthetic problems of sport. The problem of the aesthetic of sport is really of great importance as; first of all, it creates new fields of aesthetic activity and exerts aesthetic influence upon millions of people. Secondly, sports exert profound influence upon modern architecture, design, performing and fine arts, fashion (...)
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  30. David Bindman (2002). Ape to Apollo: Aesthetics and the Idea of Race in the 18th Century. Cornell University Press.score: 84.0
    Ape to Apollo is the first book to follow the development in the eighteenth century of the idea of race as it shaped and was shaped by the idea of aesthetics.
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  31. Gary Banham (2000). Kant and the Ends of Aesthetics. Macmillan.score: 84.0
    This is a book focused primarily on reading the *Critique of Judgment* but which takes the central topics of it to be central to understanding the Critical Philosophy generally. It distinguishes types of aesthetics and teleology and in the process suggests an ambitious reconstruction of the landscape of Kant's architectonic.
     
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  32. Daniel Harris (2000). Cute, Quaint, Hungry, and Romantic: The Aesthetics of Consumerism. Basic Books.score: 84.0
    Why has the ring of the telephone become a beep? What ever happened to the bumpers and fenders of cars? Why do food commercials never mention hunger?In this encyclopedia of low-brow aesthetics, Daniel Harris concentrates on the nuances of non-art, the uses of the useless, the politics of product design and advertising. We learn how advertisers exaggerate our sensual responses to eating, how close-up nature photography exaggerates the accessibility of the natural world, and how the mutated physiology of dolls invites (...)
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  33. Harold Osborne (1968). Aesthetics in the Modern World. New York, Weybright and Talley.score: 84.0
     
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  34. Mario Perniola (2012). 20th Century Aesthetics: Towards a Theory of Feeling. Continuum.score: 84.0
    Machine generated contents note: -- Foreword Hugh J. Silverman \ Translator's Introduction \ Author's New Preface \ Abbreviations \ 1. Aesthetics of Life \ 2. Aesthetics of Form \ 3. Aesthetics and Consciousness \ 4. Aesthetics and Action \ 5. Aesthetics and Feeling \ Conclusion: Towards a Theory of Feeling \ Notes \ Bibliography \ Index.
     
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  35. Kenneth F. Rogerson (2009). The Problem of Free Harmony in Kant's Aesthetics. State University of New York Press.score: 80.0
    "In this book, Kenneth F. Rogerson explores the first half of Kant's Critique of Judgment, entitled the "Critique of Aesthetic Judgment.
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  36. Stephen Copley & Peter Garside (eds.) (1994). The Politics of the Picturesque: Literature, Landscape, and Aesthetics Since 1770. Cambridge University Press.score: 80.0
    The Picturesque (a set of theories, ideas, and conventions which grew up around the question of how we look at landscape) offers a valuable focus for new investigations into the literary, artistic, social, and cultural history of the late eighteenth and nineteenth centuries. This volume of essays by scholars from various disciplines in Britain and America incorporates a range of historically and theoretically challenging approaches to the topic. It covers the writers most closely identified with the exposition of the Picturesque (...)
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  37. Timothy M. Costelloe (2007). Aesthetics and Morals in the Philosophy of David Hume. Routledge.score: 80.0
    General rules and "of the standard of taste" -- Aesthetic beauty and moral beauty -- Antinomy and error -- Reflection and character -- Beauty and moral life -- Progress and prejudice -- Philosophy and moral life.
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  38. Rodolphe Gasché (2003). The Idea of Form: Rethinking Kant's Aesthetics. Stanford University Press.score: 80.0
    Against the assumption that aesthetic form relates to a harmonious arrangement of parts into a beautiful whole, this book argues that reason is the real theme of the Critique of Judgment as of the two earlier Critiques. Since aesthetic judgment of the beautiful becomes possible only when the mind is confronted with things of nature, for which no determined concepts of understanding are available, aesthetic judgment is involved in an epistemological or, rather, para-epistemological task. The predicate “beautiful” indicates that something (...)
     
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  39. Jerome Stolnitz (1978). "The Aesthetic Attitude" in the Rise of Modern Aesthetics. Journal of Aesthetics and Art Criticism 36 (4):409-422.score: 78.0
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  40. Jerome Stolnitz (1984). "The Aesthetic Attitude" in the Rise of Modern Aesthetics: Again. Journal of Aesthetics and Art Criticism 43 (2):205-208.score: 78.0
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  41. Filip Mattens (2011). The Aesthetics of Space: Modern Architecture and Photography. Journal of Aesthetics and Art Criticism 69 (1):105-114.score: 78.0
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  42. Ananta Charana Sukla (ed.) (2001). Art and Representation: Contributions to Contemporary Aesthetics. Praeger.score: 78.0
    A multidisciplinary approach to the concept of representation as it applies to art, music, dance, literature, and film.
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  43. Robert Buch (2011). The Pathos of the Real: On the Aesthetics of Violence in the Twentieth Century. Johns Hopkins University Press.score: 78.0
    In praise of cruelty : Bataille, Kafka, and Ling-Chi -- Fragmentary description of a disaster : Claude Simon -- The resistance to pathos and the pathos of resistance : Peter Weiss -- Medeamachine : the "fallout" of violence in Heiner Müller -- Epilogue : Francis Bacon, or, The brutality of fact.
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  44. Richard Kearney & David M. Rasmussen (eds.) (2001). Continental Aesthetics: Romanticism to Postmodernism: An Anthology. Blackwell Publishers.score: 78.0
    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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  45. Rémy G. Saisselin (1964). Critical Reflections on the Origins of Modern Aesthetics. British Journal of Aesthetics 4 (1):7-21.score: 78.0
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  46. Moshe Barasch (1990). Modern Theories of Art. New York University Press.score: 78.0
    In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; and (...)
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  47. Jorge V. Arregui & Pablo Arnau (1994). Shaftesbury: Father or Critic of Modern Aesthetics? British Journal of Aesthetics 34 (4):350-362.score: 78.0
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  48. Paul Crowther (1993). Critical Aesthetics and Postmodernism. Oxford University Press.score: 78.0
    In recent times considerable controversy has raged around the question of postmodern culture and its products. Paul Crowther attempts to overcome some of the antagonistic viewpoints involved by expounding and developing key themes from the work of Kant and Merleau-Ponty in the context of contemporary culture. His work analyzes topics such as the relation between art and politics, the problems of poststructuralist and feminist approaches to art, the re-emergence and relevance of theories of the sublime, and the continuing possibilities of (...)
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  49. James Kirwan (2001). Modern Japanese Aesthetics: A Reader Michele Marra. British Journal of Aesthetics 41 (3):347-349.score: 78.0
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  50. Robert Edward Norton (1991). Herder's Aesthetics and the European Enlightenment. Cornell University Press.score: 78.0
    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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