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

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  1.  12
    Peter Osborne (2014). Temporalization as Transcendental Aesthetics - Avant-Garde, Modern, Contemporary. Nordic Journal of Aesthetics 23 (44-45).
    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). A Critical History of Modern Aesthetics. Haskell House.
     
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  3. William Francis Hare Listowel (1967). Modern Aesthetics: An Historical Introduction. London, Allen & Unwin.
     
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  4.  4
    Paul Mattick (2003). Art in its Time: Theories and Practices of Modern Aesthetics. Routledge.
    Art In Its Time takes a close look at the way in which art has become integral to the everyday 'ordinary' life of modern society. It explores the prevalent notion of art as transcending its historical moment, and argues that art cannot be separated from the everyday as it often provides material to represent social struggles and class, to explore sexuality, and to think about modern industry and our economic relationships.
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  5.  29
    Ewa Ziarek (2011). Towards a Feminist Aesthetics of Melancholia: Kristeva, Adorno, and Modern Women Writers. Critical Horizons 11 (3):443 - 461.
    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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  6. Emily Brady (2013). The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature. Cambridge University Press.
    In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect (...)
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  7. Paul Guyer (2014). A History of Modern Aesthetics 3 Volume Set. Cambridge University Press.
    A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely (...)
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  8. Gerhard Richter (2011). Afterness: Figures of Following in Modern Thought and Aesthetics. Columbia University Press.
    Gerhard Richter's groundbreaking study argues that the concept of "afterness" is a key figure in the thought and aesthetics of modernity. It pursues questions such as: What does it mean for something to "follow" something else? Does that which follows mark a clear break with what came before it, or does it in fact tacitly perpetuate its predecessor as a consequence of its inevitable indebtedness to the terms and conditions of that from which it claims to have departed? Indeed, is (...)
     
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  9. Endre Szécsényi (2014). Gustus Spiritualis: Remarks on the Emergence of Modern Aesthetics. Estetika 51 (1):62-85.
    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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  10. Harold Osborne (1968). Aesthetics in the Modern World. New York, Weybright and Talley.
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  11.  3
    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.
    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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  12.  7
    Dimitri El Murr & S. Halliwell (2004). The Aesthetics of Mimesis. Ancients Texts and Modern Problems. Journal of Hellenic Studies 124 (215):219.
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  13.  9
    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.
    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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  14. Michael F. Marra (2001). A History of Modern Japanese Aesthetics. Monograph Collection (Matt - Pseudo).
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  15. Michael F. Marra (1999). Modern Japanese Aesthetics a Reader. Monograph Collection (Matt - Pseudo).
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  16.  1
    Melvin Miller Rader (1973). A Modern Book of Esthetics. New York,Holt, Rinehart and Winston.
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  17. Melvin M. Rader (1937). A Modern Book of Esthetics. An Anthology. Journal of Philosophy 34 (9):248-250.
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  18. Raymond Aaron Younis (1994). Religious Experience, Modern Fiction and the Aesthetics of the Sacred. In Michael Griffith & Ross Keating (eds.), Religion Literature and the Arts. RLA Project 457-465.
  19. Jerome Stolnitz (1978). "The Aesthetic Attitude" in the Rise of Modern Aesthetics. Journal of Aesthetics and Art Criticism 36 (4):409-422.
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  20. Jerome Stolnitz (1984). "The Aesthetic Attitude" in the Rise of Modern Aesthetics: Again. Journal of Aesthetics and Art Criticism 43 (2):205-208.
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  21. Rolf Ekman (1958). Modern Aesthetics in Sweden. Journal of Aesthetics and Art Criticism 17 (2):181-186.
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  22.  18
    Anthony Savile (2015). A History of Modern Aesthetics. British Journal of Aesthetics 55 (3):406-409.
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  23.  56
    Filip Mattens (2011). The Aesthetics of Space: Modern Architecture and Photography. Journal of Aesthetics and Art Criticism 69 (1):105-114.
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  24.  61
    James Kirwan (2001). Modern Japanese Aesthetics: A Reader Michele Marra. British Journal of Aesthetics 41 (3):347-349.
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  25.  64
    Rémy G. Saisselin (1964). Critical Reflections on the Origins of Modern Aesthetics. British Journal of Aesthetics 4 (1):7-21.
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  26.  65
    Jorge V. Arregui & Pablo Arnau (1994). Shaftesbury: Father or Critic of Modern Aesthetics? British Journal of Aesthetics 34 (4):350-362.
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  27. Paul Guyer (2004). The Origins of Modern Aesthetics : 1711-1735. In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell Pub.
  28.  10
    Iredell Jenkins (2012). Hippolyte Taine and the Background of Modern Aesthetics. Modern Schoolman 20 (3):141-156.
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  29. Victorino Tejera (1996). American Modern: The Path Not Taken: Aesthetics, Metaphysics, and Intellectual History in Classic American Philosophy. Rowman & Littlefield Publishers.
    Written in the American tradition, American Modern: The Path Not Taken describes how four major American thinkers practiced philosophy non-reductively by incorporating the arts and other human activities. Tejera provides a detailed analysis of Peirce, Dewey, Santayana, and Buchler, showing that the importance they placed on the human can cure what is missing in recent philosophy. American Modern will interest philosophers, historians of philosophy, and scholars of American intellectual history.
     
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  30.  2
    D. Gartman (2000). Why Modern Architecture Emerged in Europe, Not America: The New Class and the Aesthetics of Technocracy. Theory, Culture and Society 17 (5):75-96.
    Using theories by Pierre Bourdieu and the Frankfurt School that causally link art to class interests, this article examines the differential development of modern architecture in the United States and central Europe during the early 20th century. Modern architecture was the aesthetic expression of technocracy, a movement of the new class of professionals, managers and engineers to place itself at the center of rationalized capitalism. The aesthetic of modernism, which glorified technology and instrumental reason, was weak and undeveloped (...)
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  31.  7
    Karl Popper & Divine Radiance (2005). ADORNO, THEODOR W.(Trans. By Anne G. Mitchell and Wesley V. Blomster). Philosophy of Modern Music. Continuum. 2003. Pp. 220.£ 14.99. BERUBE, MICHAEL (Ed.). The Aesthetics of Cultural Studies. Blackwell Publishing. 2004. Pp. 208. [REVIEW] British Journal of Aesthetics 45 (1).
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  32.  6
    Timothy M. Costelloe (2014). Brady, Emily. The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature. Cambridge University Press, 2013, Xii + 227 Pp., 4 B&W Illus., $90.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 72 (2):209-212.
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  33.  9
    Mikhail Saraf (2008). Aesthetics Rethinking Modern Sports. Proceedings of the Xxii World Congress of Philosophy 47:29-34.
    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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  34.  17
    J. P. Hodin (1967). The Aesthetics of Modern Art. Journal of Aesthetics and Art Criticism 26 (2):181-186.
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  35.  2
    Massimo Iiritano (2008). At the Vanishing Point of Reason: Aesthetics and Religion in Collingwoods Understanding of the Modern World. Collingwood and British Idealism Studies 14 (2):79-95.
    This article examines the place of emotion in art and religion and the place of both in civilization. Art lies at the 'vanishing point of reason', at the point where reason gives way to emotion. This raises the question of how civilization addresses the non-rational, emotional, superstitious aspects of life. In particular, is modern civilization lacking in the vital warmth which can only come from the life of the emotions and which is essential to its continued existence and vitality? (...)
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  36.  1
    Harvie Ferguson (2004). The Sublime and the Subliminal: Modern Identities and the Aesthetics of Combat. Theory, Culture and Society 21 (3):1-33.
    The article considers some aspects of the problem of both individual and collective identity in the context of the development of different kinds of warfare in modern western society. The elucidation of these relations requires an unexpected application of aesthetic ideas; in particular the notion of the sublime. It is argued that the experience of combat is one possible ‘real’ form of the sublime. It is further suggested, paradoxically, that sublime combat cannot actually be experienced; it is an ‘inexperience’. (...)
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  37. Annie Becq (1993). Creation, Aesthetics, Market: Origins of the Modern Concept of Art. In Paul Mattick (ed.), Eighteenth-Century Aesthetics and the Reconstruction of Art. Cambridge University Press 240--54.
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  38. Rolf Ekman (1961). Problems and Theories in Modern Aesthetics. Journal of Aesthetics and Art Criticism 19 (4):476-476.
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  39. R. K. Elliott (1968). "Aesthetics in the Modern World": H. Osborne. [REVIEW] British Journal of Aesthetics 8 (4):410.
     
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  40. Paul Guyer (2005). History of Modern Aesthetics. In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. OUP Oxford
     
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  41. R. W. Hepburn (1961). "Problems and Theories in Modern Aesthetics": Rolf Ekman. [REVIEW] British Journal of Aesthetics 1 (3):199.
     
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  42. Earl of Listowel (2016). A Critical History of Modern Aesthetics. Routledge.
    First published in 1933. The purpose of this work was to bridge a gap in English philosophical literature by completing the elaborate history of Bosanquet and to stimulate and enrich the whole study of aesthetics by means of his personal destructive and constructive criticism. This title will be of interest to students of philosophy.
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  43. Michele Marra (2001). Modern Japanese Aesthetics: A Reader. Journal of Aesthetics and Art Criticism 59 (1):113-115.
     
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  44. J. Colin McQuillan (2015). Early Modern Aesthetics. Rowman & Littlefield International.
    A clear and concise account of the relationship between aesthetics and philosophy in Europe during the seventeenth and eighteenth centuries and the development of aesthetics as a discipline in its own right.
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  45. J. Colin McQuillan (2015). Early Modern Aesthetics. Rowman & Littlefield International.
    A clear and concise account of the relationship between aesthetics and philosophy in Europe during the seventeenth and eighteenth centuries and the development of aesthetics as a discipline in its own right.
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  46. D. Petsch (2005). Modern Aesthetics. In Władysław Tatarkiewicz (ed.), History of Aesthetics. New York,Continuum
     
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  47. Dina A. Ramadan (2015). KANE, PATRICK. The Politics of Art in Modern Egypt: Aesthetics, Ideology, and Nation‐Building. New York: I.B. Tauris, 2013, Xxvi + 247 Pp., 59 B&W Illus., $80.00 Cloth. [REVIEW] Journal of Aesthetics and Art Criticism 73 (2):220-222.
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  48. Ruth Saw (1968). "Modern Aesthetics": The Earl of Listowel. [REVIEW] British Journal of Aesthetics 8 (3):298.
     
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  49. Bonnie Mann (2006). How America Justifies its War: A Modern/Postmodern Aesthetics of Masculinity and Sovereignty. Hypatia 21 (4):147-163.
    : The lies about the reasons for the U.S. war against Iraq provoked no mass public outcry in the United States against the war. What is the process of justification for this war, a process that seems to need no reasons? Mann argues that the process of justification is not a process of rational deliberation but one of aesthetic self-constitution, of rebuilding a masculine national identity. Included is a feminist reading of the National Defense University document Shock and Awe.
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  50.  5
    Bonnie Mann (2006). How America Justifies Its War: A Modern/Postmodern Aesthetics of Masculinity and Sovereignty. Hypatia 21 (4):147-163.
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