Search results for 'Decadence in art' (try it on Scholar)

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  1.  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 (...)
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  2.  73
    Oliver Conolly (2004). Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy and Culture of the Fin de Siècle in Europe. British Journal of Aesthetics 44 (2):199-202.
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  3.  6
    Russell Ames (1952). Decadence in the Art of T. S. Eliot. Science and Society 16 (3):193 - 221.
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  4.  6
    Eric R. Kandel (2011). The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain: From Vienna 1900 to the Present. Random House.
    A psychoanalytic psychology and art of unconscious emotion -- An inward turn : Vienna 1900 -- Exploring the truths hidden beneath the surface : origins of a scientific medicine -- Viennese artists, writers, and scientists meet in the Zuckerkandl Salon -- Exploring the brain beneath the skull : origins of a scientific psychiatry -- Exploring mind together with the brain : the development of a brain-based psychology -- Exploring mind apart from the brain : origins of a dynamic psychology -- (...)
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  5.  8
    Frederik le Roy (ed.) (2011). Tickle Your Catastrophe!: Imagining Catastrophe in Art, Architecture and Philosophy. Academia Press.
    A collection of essays that takes stock of the current impact of the image and imagination of the catastrophe in art, science and philosophy.
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  6.  14
    A. E. Carter (1960). The Idea of Decadence in French Literature, 1830-1900. Journal of Aesthetics and Art Criticism 19 (1):102-103.
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  7. Mary Sanders Pollock & Catherine Rainwater (eds.) (2005). Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy, and Popular Culture. Palgrave Macmillan.
    Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in a (...)
     
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  8. David Freedberg & Jan De Vries (1991). Art in History, History in Art Studies in Seventeenth- Century Dutch Culture. Monograph Collection (Matt - Pseudo).
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  9. E. H. Gombrich (1994). Ideals & Idols Essays on Values in History and in Art.
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  10.  8
    Iain Boyd Whyte (ed.) (2010). Beyond the Finite: The Sublime in Art and Science. Oxford University Press.
    Science is continually faced with describing that which is beyond. This book, through contributions from nine prominent scholars, tackles that challenge.
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  11.  2
    Ike Kamphof (forthcoming). A Modest Art: Securing Privacy in Technologically Mediated Homecare. Foundations of Science:1-9.
    This article addresses the art of living in a technological culture as the active engagement with technomoral change. It argues that this engagement does not just take the form of overt deliberation. It shows in more modest ways as reflection-in-action, an experimental process in which new technology is fitted into existing practices. In this process challenged values are re-articulated in pragmatic solutions to the problem of working with new technology. This art of working with technology is also modest in the (...)
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  12.  10
    Herta Pauly (1973). Aesthetic Decadence Today Viewed in Terms of Schiller's Three Impulses. Journal of Aesthetics and Art Criticism 31 (3):365-373.
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  13. C. E. Emmer (2008). Crowther and the Kantian Sublime in Art. In Valerio Rohden, Ricardo R. Terra & Guido A. de Almeida (eds.), Recht und Frieden in der Philosophie Kants: Akten des X. Internationalen Kant-Kongresses [Right and Peace in Kant's Philosophy: Proceedings of the 10th International Kant Congress] 5 vols. Walter de Gruyter
    Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.
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  14.  15
    Matthew Lipman (1967). What Happens in Art. New York, Appleton-Century-Crofts.
    Subsequently presented is a more detailed consideration of the notion of process , for we cannot understand what happens in art as a process unless we are ...
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  15.  22
    Martin Kemp, Erwin Panofsky & Christopher S. Wood (1994). The Science of Art: Optical Themes in Western Art From Brunelleschi to Seurat. Journal of Aesthetics and Art Criticism 52 (2):243-245.
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  16. George C. Schuetze (2005). Convergences in Music and Art: A Bibliographic Study. Harmonie Park Press.
    Artists inspired by music and musicians -- Composers inspired by art and artists -- Twin talents : artist-musicians and musician-artists -- Musicians pose for the artists : a history of portrait iconography.
     
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  17. Wessel Stoker & W. van der Merwe (eds.) (2012). Looking Beyond?: Shifting Views of Transcendence in Philosophy, Theology, Art, and Politics. Rodopi.
    Philosophy : historical approaches -- Contemporary philosophy -- Philosophical theology -- Christian theology -- Politics -- Art.
     
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  18.  19
    Walter Carnielli (2004). Book Reviews: Claude P. Bruter (Editor), Mathematics in Art: Mathematical Visualization in Art and Education. Logic and Logical Philosophy 13:163-166.
    Claude P. Bruter (editor), Mathematics in Art: Mathematical Visualization in Art and Education, Springer-Verlag, New York, 2002, pp. X + 337, ISBN 3-540-43422-4.
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  19.  4
    Erich Mistrík (2011). Human Being Transcending Itself: Creative Process in Art as a Model of Our Relation to the Ultimate Reality. Human Affairs 21 (2):119-128.
    The paper reviews some of the links between the notion of “ultimate reality” and everyday life, mainly art, beauty, the creative processes in art, and citizenship. If, according to M. Heidegger, art reveals the truth of being , then we may find some historical descriptions of creative processes that are very close to descriptions of ultimate reality. Three examples of these kinds of descriptions are discussed . The final aim is to show how the interpretation of ultimate reality can contribute (...)
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  20. Gavin Keeney (2011). "Else-Where": Essays in Art, Architecture, and Cultural Production 2002-2011. Cambridge Scholars Publishing.
    “Else-where” is a synoptic survey of the representational values given to art, architecture, and cultural production from 2002 through 2011. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the real Real . While architecture nominally addresses an environmental ethos, it also famously negotiates its own representational values by way of its putative autonomy ; its main repression (...)
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  21. Kuisma Korhonen & Pajari Räsänen (eds.) (2010). The Event of Encounter in Art and Philosophy: Continental Perspectives. Gaudeamus.
     
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  22.  29
    Alva Noë (2000). Experience and Experiment in Art. Journal of Consciousness Studies 7 (8-9):123-135.
    A significant impediment to the study of perceptual consciousness is our dependence on simplistic ideas about what experience is like. This is a point that has been made by Wittgenstein, and by philosophers working in the Phenomenological Tradition, such as Husserl and Merleau-Ponty. Importantly, it is an observation that has been brought to the fore in recent discussions of consciousness among philosophers and cognitive scientists who have come to feel the need for a more rigorous phenomenology of experience. The central (...)
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  23.  70
    John Dilworth (2002). Four Theories of Inversion in Art and Music. Southern Journal of Philosophy 40 (1):1-19.
    Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...)
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  24. Tere Vadén (2003). Rock the Boat: Localized Ethics, the Situated Self, and Particularism in Contemporary Art. Salon.
     
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  25. Ananda Kentish Coomaraswamy (1995). The Transformation of Nature in Art. Sterling Publishers Pvt. Ltd..
    The theory of art in Asia.--Meister Eckhart's view of art.--Reactions to art in India.--Aesthetic of the Śukranītsāra.--Paroksa.--Ábhása.--Origin and use of images in India.--Notes.--Sanskrit glossary.--List of Chinese characters.--Bibliography (p. [235]-245).
     
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  26. Moshe Barasch (1996). Language of Art Studies in Interpretation.
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  27. Frances S. Connelly (2012). The Grotesque in Western Art and Culture: The Image at Play. Cambridge University Press.
    Machine generated contents note: 1. Introduction: entering the Spielraum; 2. Improvisation I: grottesche; 3. Improvisation II: arabesques; 4. Subversion: the carnivalesque body; 5. Trauma: the failure of representation; 6. Revelation: profound play.
     
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  28. E. H. Gombrich (2002). The Preference for the Primitive Episodes in the History of Western Taste and Art.
     
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  29. Ernst Heinrich Philipp August Haeckel, Olaf Breidbach & Irenäus Eibl-Eibesfeldt (1998). Art Forms in Nature the Prints of Ernst Haeckel : One Hundred Color Plates.
     
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  30. Maxine Harris, Louwrien Wijers, Sheldon Rochlin, Robert Rauschenberg & David Bohm (1993). Art Meets Science and Spirituality in a Changing Economy. Monograph Collection (Matt - Pseudo).
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  31. David Kelley & Edward Timms (1985). Unreal City Urban Experience in Modern European Literature and Art.
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  32. Donald B. Kuspit & Lynn Gamwell (1996). Health and Happiness in 20th-Century Avant-Garde Art.
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  33.  5
    James A. Leith & George Whalley (eds.) (1987). Symbols in Life and Art: The Royal Society of Canada Symposium in Memory of George Whalley. Published for the Royal Society of Canada by Mcgill-Queen's University Press.
    Printbegrænsninger: Der kan printes 10 sider ad gangen og max. 40 sider pr. session.
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  34. Edward Lucie-Smith (1994). Race, Sex and Gender in Contemporary Art the Rise of Minority Culture.
     
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  35. H. E. Matthews & Goran Sorbom (1967). Mimesis and Art: Studies in the Origin and Early Development of an Aesthetic Vocabulary. Philosophical Quarterly 17 (69):377.
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  36. Ananta Charana Sukla (ed.) (2011). Art and Expression: Contemporary Perspectives in the Occidental and Oriental Traditions. Traugott Bautz.
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  37. William Watson (1975). Realistic Style in the Art of Han and T Ang China.
     
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  38. Jonathan Weinberg, Charles Demuth & Marsden Hartley (1993). Speaking for Vice Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde. Monograph Collection (Matt - Pseudo).
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  39.  19
    Galen A. Johnson (2013). On the Origin(s) of Truth in Art: Merleau-Ponty, Klee, and Cézanne. Research in Phenomenology 43 (3):475-515.
    Beginning from Klee’s statement on truth in self-portraiture that his faces are truer than real ones and Cézanne’s promise to tell us the truth in painting, we consider the origins of truth in art for the philosophy of Merleau-Ponty. We discover that truth in perception, in life, and incarnate existence, as in art, originates from bodily movement. Similar to Heidegger’s argument in “The Origin of the Work of Art,” a truth happens between the work and painter, between the work and (...)
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  40.  6
    Jennifer A. McMahon (2011). The Shades in Platon's Mirror: The Ethical, Political and Aesthetic in the Art of Mischa Kuball. Column 8:99-104.
    Plato’s distinction between appearance and reality which he attempts to demonstrate in his allegory of the cave established the conceptual framework for theories of knowledge for many centuries. The quest for certainty set us on the path to believing that reality is there to be discovered. We only have to open our eyes and minds. Yet a recurring question about the interface between culturally acquired concepts and objective sense perception remains a point of contention. Mischa Kuball’s Platon’s Mirror addresses this (...)
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  41.  1
    A. Ia Zis' (1966). On the Dialectics of Content and Form in Art. Russian Studies in Philosophy 5 (3):37-47.
    That form shall correspond to the content of a work is a law of realist art. Marxist-Leninist esthetics, on the basis of discovery of this law, does not prescribe an invented norm for the artist, but generalizes from the experience of art itself. Methodologically, it takes as its point of departure the dialectics of content and form. In so doing, Marxist-Leninist esthetics does not dissolve in philosophical concepts the distinctive features of content in art and the nature of form. It (...)
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  42.  4
    Akos Krassoy (2016). The Ethics of the Face in Art: On the Margins of Levinas’s Theory of Ethical Signification in Art. Estetika: The Central European Journal of Aesthetics 53 (1):42-73.
    In ‘Reality and Its Shadow’, Levinas dismisses knowledge as a whole from art. This has deep implications for the ethical. The aesthetic event has nothing to do with the ethical event – art does not seem to hold a place for ethical knowledge. This situation is problematic with respect to the conflicting phenomenological evidence as well as with respect to Levinas himself, who occasionally relies on works of art in his ethical phenomenological analyses. My article aims to fill in the (...)
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  43.  4
    T. P. Znamerovskaia (1962). On The Problem of Form and Content in Art. Russian Studies in Philosophy 1 (1):37-45.
    The question of form and content is one of the fundamental questions of esthetics and the theory of art. However, it remains unresolved in many respects. Certain of its aspects still have not been investigated, and others have been treated only very sketchily.
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  44.  4
    Victor V. Bychkov (2012). Symbolization in Art as an Aesthetic Principle. Russian Studies in Philosophy 51 (1):64-79.
    The author analyzes artistic symbolization as the process by which the artist creatively embodies metaphysical reality in the work of art and evokes a spiritual and emotional response in the recipient.
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  45.  3
    L. F. Denisova (1967). Realism in Art and the Problem of Alienation. Russian Studies in Philosophy 6 (1):40-51.
    The concept of alienation has taken firm root in the field of esthetics. One cannot say that its content is identical in everything one reads. Nonetheless, employment of this concept is always for the purpose, so to speak, of "clarification." It is often employed on the assumption that its use permits one to make clear whatever may be incomprehensible in the form and content of a work of art. It has become customary to have recourse to the concept of alienation (...)
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  46. Michael Krausz (ed.) (2007). Interpretation and Transformation: Explorations in Art and the Self. Rodopi.
    In this book, Michael Krausz addresses the concept of interpretation in the visual arts, the emotions, and the self. He examines competing ideals of interpretation, their ontological entanglements, reference frames, and the relation between elucidation and self-transformation.“This book marks a decisive moment in the philosophical scholarship on interpretation. Krausz is a unique figure in the current philosophical climate, equally capable of theoretical sophistication, eloquence, and compelling argumentation. Widely acclaimed for his major contributions to interpretation theory, he has now added a (...)
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  47.  15
    S. Fairhall & A. IshAi (2008). Neural Correlates of Object Indeterminacy in Art Compositions. Consciousness and Cognition 17 (3):923-932.
    Indeterminate art invokes a perceptual dilemma in which apparently detailed and vivid images resist identification. We used event-related fMRI to study visual perception of representational, indeterminate and abstract paintings. We hypothesized increased activation along a gradient of posterior-to-anterior ventral visual areas with increased object resolution, and postulated that object resolution would be associated with visual imagery. Behaviorally, subjects were faster to recognize familiar objects in representational than in both indeterminate and abstract paintings. We found activation within a distributed cortical network (...)
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  48.  5
    Alexander Nehamas (2007). Only a Promise of Happiness: The Place of Beauty in a World of Art. Princeton University Press.
    Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness , Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and (...)
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  49. Stephen Snyder (2010). Arthur Danto’s Andy Warhol: The Embodiment of Theory in Art and the Pragmatic Turn. Leitmotiv:135-151.
    Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he termed the ‘artworld’. The (...)
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  50.  18
    Malgorzata A. Szyszkowska (2010). Messages in Art and Music: On Route to Understanding Musical Works with Jerrold Levinson. Dialogue and Universalism 20 (3-4):97.
    In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in expression (...)
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