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1 — 50 / 703
  1. Harry Edwin Eiss (2008). Insanity and Genius: Masks of Madness and the Mapping of Meaning and Value. Cambridge Scholars Pub..
  2. Martin L. Davies & Marsha Meskimmon (eds.) (2003). Breaking the Disciplines: Reconceptions in Knowledge, Art, and Culture. I.B. Tauris.
    In this pioneering book, noted international scholars explore the limits and definitions of knowing, thinking, and communicating meaning as we move into the 21st century. Coming from disciplines as diverse as anthropology, philosophy, literature, aesthetics, and art practice, together they work towards reconceiving the boundaries between entrenched domains of knowledge to great effect.
  3. Angela Hobart & Bruce Kapferer (eds.) (2004). Aesthetics in Performance: Formations of Symbolic Construction and Experience. Berghahn Books.
    Introduction The Aesthetics of Symbolic Construction and Experience Bruce Kapferer and Angela Hobart The essays in this volume address aesthetic forms and ...
  4. David Bindman (2002). Ape to Apollo: Aesthetics and the Idea of Race in the 18th Century. Cornell University Press.
    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.
  5. W. E. Kennick (1964). Art and Philosophy. New York, St. Martin's Press.
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  6. J. Douglas Porteous (1996). Environmental Aesthetics: Ideas, Politics and Planning. Routledge.
    As overdevelopment, noise pollution, and land use become considerations in modern life, we become more thoughtful of the quality of our environments, whether the space is for recreation, education, or residential living. Demonstrating how such tenets as "to each his own" have contributed to the demise of our public spaces, Environmental Aesthetics is the first integrated study of this emerging field. Beginning with a brief history of aesthetics, the author explores the concept of landscape, the psychology of human-environment relations, the (...)
  7. Caroline van Eck, James McAllister & Renée van de Vall (eds.) (1995). The Question of Style in Philosophy and the Arts. Cambridge University Press.
    The eighteenth and nineteenth centuries witnessed a change in the perception of the arts and of philosophy. In the arts this transition occurred around 1800, with, for instance, the breakdown of Vitruvianism in architecture, while in philosophy the foundationalism of which Descartes and Spinoza were paradigmatic representatives, which presumed that philosophy and the sciences possessed a method of ensuring the demonstration of truths, was undermined by the idea, asserted by Nietzsche and Wittgenstein, that there exist alternative styles of enquiry among (...)
  8. A. L. Cothey (1990). The Nature of Art. Routledge.
    From Plato to Goodman, many philosophers have addressed problems in aesthetics and the philosophy of art. Nevertheless the central issues here have remained ill-defined. In this book, A. L. Cothey overcomes this difficulty by giving a systematic account of the leading philosophical ideas about art and aesthetics from ancient times to the present day. In The Nature of Art , Cothey concludes that the best-known philosophical theories of art fail to satisfy either the pragmatic or the aesthetic criteria required to (...)
  9. Lawrence Manley (1980). Convention, 1500-1750. Harvard University Press.
    This book is a history of the idea of convention, the roles it played in the formative stages of English and Continental literary theory and in the development ...
  10. Benjamin R. Tilghman (1984). But is It Art?: The Value of Art and the Temptation of Theory. B. Blackwell.
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  11. Gary Schmidgall (1990). Shakespeare & Opera. Oxford University Press.
    If opera had existed in Elizabethan London, the world's Top Bard, as W.H. Auden called him, might have become the world's Top Librettist. As Gary Schmidgall shows in this illuminating study, Shakespeare's expressive ways and dramaturgical means are like those of composers and librettists in numerous and often astonishing ways. No wonder that well over two hundred operas have been based on Shakespeare's plays. Ranging widely through the Shakespearean canon and the standard operatic repertory, Schmidgall presents a fascinating comparison, focusing (...)
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  12. Sven Rune Havsteen (ed.) (2007). Creations: Medieval Rituals, the Arts, and the Concept of Creation. Marston [Distributor].
  13. Leo Charney (1998). Empty Moments: Cinema, Modernity, and Drift. Duke University Press.
    In Empty Moments, Leo Charney describes the defining quality of modernity as "drift" - the experience of being unable to locate a stable sense of the present.
  14. Edmund J. Thomas (1990). Writers and Philosophers: A Sourcebook of Philosophical Influences on Literature. Greenwood Press.
  15. Karol Berger (2000). A Theory of Art. Oxford University Press.
    What, if anything, has art to do with the rest of our lives, and in particular with those ethical and political issues that matter to us most? Will art created today be likely to play a role in our lives as profound as that of the best art of the past? A Theory of Art shifts the focus of aesthetics from the traditional debate of "what is art?" to the engaging question of "what is art for?" Skillfully describing the social (...)
  16. C. G. Prado (1984). Making Believe: Philosophical Reflections on Fiction. Greenwood Press.
  17. Hugh J. Silverman (ed.) (1989). Derrida and Deconstruction. Routledge.
    The effects of Derrida's writings have been widespread in literary circles, where they have transformed current work in literary theory. By contrast Derrida's philosophical writings--which deal with the whole range of western thought from Plato to Foucault--have not received adequate attention by philosophers. Organized around Derrida's readings of major figures in the history of philosophy, Derrida and Deconstruction focuses on and assesses his specifically philosophical contribution. Contemporary continental philosophers assess Derrida's account of philosophical tradition, with each contributor providing a critical (...)
  18. Joseph Margolis (1989). Texts Without Referents: Reconciling Science and Narrative. Basil Blackwell.
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  19. Michael Ryan (1999). Literary Theory: A Practical Introduction: Readings of William Shakespeare, King Lear, Henry James, "the Aspern Papers," Elizabeth Bishop, the Complete Poems 1927-1979, Toni Morrison, the Bluest Eye. [REVIEW] Blackwell Publishers.
    Michael Ryan's Literary Theory: A Practical Introduction, Second Edition introduces students to the full range of contemporary approaches to the study of literature and culture, from Formalism, Structuralism, and Historicism to Ethnic Studies, Gender Studies, and Global English. Introduces readings from a variety of theoretical perspectives, on classic literary texts. Demonstrates how the varying perspectives on texts can lead to different interpretations of the same work. Contains an accessible account of different theoretical approaches An ideal resource for use in introductory (...)
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  20. Doris Behrens-Abouseif (1999). Beauty in Arabic Culture. Markus Wiener Publishers.
  21. Frank H. Farley & Ronald W. Neperud (eds.) (1988). The Foundations of Aesthetics, Art & Art Education. Praeger.
  22. Marcel Franciscono (1971). Walter Gropius and the Creation of the Bauhaus in Weimar: The Ideals and Artistic Theories of its Founding Years. Urbana,University of Illinois Press.
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  23. Maurice S. Friedman (1999). The Affirming Flame: A Poetics of Meaning. Prometheus Books.
  24. Lawrence Ferrara (1991). Philosophy and the Analysis of Music: Bridges to Musical Sound, Form, and Reference. Greenwood Press.
  25. Laurence D. Berman (1993). The Musical Image: A Theory of Content. Greenwood Press.
  26. Lewis Eugene Rowell (1983). Thinking About Music: An Introduction to the Philosophy of Music. University of Massachusetts Press.
    Examines the nature of music and traces the history of music philosophy from ancient Greece to the twentieth century.
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  27. Herman Rapaport (1997). Is There Truth in Art? Cornell University Press.
    'Is There Truth in Art?' includes chapters on atonal music, environmental art, modern German and French poetry, contemporary French fiction, experimental French ...
  28. Matthew Kieran (2005). Revealing Art. Routledge.
    Why does art matter to us, and what makes good art? Why is the role of imagination so important in art? Illustrated with carefully chosen color and black-and-white plates of examples from Michelangelo to Matisse and Poussin to Jackson Pollock, Revealing Art explores some of the most important questions we can ask about art. Matthew Kieran clearly but forcefully asks how art inspires us and disgusts us and whether artistic judgment is simply a matter of taste, and if art can (...)
  29. Constance Penley (ed.) (1988). Feminism and Film Theory. Bfi.
    No online description is currently available. If you would like to receive information about this title, please email Routledge at info@routledge-ny.com.
  30. Elizabeth Angilette (1992). Philosopher at the Keyboard: Glenn Gould. Scarecrow Press.
  31. Jon Huer (1987). Art, Beauty, and Pornography: A Journey Through American Culture. Prometheus Books.
  32. Christopher Morris (2002). Reading Opera Between the Lines: Orchestral Interludes and Cultural Meaning From Wagner to Berg. Cambridge University Press.
    A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera. Christopher Morris investigates the implications of these important but strangely overlooked passages. Combining close readings (...)
  33. Mary C. Gentile (1985). Film Feminisms: Theory and Practice. Greenwood Press.
  34. Arthur Coleman Danto (1981). The Transfiguration of the Commonplace: A Philosophy of Art. Harvard University Press.
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  35. Salim Kemal & Ivan Gaskell (eds.) (1993). Explanation and Value in the Arts. Cambridge University Press.
    Explanation and Value in the Arts offers penetrating studies by art historians, literary theorists, and philosophers, of issues central to explaining works of literature and painting. The first chapters look at the sources of interest in the fine arts and point to the intimate relation between aesthetic and other values. The next contributions develop the interaction between value and explanation in the study of the arts, including considerations of the nature of creativity and the principles for the explanations of works. (...)
  36. Michael D. Gose (2006). Getting Reel: A Social Science Perspective on Film. Cambria Press.
    This book is an easy-to-read, fun and provocative discussion of how to understand, appreciate, and evaluate film. Written by professor and film guru Michael Gose, the book is loved by students and moviegoers alike.
  37. Philip Alperson (ed.) (1992). The Philosophy of the Visual Arts. Oxford University Press.
    Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts" and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on the (...)
  38. Melvin L. Alexenberg (2006). The Future of Art in a Digital Age: From Hellenistic to Hebraic Consciousness. Intellect.
    "This book offers a prophetic vision of art in a digital future.
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  39. David Best (1978). Philosophy and Human Movement. Allen & Unwin.
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  40. David E. W. Fenner (ed.) (1995). Ethics and the Arts: An Anthology. Garland Pub..
    First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
  41. Philip Fisher (1998). Wonder, the Rainbow, and the Aesthetics of Rare Experiences. Harvard University Press.
    This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences.
  42. Adolf Portmann (ed.) (1977/1988). Color Symbolism: Six Excerpts From the Eranos Yearbook, 1972. Spring Publications.
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  43. Philip Rosen (ed.) (1986). Narrative, Apparatus, Ideology: A Film Theory Reader. Columbia University Press.
    The book includes many seminal articles by film scholars such as Christian Metz, Jean-Louis Baudry, Stephen Heath, Peter Wollen, Laura Mulvey, and Noel Burch, and by the era's leading cultural thinkers as well: Roland Barthes, Julia ...
  44. E. F. Carritt (1931/1976). Philosophies of Beauty From Socrates to Robert Bridges: Being the Sources of Aesthetic Theory. Greenwood Press.
  45. Mette Hjort (1993). The Strategy of Letters. Harvard University Press.
    Introduction O DY ss E us , one of the earliest and best-known strategists in the history of literature, chances upon the cave of the dim-witted giant ...
  46. David Trottin (ed.) (1999). In-Ex 01: Review of Peripheral Architecture = Revue Périphérique D'architecture. [REVIEW] Birkhäuser.
    Ex/in Australia--anonymous architecture -- In/editorial --In/interviews: F. Soler, J. Ferrier, W.J. Neutelings & M. Riedijk, R. Ricciotti, J. Moussafir, P. Gazeau, C. Hauvette, F. Seigneur, MVRDV, J. Nouvel, D. Lyon & P. du Besset, M. Vitart & J-M Ibos, ACTAR Arquitecura, M. Fuksas, A. Gigon & M. Guyer ,F. Druot, J. Herzog & P. de Meuron -- Ex/exteriors--Road movie -- In/reflexion on the peripherical stance--Paul Ardenne --Ex/exhibitions: Cécile Paris, Stalker, Access local, Anne Frémy --In/interests: University Paris 8 St.-Denis, garden shed, (...)
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  47. Gordon Graham (2007). The Re-Enchantment of the World: Art Versus Religion. OUP Oxford.
    The Re-enchantment of the World is a philosophical exploration of the role of art and religion as sources of meaning in an increasingly material world dominated by science. Gordon Graham takes as his starting point Max Weber's idea that contemporary Western culture is marked by a 'disenchantment of the world' -- the loss of spiritual value in the wake of religion's decline and the triumph of the physical and biological sciences. Relating themes in Hegel, Nietzsche, Schleiermacher, Schopenhauer, and Gadamer to (...)
  48. Frederick M. Keener (1983). The Chain of Becoming: The Philosophical Tale, the Novel, and a Neglected Realism of the Enlightenment: Swift, Montesquieu, Voltaire, Johnson, and Austen. Columbia University Press.
  49. Allen S. Weiss (1995). Phantasmic Radio. Duke University Press.
    In this original work of cultural criticism, Allen S. Weiss explores the meaning of radio to the modern imagination.
  50. Daniel Albright (1981). Representation and the Imagination: Beckett, Kafka, Nabokov, and Schoenberg. University of Chicago Press.
  51. 1 — 50 / 703