Autobiography and phenomenology: Preface for Germans (1934).--Phenomenology and theory of knowledge: Sensation, construction, and intuition (1913). On the concept of sensation (1913). Consciousness, the object, and its three distances (1916).--Phenomenology and esthetics: An essay in esthetics by way of a preface (1914). Esthetics on the streetcar (1916).--An esthetics of historical reason: The idea of theater: an abbreviated view (1946). Reviving the paintings (Velázquez, chapter I) (1946).
In this original and eye-opening study, Stefan Morawski sheds light on the notoriously inconclusive--and all too often confused--debate about the cultural significance of postmodernism and postmodernity. He shows how large the volume of historical and artistic knowledge needs to be to seriously grapple with the issues. Morawski unravels the complex strands which link our perception of postmodernism and postmodernity with aesthetic and human values whose roots lie deep in history. He discusses daily life in a consumer society, science and religion, (...) visual arts, literature, film, television and the most arcane works of contemporary music and offers an impassioned interrogation of the ways in which we understand, evaluate and use contemporary culture. (shrink)
Introduction to Kristeva -- Horror/basic concepts: the abject and its varieties -- Horror/specifying the circumstances -- Strangers/basic concepts: strangers without and within -- Strangers/expansions: the stranger's story -- Love/basic concepts -- Love/basic concepts the text of society and history -- Love/ Expansions: Old and new discourses -- The text of society and history -- Women and social change.
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. (...) A final section takes up questions of the role of ideology and the determining role of power. (shrink)
Shakespeare continues to articulate the central problems of our intellectual inheritance. The plays of a Renaissance playwright still seem to be fundamental to our understanding and experience of modernity. Key philosophical questions concerning value, meaning and justice continue to resonate in Shakespeare's work. In the course of rethinking these issues, Philosophical Shakespeares focuses on and encourages the growing dissolution of boundaries between literature and philosophy. Philosophical Shakespeares includes contributions from the first rank of contemporary criticism, drawing together original and previously (...) unpublished essays by leading European and US scholars. The approach throughout is interdisciplinary and ranges from problem-centered readings of particular plays to more general elaborations on the significance of Shakespeare in relation to individual thinkers or philosophical traditions. (shrink)
Willemen has contributed to the development of film theory and cultural studies over the past 20 years. This is a collection of his classic, provocative essays, covering issues such as pornography and melodrama, Third Cinema, questions of national identity, and theories of postmodernism.
The essays in this collection are concerned with the philosophical problems that arise in connection with the understanding and evaluation of literature - such problems as the relationship between the work and the author (authorial intention), between the work and the world (reference and truth), the definition of a literary work, and the nature of literary theory itself. Professor Olsen attacks many of the orthodoxies of modern literary theory, in particular the enterprise to build a comprehensive systematic literary theory. His (...) own work is informed by a consistent perspective: the assumption that literature is a social institution governed by conventions, and that answers to problems of interpretation and appreciation can be found only through an analysis of these conventions. This is an important book for scholars and students of literary theory and philosophy, especially for those who see an ever-increasing cross-fertilization between the two disciplines. (shrink)
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 (...) explain our experience of art. Introducing topics from areas of philosophy such as semantics, theories of cognition and the ethical nature of pleasure and enjoyment, Cothey develops a new theory explaining aesthetic satisfaction, artistic ability and why aesthetic experiences escape articulation. The Nature of Art will force readers to re-examine their views on art, and prove a significant contribution to the new debate onaesthetics. (shrink)
Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us explore (...) the differences between the arts. He presents five case studies, three from literature, two from music. With its combination of historical and analytic approaches this is a book for a wide range of readers in philosophy, literary studies, music, and non-academic readers with interests in the arts. (shrink)
This volume brings together new essays from distinguished scholars in a variety of disciplines - philosophy, history, literary studies, art history - to explore various ways in which aesthetics, politics and the arts interact with one another. Politics is an elastic concept, covering an oceanic breadth of mechanisms for conducting relations between empowered groups, and these essays offer a range of perspectives, including nations, classes, and gendered subjects, which examine the imbrication of politics with arts. Together they demonstrate the need (...) to counteract the reductionist view of the relationship between politics and the arts which prevails in different ways in both philosophy and critical theory, and suggest that the irreducibility of the aesthetic must prompt us to reconceive the political as it relates to human cultural activity. (shrink)
This text probes the psychic and social roots of artistic scenarios of loss. Demonstrating that artistic activity is inextricably bonded to imaginary scripts of bereavement and these in turn to patterns of social dominance, the author argues in favor of an "aesthetics of lessness" that is, postmodern resistance to imaginary inscriptions of grief and their misogynist sequels. The book draws on psychoaesthetics, discourse theory and feminist social critiques to analyse literary visual figurations of loss. Included in its analysis of the (...) romantic and post-romantic imaginary are readings of Merimee, Nerval, Hoffmann, H.D., Anne Hebert, Proust and Beckett, and essays, among others, on Kollwitz, Glacometti, Bellmer, Klee, Gidal and Oulton. (shrink)
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 (...) the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)
This major collection of essays stands at the border of aesthetics and ethics and deals with charged issues of practical import: art and morality, the ethics of taste, and censorship. As such its potential interest is by no means confined to professional philosophers; it should also appeal to art historians and critics, literary theorists, and students of film. Prominent philosophers in both aesthetics and ethics tackle a wide array of issues. Some of the questions explored in the volume include: Can (...) art be morally enlightening and, if so, how? If a work of art is morally better does that make it better as art? Is morally deficient art to be shunned, or even censored? Do subjects of artworks have rights as to how they are represented? Do artists have duties as artists and duties as human beings, and if so, to whom? How much tension is there between the demands of art and the demands of life? (shrink)
A new consideration of these changes is a practical and cultural necessity. In Conditions of Music, Alan Durant extends Deryck Cooke's Language of Music, placing the insights of Cooke into a much wider sociological and historical framework.
In recent years feminist scholarship has increasingly focused on the importance of the body and its representations in virtually every social, cultural, and intellectual context. Many have argued that because women are more closely identified with their bodies, they have access to privileged and different kinds of knowledge than men. In this landmark new book, Paula Cooey offers a different perspective on the significance of the body in the context of religious life and practice. Building on the pathbreaking work of (...) Elaine Scarry in The Body in Pain, Cooey looks at a wide range of evidence, from the Argentine prison narrative of Alicia Partnoy, to the novels of Toni Morrison and the paintings of Frida Kahlo. Drawing on current social theory and critique, cognitive psychology, contemporary fiction and art, and women's accounts of religious experience, Cooey relates the reality of sentience to the social construction of reality. Beginning with an examination of the female body as a metaphor for alternative knowledge, she considers the significance of physical pain and pleasure to the religious imagination, and the relations between sentience, sensuality, and female subjectivity. Cooey succeeds in bringing forward a sophisticated new understanding of the religious importance of the body, at the same time laying the foundations of a feminist theory of religion. (shrink)
The Routledge Companion to Aesthetics is an indispensable guide and reference source to the major thinkers and topics in aesthetics. Forty-six new entries by a team of renowned international contributors provide clear and up-to-date entries under four headings: historical, from Plato to Derrida; aesthetic theory, from definitions of art to pictorial representation; issues and challenges, from criticism to feminist aesthetics; and the individual arts, from literature to theatre.
Arguing about Art, 2nd Edition is an expanded and revised new edition of this highly acclaimed anthology. This lively collection presents twenty-seven readings in a clear and accessible format discussing the major themes and arguments in aesthetics. Alex Neill and Aaron Ridley's introductions provide a balanced account of each topic and highlight the important questions that are raised in the readings. The new sections of the book are: The Art of Food; Rock Music and Culture; Enjoying Horror; Art and Morality (...) ; and Public Art . In addition, many of the introductions have been updated and each section includes suggestions for further reading. (shrink)
"I hope that in this book you find inspiration and encouragement to follow any urges you have had to make photographs that capture the spirit of a child." — GINNY FELCH Learn to trust your instincts and your own unique vision Discover how ...
Recent developments in literary theory, such as structuralism and deconstruction, have come under attack for neglecting history, while historically-based approaches have been criticized for failing to take account of the problems inherent in their methodological foundations. This collection of essays is unique in that it focuses on the relation between post-structuralism and historical (especially Marxist) literary theory and criticism. The volume includes a deconstructive reading of Marx, essays that relate history to the philosophical and institutional context, and a number of (...) studies of particular texts, literary and non-literary, which pose the question of history and literary theory with particular force. (shrink)
This book is about aesthetic processes and play from the perspectives of psychologists, philosophers, and semiologists. They explore the underlying processes from many viewpoints, including the prehistoric roots of language and art; the historical evolution of artistic, literary, and musical styles; the structure of artworks from both gestalt and semiotic perspectives; the biological and psychological processes underlying production and appreciation; the appeal of sentimental art; emotional responses to art and other aesthetic forms; personality in relation to artistic style; the testing (...) and measurement of art-related skills; the relations between social life and literary understanding; literature in relation to media; as well as neurobiological, developmental and individual growth perspectives on play activity. (shrink)
This book makes a vigorous reassessment of the moral dimension in Chaucer's writings. For the Middle Ages, the study of human behavior generally signified the study of the morality of attitudes, choices, and actions. Moreover, moral analysis was not gender neutral: it presupposed that certain virtues and certain failings were largely gender-specific. Alcuin Blamires, mainly concentrating on The Canterbury Tales, discloses how Chaucer adapts the composite inherited traditions of moral literature to shape the significance and the gender implications of his (...) narratives. Chaucer, Ethics, and Gender is therefore not a theorization of ethical reading but a discussion of Chaucer's engagement with the literature of practical ethical advice. Working with the commonplace primary sources of the period, Blamires demonstrates that Stoic ideals, somewhat uncomfortably absorbed within medieval Christian moral codes as Chaucer realized, penetrate the poet's constructions of how women and men behave in matters (for instance) of friendship and anger, sexuality and chastity, protest and sufferance, generosity and greed, credulity and foresight. The book will be absorbing for all serious readers or teachers of Chaucer because it is packed with commanding new insights. It offers illuminating explanations concerning topics that have often eluded critics in the past: the flood-forecast in The Miller's Tale, for example; or the status of emotion and equanimity in The Franklin's Tale; the "unethical" sexual trading in the Shipman's Tale; the contemporary moral force of a widow's curse in The Friar's Tale; and the quizzical moral link between the Wife of Bath's Prologue and Tale. There is even a new hypothesis about the conceptual design of The Canterbury Tales as a whole. Deeply informed and historically alert, this is a book that engages its reader in the vital role played by ethical assumptions (with their attendant gender assumptions) in Chaucer's major poetry. (shrink)
The famous quip "I don't know much about art, but I know what I like" sums up many people's ideas about how to judge a work of art; but there are inherent limitations if we rely on immediate impressions in judging what should be enduring products of our culture. While some might criticize this as a return to "elitism," Joshua Fineberg argues that without some way of determining intrinsic value, there can be no movement forward for creators or their audience. (...) He draws on contemporary thought about "Design space" and "Universal Grammar" to show how intrinsic values can be rediscovered. He then looks at the importance of multimedia in allowing multiple points of entry for the discovering of new works, finally showing how the composer can "Design music for human beings"--creating a kind of art that can preserve the research agenda of conceptual work without renouncing the understanding of human listeners and performers embodied by craft. Classical Music: Why Bother? will intrigue all listeners of contemporary music, students of musical thought, and composers-but it will also interest students of contemporary aesthetics. It answers the age-old question "How can we bring a new audience to contemporary art?" - and challenges both the creators and their audience to broaden their ideas about what is valuable and lasting in today's culture. (shrink)