Results for 'Alois Riegl'

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  1.  23
    An “Ecological” View of Styles of Science and of Art: Alois Riegl’s Explorations of the Style Concept.Chunglin Kwa - 2012 - Studies in History and Philosophy of Science Part A 43 (4):610-618.
    This paper compares the views of styles of science of Alistair Crombie and Ian Hacking with the notion of styles of art, as developed by Alois Riegl at the end of the 19th Century. Important similarities are noted, notably in the conceptualization of the autonomy of styles. Riegl developed in particular the notion of Kunstwollen , which encompasses an implied relation to the world, in both a cognitive and an ethical sense, and a relation to the public (...)
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  2. Time and History in Alois Riegl's Theory of Perception.Mike Gubser - 2005 - Journal of the History of Ideas 66 (3):451-474.
  3.  12
    Essay: The Kunstwollen of the Scientific Era and Alois Riegl’s Stimmung.Konstantinos Vassiliou - 2018 - Nordic Journal of Aesthetics 27 (55-56):65-81.
    Alois Riegl’s essay “Die Stimmung als Inhalt der modernen Kunst” has been one of art historiography’s early attempts to bridge art and science. In this text, Riegl not only presents the background of some of his theoretical and methodological premises but he also provides an overarching argument for the way natural sciences af- fect modern spectatorship. In this way, he establishes the basis of a Kunstwollen for the ‘age of the natural sciences’ and describes its appropriate artistic (...)
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  4.  3
    Spätrömische KunstindustrieSpatromische Kunstindustrie.Alois Riegl - 1927 - Journal of Hellenic Studies 47:270.
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  5. Recent Interpretations of Riegl, Alois.Gc Sciolla - 1986 - Filosofia 37 (3):251-255.
     
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  6.  5
    A Survey of Persian Art, XIV: New Studies, 1938-1960Historische Grammatik der Bildenden Kunste.J. Gutmann, Arthur U. Pope & Alois Riegl - 1971 - Journal of Aesthetics and Art Criticism 29 (4):565.
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  7.  43
    What is Nomad Art? A Benjaminian Reading of Deleuze's Riegl.Jay Hetrick - 2012 - Deleuze and Guatarri Studies 6 (1):27-41.
    In A Thousand Plateaus, Deleuze and Guattari offer a description of what they call ‘nomad art’ by detailing its three primary characteristics: close-range vision, haptic space, and abstract line. In an attempt to unpack the significance of this provocative term, this paper will sketch the provenance of the first two of these characteristics, both of which come from Deleuze and Guattari's particular reading of Alois Riegl. Together, close-range vision and haptic space delineate the synaesthetic vision of the artist (...)
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  8. Art and Bewilderment.Jakub Stejskal - 2016 - British Journal of Aesthetics 56 (2):131-147.
    In this paper, I seek to defend the proposition that bewilderment can contribute to the interest we take in artworks. Taking inspiration from Alois Riegl’s underdeveloped explanation of why his contemporaries valued some historically distant artworks higher than recent art, I interpret the historical case of the European audiences’ fascination with the Fayum mummy portraits as involving such a bewilderment. I distinguish the claim about effective bewilderment from the thesis that aesthetic meaning resists discursive understanding and seek to (...)
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  9.  51
    The Genesis of Iconology.Jaś Elsner & Katharina Lorenz - 2012 - Critical Inquiry 38 (3):483-512.
    Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 that (...)
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  10.  22
    Validation by Touch in Kandinsky's Early Abstract Art.Margaret Olin - 1989 - Critical Inquiry 16 (1):144-172.
    Some recent artists and critics have taken it upon themselves to demystify the notion of stylistic unity. Their task has included the historical reconception of a few “modernist” artists along “postmodern” lines, usually as precursors of current semiotic strategies.11 These artists may have used a set of incompatible styles to expose the artificiality of competing stylistic conventions, or even to challenge the myth that celebrates the authenticity of artistic expressiveness. Pablo Picasso and Marcel Duchamp, otherwise very different artists, have both (...)
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  11.  22
    "Form," Nineteenth-Century Metaphysics, and the Problem of Art Historical Description.David Summers - 1989 - Critical Inquiry 15 (2):372-406.
    It will be useful to consider briefly how the ideas surrounding “form” work in practice. Such ideas rapidly developed to a high stage of sophistication, subtlety, and complexity, but they did not, I believe, stray from the foundations I have tried to indicate for them. Let us consider the example of Wilhelm Worringer, who, like Alois Riegl, found it preferable to discuss ornament rather than images because ornament is a purer expression of form and therefore provides a less (...)
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  12.  8
    As Noções de Stimmung em uma Série Histórica: entre Disposição e Atmosfera.Arlenice Almeida da Silva - 2016 - Trans/Form/Ação 39 (s1):53-74.
    RESUMO: A relação entre arte e filosofia é examinada com base na noção de Stimmung, que surge no século XVIII, na teoria musical, como relação de proporção entre tons ou instrumentos, sendo, em seguida, transposta para a estética, no final do século, com Kant e Fichte. Em Kant, a Stimmung refere-se à disposição das faculdades de conhecimento para um conhecimento em geral, isto é, como o pressuposto da apresentação estética, por meio da qual se preserva a noção de proporção entre (...)
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  13.  37
    Authenticity and Historic Preservation: Towards an Authentic History.Randolph Starn - 2002 - History of the Human Sciences 15 (1):1-16.
    Authenticity was neither an exclusive criterion nor even a keyword in the rise of the historic preservation movement before the heated controversies over `Heritage' beginning in the late 1960s. Both advocates and critics have tended to ignore or oversimplify an actual history of non-dogmatic but not at all unprincipled reflection, analysis and professional practice. From the writings of Alois Riegl and Camillo Boito around 1900 through ongoing debates over the ideal of authenticity put forth by the Venice Charter (...)
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  14.  1
    Stil Und Abgeschiedenheit.Mari Hvattum - 2018 - Deutsche Zeitschrift für Philosophie 66 (6):831-844.
    In his famous essay “Der moderne Denkmalkultus. Sein Wesen und seine Entstehung” from 1903, the Austrian historian and art theorist Alois Riegl pondered why it is that the modern observer is able to appreciate the monuments of the past. It seems an odd question. The nineteenth century was obsessed with history; its artists and architects were often accused of appreciating nothing but the past. Yet, Riegl’s question is prescient. If, as the historicists had long professed, there are (...)
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  15. Writing Art History: Disciplinary Departures.Margaret Iversen & Stephen Melville - 2010 - University of Chicago Press.
    Faced with an increasingly media-saturated, globalized culture, art historians have begun to ask themselves challenging and provocative questions about the nature of their discipline. Why did the history of art come into being? Is it now in danger of slipping into obsolescence? And, if so, should we care? In _Writing Art History_, Margaret Iversen and Stephen Melville address these questions by exploring some assumptions at the discipline’s foundation. Their project is to excavate the lost continuities between philosophical aesthetics, contemporary theory, (...)
     
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  16.  4
    Rhythm as Form of Aesthetic Process – Architecture.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter In 1910, Hans Hermann Russack, one of August Schmarsow's students in Leipzig, published an essay entitled Der Begriff des Rhythmus bei den deutschen Kunsthistorikern des XIX. Jahrhunderts – The Concept of Rhythm in the German Art Historians of the 19th Century. This study was far from complete: it barely mentioned Aloïs Riegl and the competitors of the Viennese school; it referred only indirectly to Wilhelm Pinder and gave - Architecture – Nouvel article.
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  17.  7
    Rhythm as Spatial Aesthetic Form.Pascal Michon - forthcoming - Rhuthmos.
    Previous chapter During the 1900s and the 1910s, the rhythm became the subject of a fierce debate between the Swiss-German and Austrian schools of art history. Rhythm which had been considered by the former as a form of process was now redefined by the latter as a spatial form. To better assess this controversy, I will first expose the position of the main opponent to Wölfflin and Schmarsow: the Austrian art historian Alois Riegl - Esthétique – Nouvel article.
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  18. Foto und gemälde Von Alois reutterer, reutte 1. fotografie und malerei der streit, ob ein foto gleich einem gemälde ein Kunstwerk, oder kurz, ob fo-tografie Kunst sei, ist so Alt wie die fotografie selbst. Von den erfindern da.Reutte von Alois Reutterer - 1977 - Conceptus: Zeitschrift Fur Philosophie 1:81.
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  19.  20
    Wittgensteins Philosophische Untersuchungen: Vom Buch Zum Album.Alois Pichler (ed.) - 2004 - Rodopi.
    Was ist es, was Ludwig Wittgensteins Philosophische Untersuchungen zu etwas Besonderem macht? Sind die Philosophischen Untersuchungen als Argumentation für bestimmte philosophische Thesen zu lesen, oder soll man sie therapeutisch verstehen? Wann wurden die Untersuchungen überhaupt begonnen? Wann ist die Wende zu Wittgensteins Spätphilosophie passiert und was hat als solche zu gelten? Warum nennt Wittgenstein seine Philosophischen Untersuchungen ein “Album”? Welche Funktion hat der Stil der Untersuchungen?Auf diese und damit verbundene Fragen versucht das vorliegende Buch eine Antwort zu geben. Ein Teil (...)
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  20. Gnostica Et Manichaica: Festschrift für Aloïs van Tongerloo: Anlässlich des 60. Geburtstages Überreicht von Kollegen, Freunden Und Schülern.Alois van Tongerloo, Michael Knüppel & Luigi Cirillo (eds.) - 2012 - Harrassowitz.
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  21. Philosophy of the Information Society: Papers of the 30th International Wittgenstein Symposium, August 5-11, 2007, Kirchberg Am Wechsel / Editors, Herbert Hrachovec, Alois Pichler, Joseph Wang. = Philosophie der Informationsgesellschaft: Beiträge des 30. Internationalen Wittgenstein Symposiums, 5.-11. August 2007, Kirchberg Am Wechsel. [REVIEW]Herbert Hrachovec, Alois Pichler & Joseph Wang (eds.) - 2007 - Austrian Ludwig Wittgenstein Society.
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  22. Philosophy of the Information Society: Papers of the 30th International Wittgenstein Symposium, August 5-11, 2007, Kirchberg Am Wechsel / Editors, Herbert Hrachovec, Alois Pichler, Joseph Wang. [REVIEW]Herbert Hrachovec, Alois Pichler & Joseph Wang (eds.) - 2007 - Austrian Ludwig Wittgenstein Society.
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  23. Edmund Husserls Ethische Untersuchungen Dargestellt Anhand Seiner Vorlesungsmanuskripte.Alois Roth & Edmund Husserl - 1960 - M. Nijhoff.
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  24. Wittgenstein: The Philosopher and His Works.Alois Pichler & Simo Säätelä (eds.) - 2006 - Ontos.
  25.  4
    Koptische Kunst.A. Riegl - 1893 - Byzantinische Zeitschrift 2 (1).
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  26.  4
    Ludwig Wittgenstein and Us 'Typical Western Scientists'.Alois Pichler - 2016 - In Sebastian Sunday Grève & J. Mácha (eds.), Wittgenstein and the Creativity of Language. London: Palgrave Macmillan.
    This piece continues my efforts to identify the link between the Philosophical Investigations’ criss-cross form and its conception of philosophy and philosophical methods. In my ‘The Philosophical Investigations and Syncretistic Writing’ I established a connection between the PI’s criss-cross form and Wittgenstein’s saying that philosophy proper is like ‘Dichtung’. In this chapter I link the criss-cross form with the PI’s conception of the example and the central role it receives in Wittgenstein’s later philosophy. I contrast the PI’s conception of philosophy (...)
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  27.  44
    Lectures Delivered in Connection with the Dedication of the Graduate College of Princeton University in October, 1913, by Émile Boutroux, Alois Riehl, A. D. Godley, Arthur Shipley. [REVIEW]Emile Boutroux, A. D. Godley, Alois Riehl & A. E. Sir Shipley - unknown
  28. Formalismus Und Phänomenologie Im Rechtsdenken der Gegenwart Festgabe Für Alois Troller Zum 80. Geburtstag.Werner Krawietz, Walter Ott & Alois Troller - 1987
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  29.  21
    Mauro Engelmann, Wittgenstein's Philosophical Development: Phenomenology, Grammar, Method, and the Anthropological View.Alois Pichler - 2016 - Journal for the History of Analytical Philosophy 4 (3).
  30.  12
    Bibliographie der deutsch- und englischsprachigen Wittgenstein-Ausgaben.Alois Pichler, Michael A. R. Biggs & Sarah Anna Szeltner - 2011 - Wittgenstein-Studien 2 (1):249-286.
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  31.  18
    Nationale Erziehung und sittliche Bestimmung.Alois K. Soller - 1990 - Fichte-Studien 2:89-110.
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  32.  7
    Die unabhängigen Realitäten.Alois Höfler - 1907 - Kant-Studien 12 (1-3):361-392.
  33.  53
    Understanding the Immediacy of Other Minds.Nivedita Gangopadhyay & Alois Pichler - 2017 - European Journal of Philosophy 25 (4):1305-1326.
    In this paper we address the epistemological debate between emerging perceptual accounts of knowing other minds and traditional theory of mind approaches to the problem of other minds. We argue that the current formulations of the debate are conceptually misleading and empirically unfounded. Rather, the real contribution of PA is to point out a certain ‘immediacy’ that characterizes episodes of mindreading. We claim that while the intuition of immediacy should be preserved for explaining the nature and function of some cognitive (...)
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  34.  16
    Alois Pichler and Simo Säätelä (Eds.): Wittgenstein: The Philosopher and His Works.Gunnar Svensson - 2006 - SATS 7 (2):173.
    Alois Pichler and Simo Säätelä (eds.): Wittgenstein: The Philosopher and his Works.
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  35.  4
    Economics and Psychology: A Promising New Cross-Disciplinary Field.Bruno S. Frey & Alois Stutzer (eds.) - 2010 - MIT Press.
    The integration of economics and psychology has created a vibrant and fruitful emerging field of study. The essays in Economics and Psychology take a broad view of the interface between these two disciplines, going beyond the usual focus on "behavioral economics." As documented in this volume, the influence of psychology on economics has been responsible for a view of human behavior that calls into question the assumption of complete rationality, the acceptance of experiments as a valid method of economic research, (...)
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  36.  22
    Hermann Cohen and Alois Riehl on Geometrical Empiricism.Francesca Biagioli - 2014 - Hopos: The Journal of the International Society for the History of Philosophy of Science 4 (1):83-105.
    When non-Euclidean geometry was developed in the nineteenth century, both scientists and philosophers addressed the question as to whether the Kantian theory of space ought to be refurbished or even rejected. The possibility of considering a variety of hypotheses regarding physical space appeared to contradict Kant’s supposition of Euclid’s geometry as a priori knowledge and suggested the view that the geometry of space is a matter for empirical investigation. In this article, I discuss two different attempts to defend the Kantian (...)
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  37.  48
    Alois Hudal – ein Anti-Pacelli? Zur Diskussion um die Haltung des Vatikans gegenüber dem Nationalsozialismus.Dominik Burkard - 2007 - Zeitschrift für Religions- Und Geistesgeschichte 59 (1):61-89.
    The files that have just recently been made available from Roman archives make it possible to shed new light on and relativize the often asserted,,Pope's silence." It can be seen, that there was no agreement within the Vatican on how to deal with National Socialism. Recent publications have constructed an antagonism between Cardinal Secretary Eugenio Pacelli and Alois Hudal, the politically active principal of the Collegio Santa Maria dell'Anima and supposedly a representative of,appeasement'. However, it can be shown that (...)
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  38.  22
    Philosophy and Technology II: Information Technology and Computers in Theory and Practice.Carl Mitcham & Alois Huning (eds.) - 1985 - Reidel.
    INTRODUCTION: INFORMATION TECHNOLOGY AND COMPUTERS AS THEMES IN THE PHILOSOPHY OF TECHNOLOGY Philosophical interest in computers and information technology ...
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  39. Das Unendliche in der mittelalterlischen Metaphysik und in der kantischen Dialectik.Aloïs Dempf - 1930 - Revue de Métaphysique et de Morale 37 (1):15-16.
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  40.  3
    Freedom and Value.Alois Dempf - 1959 - Philosophy Today 3 (4):262.
  41. Kritk der historischen Vernunft.Alois Dempf - 1958 - Revue de Métaphysique et de Morale 63 (1):112-113.
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  42. La Filosofía Cristiana Del Estado En España.Alois Dempf - 1963 - Revista Portuguesa de Filosofia 19 (4):430-431.
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  43.  9
    La ética normative frente al relativismo y el historicismo.Alois Dempf - 1955 - Revista Portuguesa de Filosofia 11 (3/4):703 - 717.
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  44. Selbskritik der Philosophie und vergleichen-de Philosophiegeschichte im Umriß.Alois Dempf - 1949 - Zeitschrift für Philosophische Forschung 3 (4):615-618.
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  45. Weltordnung und Heilsgeschichte.Alois Dempf - 1960 - Zeitschrift für Philosophische Forschung 14 (1):147-150.
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  46. Teilhard de Chardin — End or Beginning.Alois Gussenbergrer - 1964 - Philosophy Today 8 (2):101-109.
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  47. Plato and so On. A Dialogue on Philosophical Dialogues.Alois Pichler - unknown
    What have Plato's, Hume's and Wittgenstein's dialogues in common? And what can we learn from this question for our understanding of Wittgenstein? – This paper is a transcript of a lecture given in Bergen on May 4th, 2001.
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  48.  11
    Reflections on a Prominent Argument in the Wittgenstein Debate.Alois Pichler - 2013 - Philosophy and Literature 37 (2):435-450.
    Does the way authors treat their own works tell us something about how these works are to be understood? Not necessarily. But then a standard argument against the “New Wittgenstein” comes under question. The argument is: the undogmatic interpretation of Wittgenstein’s Tractatus cannot be correct, since Wittgenstein himself later treats it as a work that holds certain positions. My response is: the argument is only correct if the answer to four specific questions is “yes.” The main purpose of the paper (...)
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  49. The Interpretation of the Philosophical Investigations : Style, Therapy, Nachlass.Alois Pichler - 2007 - In Guy Kahane, Edward Kanterian & Oskari Kuusela (eds.), Wittgenstein and His Interpreters: Essays in Memory of Gordon Baker. Blackwell.
     
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  50.  2
    The Philosophical Investigations and Syncretistic Writing.Alois Pichler - 2013 - In Nuno Venturinha (ed.), The Textual Genesis of Wittgenstein's Philosophical Investigations. New York, USA: Routledge.
    In Chapter IV of his Schreiben und Denken , the Austrian linguist Hanspeter Ortner distinguishes and describes ten writing strategies (“Schreibstrategien”). One of them is “syncretistic writing”. 1 A simple application of Ortner’s defi nition and description of syncretistic writing to the genesis of the Philosophical Investigations (PI) makes clear that the PI can be said to be of syncretistic origin. 2 Wittgenstein’s writing of the PI 3 can be characterized by Ortner’s eight features of syncretistic: his writing (1) hops (...)
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