Results for 'Decadence in art'

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  1.  36
    Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy, and Culture of the Fin De Siècle in Europe.Charles Bernheimer - 2002 - 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.  74
    Decadent Subjects: The Idea of Decadence in Art, Literature, Philosophy and Culture of the Fin de Siècle in Europe.Oliver Conolly - 2004 - British Journal of Aesthetics 44 (2):199-202.
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  3.  6
    Decadence in the Art of T. S. Eliot.Russell Ames - 1952 - Science and Society 16 (3):193 - 221.
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  4.  9
    The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain: From Vienna 1900 to the Present.Eric R. Kandel - 2011 - 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.  9
    Tickle Your Catastrophe!: Imagining Catastrophe in Art, Architecture and Philosophy.Frederik le Roy (ed.) - 2011 - 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. Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy, and Popular Culture.Mary Sanders Pollock & Catherine Rainwater (eds.) - 2005 - 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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  7.  21
    The Idea of Decadence in French Literature, 1830-1900.A. E. Carter - 1960 - Journal of Aesthetics and Art Criticism 19 (1):102-103.
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  8. Art in History, History in Art Studies in Seventeenth- Century Dutch Culture.David Freedberg & Jan De Vries - 1991
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  9. Ideals & Idols Essays on Values in History and in Art.E. H. Gombrich - 1994
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  10.  9
    Beyond the Finite: The Sublime in Art and Science.Iain Boyd Whyte (ed.) - 2010 - 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.  3
    A Modest Art: Securing Privacy in Technologically Mediated Homecare.Ike Kamphof - forthcoming - 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.  12
    Aesthetic Decadence Today Viewed in Terms of Schiller's Three Impulses.Herta Pauly - 1973 - Journal of Aesthetics and Art Criticism 31 (3):365-373.
  13. Crowther and the Kantian Sublime in Art.C. E. Emmer - 2008 - 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.  20
    What Happens in Art.Matthew Lipman - 1966 - 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.  28
    The Science of Art: Optical Themes in Western Art From Brunelleschi to Seurat.Martin Kemp, Erwin Panofsky & Christopher S. Wood - 1994 - Journal of Aesthetics and Art Criticism 52 (2):243-245.
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  16. Convergences in Music and Art: A Bibliographic Study.George C. Schuetze - 2005 - 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. Looking Beyond?: Shifting Views of Transcendence in Philosophy, Theology, Art, and Politics.Wessel Stoker & W. van der Merwe (eds.) - 2012 - Rodopi.
    Philosophy : historical approaches -- Contemporary philosophy -- Philosophical theology -- Christian theology -- Politics -- Art.
     
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  18. Towards Defending a Semantic Theory of Expression in Art: Revisiting Goodman.Servaas de V. van der Berg - 2011 - South African Journal of Philosophy 30 (3):600-612.
    Nelson Goodman’s attempt to analyse the expressiveness of artworks in semantic terms has been widely criticised. In this paper I try to show how the use of an adapted version of his concept of exemplification, as proposed by Mark Textor, can help to alleviate the worst problems with his theory of expression. More particularly I argue that the recognition of an intention, which is central to Textor’s account of exemplification, is also fundamental to our understanding of expressiveness in art. Moreover (...)
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  19.  37
    Book Reviews: Claude P. Bruter (Editor), Mathematics in Art: Mathematical Visualization in Art and Education.Walter Carnielli - 2004 - 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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  20.  12
    Human Being Transcending Itself: Creative Process in Art as a Model of Our Relation to the Ultimate Reality.Erich Mistrík - 2011 - 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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  21. "Else-Where": Essays in Art, Architecture, and Cultural Production 2002-2011.Gavin Keeney - 2011 - Cambridge Scholars Press.
    “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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  22. The Event of Encounter in Art and Philosophy: Continental Perspectives.Kuisma Korhonen & Pajari Räsänen (eds.) - 2010 - Gaudeamus.
     
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  23. The Immortal Comedy: The Comic Phenomenon in Art, Literature, and Life.Agnes Heller - 2005 - Lexington Books.
    This book is the first attempt to think philosophically about the comic phenomenon in literature, art, and life. Working across a substantial collection of comic works author Agnes Heller makes seminal observations on the comic in the work of both classical and contemporary figures. Whether she's discussing Shakespeare, Kafka, Rabelais, or the paintings of Brueghel and Daumier Heller's Immortal Comedy makes a characteristic contribution to modern thought across the humanities.
     
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  24.  85
    Experience and Experiment in Art.Alva Noë - 2000 - Journal of Consciousness Studies 7 (8-9):8-9.
    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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  25. Four Theories of Inversion in Art and Music.John Dilworth - 2002 - 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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  26. Rock the Boat: Localized Ethics, the Situated Self, and Particularism in Contemporary Art.Tere Vadén - 2003 - Salon.
     
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  27. Menzel's Realism Art and Embodiment in Nineteenth-Century Berlin.Michael Fried & Adolph Menzel - 2002
     
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  28. The Transformation of Nature in Art.Ananda Kentish Coomaraswamy - 1934 - Sterling Publishers Pvt..
    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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  29.  1
    Mimesis and Art: Studies in the Origin and Early Development of an Aesthetic Vocabulary.H. E. Matthews & Goran Sorbom - 1967 - Philosophical Quarterly 17 (69):377.
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  30. Language of Art Studies in Interpretation.Moshe Barasch - 1996
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  31. The Grotesque in Western Art and Culture: The Image at Play.Frances S. Connelly - 2012 - 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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  32. The Preference for the Primitive Episodes in the History of Western Taste and Art.E. H. Gombrich - 2002
     
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  33. Art Forms in Nature the Prints of Ernst Haeckel : One Hundred Color Plates.Ernst Heinrich Philipp August Haeckel, Olaf Breidbach & Irenäus Eibl-Eibesfeldt - 1998
     
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  34. Art Meets Science and Spirituality in a Changing Economy.Maxine Harris, Louwrien Wijers, Sheldon Rochlin, Robert Rauschenberg & David Bohm - 1993
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  35. Unreal City Urban Experience in Modern European Literature and Art.David Kelley & Edward Timms - 1985
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  36. Health and Happiness in 20th-Century Avant-Garde Art.Donald B. Kuspit & Lynn Gamwell - 1996
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  37.  9
    Symbols in Life and Art: The Royal Society of Canada Symposium in Memory of George Whalley.James A. Leith & George Whalley (eds.) - 1987 - 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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  38. Race, Sex and Gender in Contemporary Art the Rise of Minority Culture.Edward Lucie-Smith - 1994
     
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  39. Mimesis and Art Studies in the Origin and Early Development of an Aesthetic Vocabulary.Göran Sörbom - 1966 - Svenska Bokförlaget.
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  40. Art and Expression: Contemporary Perspectives in the Occidental and Oriental Traditions.Ananta Charana Sukla (ed.) - 2011 - Traugott Bautz.
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  41. Realistic Style in the Art of Han and T Ang China.William Watson - 1975
     
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  42. Speaking for Vice Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde.Jonathan Weinberg, Charles Demuth & Marsden Hartley - 1993
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  43.  30
    On the Origin(s) of Truth in Art: Merleau-Ponty, Klee, and Cézanne.Galen A. Johnson - 2013 - 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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  44.  11
    The Shades in Platon's Mirror: The Ethical, Political and Aesthetic in the Art of Mischa Kuball.Jennifer A. McMahon - 2011 - 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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  45.  3
    On the Dialectics of Content and Form in Art.A. Ia Zis' - 1966 - 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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  46. Language Games: Reimagining Learning Conversations in Art Education.John M. Hammersley - forthcoming - Arts and Humanities in Higher Education.
    This paper discusses how language games might facilitate a reimagining of learning conversations in art education, by comparing them with Socratic, Kantian and post-structuralist dialogical perspectives that inform group critique. It proposes that language games may facilitate the construction of more personal and layered modes of conversation, instead of prescribing processes intended to seek universal truths, authentic self-knowledge, or disruptive critical scepticism. It argues that they promote the recognition of all co-learners as people who come with their own valuable original (...)
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  47.  4
    Imaginative Understanding, Affective Profiles, and the Expression of Emotion in Art.Robert Hopkins - 2017 - Journal of Aesthetics and Art Criticism 75 (4):363-374.
    R. G. Collingwood thought that to express emotion is to come to understand it and that this is something art can enable us to do. The understanding in question is distinct from that offered by emotion concepts. I attempt to defend a broadly similar position by drawing, as Collingwood does, on a broader philosophy of mind. Emotions and other affective states have a profile analogous to the sensory profiles exhibited by the things we perceive. Grasping that one's feeling exhibits such (...)
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  48.  13
    Iconology and Formal Aesthetics: A New Harmony. A Contribution to the Current Debate in Art Theory and Philosophy of Arts on the (Picture-)Action-Theories of Susanne K. Langer and John M. Krois.Sauer Martina - 2016 - Sztuka I Filozofia (Art and Philosophy), Warschau 48:12-29.
    Since the beginning of the 20th Century to the present day, it has rarely been doubted that whenever formal aesthetic methods meet their iconological counterparts, the two approaches appear to be mutually exclusive. In reality, though, an ahistorical concept is challenging a historical analysis of art. It is especially Susanne K. Langer´s long-overlooked system of analogies between perceptions of the world and of artistic creations that are dependent on feelings which today allows a rapprochement of these positions. Krois’s insistence on (...)
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  49.  20
    Neural Correlates of Object Indeterminacy in Art Compositions.S. Fairhall & A. IshAi - 2008 - 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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  50.  9
    Symbolization in Art as an Aesthetic Principle.Victor V. Bychkov - 2012 - 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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