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This book offers an understanding and analysis of the aesthetics of historying through the specific concepts and process of the fabricated, factitious, factional, factious, factitive, factive, factualist, fictitious, fictive and the figurative. These concepts create the(ir) connection(s) between "the past" and ‘history" hitherto rethink the nature of "the historical past." There are many different available ‘forms’ of histories that shape the minds of historians when they deploy their historical imaginations through "the past(s) via their preferred history creations." For every historian and every history reader, there is a different experience of "the history past aesthetic."
A History of Modern Aesthetics: Volume 1, The Eighteenth Century by Paul Guyer Pdf
Volume I: The development of aesthetics was one of the great accomplishments of eighteenth-century philosophy, as the classical conception of aesthetic experience as a form of knowledge came under pressure from increasing recognition of the emotional impact of art and from increasing emphasis on the value of freedom in the moral and political thought of the century. This opening volume of A History of Modern Aesthetics recounts how philosophers in Britain, France, and Germany developed these new approaches and searched for ways to combine them with the cognitivism of traditional aesthetics. A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely what Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This book tells how these ideas have been synthesized or separated by both the best-known and lesser-known aestheticians of modern times, focusing on Britain, France, and Germany in the eighteenth century; Germany and Britain in the nineteenth; and Germany, Britain, and the United States in the twentieth.
This book offers an understanding and analysis of the aesthetics of historying through the specific concepts and process of the fabricated, factitious, factional, factious, factitive, factive, factualist, fictitious, fictive and the figurative. These concepts create the(ir) connection(s) between "the past" and ‘history" hitherto rethink the nature of "the historical past." There are many different available ‘forms’ of histories that shape the minds of historians when they deploy their historical imaginations through "the past(s) via their preferred history creations." For every historian and every history reader, there is a different experience of "the history past aesthetic."
The history of aesthetics, like the histories of other sciences, may be treated in a two-fold manner: as the history of the men who created the field of study, or as the history of the questions that have been raised and resolved in the course of its pursuit. The earlier History of Aesthetics (3 volumes, 1960-68, English-language edition 1970-74) by the author of the present book was a history of men, of writers and artists who in centuries past have spoken up concerning beauty and art, form and crea tivity. The present book returns to the same subject, but treats it in a different way: as the history of aesthetic questions, concepts, theories. The matter of the two books, the previous and the present, is in part the same; but only in part: for the earlier book ended with the 17th century, while the present one brings the subject up to our own times. And from the 18th century to the 20th much happened in aesthetics; it was only in that period that aesthetics achieved recognition as a separate science, received a name of its own, and produced theories that early scholars and artists had never dreamed of.
Among the ancients the fundamental theory of the beautiful was connected with the notions of rhythm, symmetry, harmony of parts; in short, with the general formula of unity in variety. Among the moderns we find that more emphasis is laid on the idea of significance, expressiveness, the utterance of all that life contains; in general, that is to say, on the conception of the characteristic. -from "Definition of Beauty" T.H. Green called him "the most gifted man of his generation." Certainly he was one of the most popular and most influential British idealists of the early 20th century, and an intellectual cousin of Ludwig Wittgenstein and Bertrand Russell. In this definitive work, first published in 1892, Bernard Bosanquet explores the realm of aesthetics-the philosophy of art-from a romantic, almost mystical perspective, discussing how the appreciation of art exposes the spirituality of humanity, and why it is a vital component to any metaphysical understanding of the universe. From the earliest Greek poetry and Latin comedy to very modern ideas about "ugly beauty" and the impact of science on art, Bosanquet will change the way you look at art. British scholar and philosopher BERNARD BOSANQUET (1848-1923) also wrote, among his many works, Logic, or the Morphology of Knowledge (1888), The Civilization of Christendom and Other Studies (1893), and Social and International Ideals: Being Studies in Patriotism (1917).
Author : Michael F. Marra Publisher : University of Hawaii Press Page : 424 pages File Size : 53,8 Mb Release : 2001-02-01 Category : Philosophy ISBN : 0824823990
A History of Modern Japanese Aesthetics by Michael F. Marra Pdf
This collection of essays constitutes the first history of modern Japanese aesthetics in any language. It introduces readers through lucid and readable translations to works on the philosophy of art written by major Japanese thinkers from the late nineteenth century to the present. Selected from a variety of sources (monographs, journals, catalogues), the essays cover topics related to the study of beauty in art and nature. The translations are organized into four parts. The first, "The Introduction of Aesthetics," traces the formation of notions of "beauty," "culture," and "art" in Japan. It includes discussion of the creation of the museum in Japan and the frenetic efforts of Nishi Amane, Okakura Tenshin, Ernest Fenollosa, and Mori Ogai to introduce German, British, and French aesthetic thought to the Japanese. This is followed by three sections that examine the transformation of the aesthetic field into an academic discipline that flourished at three major Japanese universities. "Aesthetics at Waseda University" begins with an essay on the spiritualism and idealism of Onishi Hajime and continues with essays on the impact of German Lebensphilosophie ("philosophy of life") on Shimamura Hogetsu and Takayama Chogyu, and work by the major Waseda aesthetician of the twentieth century, Aizu Yaichi. Thinkers of the Tokyo School adopted a "scientific" method in the study of art theory. Part 3, "Aesthetics at the University of Tokyo," focuses on the ideas of Otsuka Yasuji (holder of the world’s first Chair of Aesthetics), Onishi Yoshinori, Watsuji Tetsuro, Abe Jiro, Takeuchi Toshio, and Imamichi Tomonobu. The section concludes with a look at the contemporary philosopher Sakabe Megumi. The last section, "Aesthetics at the University of Kyoto," includes essays on Nakagawa Shigeki and Fukada Yasukazu, pioneers in the field of aesthetics, and on the philosophy of art of the "Kyoto School," which was deeply inspired by the thought of Nishida Kitaro. Finally the work of Kuki Shuzo, an influential teacher of Western philosophy at the University of Kyoto, is examined. A History of Modern Japanese Aesthetics is a companion volume to Modern Japanese Aesthetics: A Reader (UH Press, 1999).
The Aesthetics of Nostalgia by Renee R. Trilling Pdf
Heroic poetry was central to the construction of Anglo-Saxon values, beliefs, and community identity and its subject matter is often analyzed as a window into Anglo-Saxon life. However, these poems are works of art as well as vehicles for ideology. Aesthetics of Nostalgia reads Anglo-Saxon historical verse in terms of how its aesthetic form interacted with the culture and politics of the period. Examining the distinctive poetic techniques found in vernacular historic poetry, Renée R. Trilling argues that the literary construction of heroic poetry promoted specific kinds of historical understanding in early medieval England, distinct from linear and teleological perceptions of the past. The Aesthetics of Nostalgia surveys Anglo-Saxon literary culture from the age of Bede to the decades following the Norman Conquest in order to explore its cultural impact through both its content and its form.
This book examines how aesthetics have been used over several centuries in both popular and art music. It draws upon a broad spectrum of original sources and incorporates the work of writers outside the mainstream of established aesthetics discourse.
The Aesthetics of Desire and Surprise by Jadranka Skorin-Kapov Pdf
The Aesthetics of Desire and Surprise: Phenomenology and Speculation covers issues central to contemporary continental philosophy (desire, expectations, excess, rupture, transcendence, immanence, surprise). The proposed term desire||surprise captures the phenomenological-speculative character of the pair not yet and no longer. Non-obvious parallels between different thinkers are drawn, and the argumentation is organized around philosophical figures relevant in the sequence desire – excess –pause (rupture, break) – recuperation (surprise). The works of Levinas, Žižek, Bataille, Blanchot, Foucault, and Ricoeur are interpreted and positioned according to the proposed template of desire - excess - pause. The consideration of limit experiences involves authors fascinated by transgression, and the question of whether excess is immanent or transcendent. This discussion considers works by Nietzsche, Deleuze, Žižek, and Foucault. The analysis of surprise and the beginning of recovery after the pause considers works by Fink, Merleau-Ponty, Nancy, Lyotard, Dufrenne, Bachelard, and Seel. The provocative argument elaborated in this work is that surprise starts with indifference. Furthermore, the argument is that surprise begins where the concept reaches its ending, hence that the limit of speculative thinking at its ending is the limit of aesthetics at its beginning. The work of Hegel, Schelling and Jaspers are discussed in order to argue for the beginning of aesthetics there where knowledge ends. Philosophical thematic is contextualized via sections on artists such as Duchamp and Mondrian, and on some films, provoking interest of aestheticians working in art history and cultural studies departments.
Sublimity addresses the nature of the sublime experience itself, and the function that experience has played, and continues to play, within aesthetic discourse. The book both updates and revises existing treatments of the sublime in the eighteenth century, examines its neglected role in the nineteenth century aesthetics, and analyzes the significance of the modifications the concept has undergone in order to serve the interests of contemporary aesthetics. The book thus offers the most comprehensive coverage of the history of the sublime available.
