Nachdem Band 1 Ästhetik und Ideengeschichte, Band 2 Institutionen und Medien der Interpretation thematisiert haben, befasst sich Band 3 mit der klingenden Interpretation selbst.
Words, Music, and the Popular: Global Perspectives on Intermedial Relations opens up the notion of the popular, drawing useful links between wide-ranging aspects of popular culture, through the lens of the interaction between words and music.
This volume investigates the meaning of visual rhythm through Piet Mondrian's unique approach to understanding rhythm in the compositional structure of painting, drawing reference from philosophy, aesthetics, and Zen culture.
A cultural history of the face in Western art, ranging from portraiture in painting and photography to film, theater, and mass mediaThis fascinating book presents the first cultural history and anthropology of the face across centuries, continents, and media.
This volume brings together new essays that consider Wittgenstein's treatment of the phenomenon of aspect perception in relation to the broader idea of conceptual novelty; that is, the acquisition or creation of new concepts, and the application of an acquired understanding in unfamiliar or novel situations.
Despite its foundational role in the history of philosophy, Plato's famous argument that art does not have access to truth or knowledge is now rarely examined, in part because recent philosophers have assumed that Plato's challenge was resolved long ago.
Boredom Studies is an increasingly rich and vital area of contemporary research that examines the experience of boredom as an importan - even quintessential - condition of modern life.
Organised around the theme of beauty, this innovative collection offers insight into the development of anthropological thinking on art, aesthetics and creativity in recent years.
Making tangible connections between theory and practice, ideas and form, this book encourages debate about the artistic, conceptual, and cultural significance of the way things look.
This compelling book defends realism concerning the aesthetic-in particular, concerning the aesthetic properties of works of art (including works of literature).
This book is an interdisciplinary project that brings together ideas from aesthetics, philosophy, psychology, and music sociology as an expansion of German philosopher Hans-Georg Gadamer's theory on the aesthetics of play.
This volume collects seventeen new essays by well-established and junior scholars on the philosophical relevance of metaxological philosophy and its main proponent, William Desmond.
This book outlines the evolution of our political nature over two million years and explores many of the rituals, plays, films, and other performances that gave voice and legitimacy to various political regimes in our species' history.
This book develops a naturalistic aesthetic theory that accounts for aesthetic phenomena in mathematics in the same terms as it accounts for more traditional aesthetic phenomena.
The essays in Invisibility in Visual and Material Culture contribute pioneering and revelatory insights into the phenomenon of invisibility, forging new and multi-disciplinary approaches at the intersection of aesthetics, technology, representation and politics.
Arguing that we ought to look to psychedelic aesthetics of the 1960s in relation to current crises in liberal democracy, this book emphasizes the intersection of European thought and the psychedelic.
This book builds on the works of Artaud and Deleuze, setting forth a different way of thinking on the body through the use of a whole new set of conceptual tools.
The classic and provocative account of how art changed irrevocably with pop art and why traditional aesthetics can't make sense of contemporary artA classic of art criticism and philosophy, After the End of Art continues to generate heated debate for its radical and famous assertion that art ended in the 1960s.
A classic work on radical aesthetics by one of the great philosophers of the early twentieth century No work of philosopher and essayist Jose Ortega y Gasset has been more frequently cited, admired, or criticized than his response to modernism, "e;The Dehumanization of Art.
What are the archives of gay and lesbian leather histories, and how have contemporary artists mined these archives to create a queer politics of the present?
Since the time of the ancient Greeks, philosophers have pondered the nature and purpose of the arts, but artists have gone on making them and audiences enjoying them regardless of these musings.
The Operation of Grace collects a decade's worth of essays by Gregory Wolfe taken from the pages of Image, the literary journal he founded more than a quarter century ago.
Against the idea that comedy offers us a relief from the horrors of the real world, the German-Jewish-American filmmaker Ernst Lubitsch defended his masterpiece To Be or Not to Be, a comedy from 1942 about the concurrent Nazi occupation of Poland, with the claim that he had made up his mind "e;to make a picture with no attempt to relieve anybody from anything at any time.
Examining the relationship between German poetry, philosophy, and visual media around 1900, Carsten Strathausen argues that the poetic works of Rainer Maria Rilke, Hugo von Hofmannsthal, and Stephan George focused on the visible gestalt of language as a means of competing aesthetically with the increasing popularity and "reality effect" of photography and film.
This book orchestrates a convergence of two discourses from the 1960s-Nelson Goodman's aesthetic theory on one side and critiques of modern architecture articulated by figures like Peter Blake, Charles Jencks, and Robert Venturi/Denise Scott Brown on the other.
In The Ascetic Ideal, Stephen Mulhall shows how areas of cultural life that seem to be either essentially unconnected to evaluative commitments (science and philosophy) or to involve non-moral values (aesthetics) are in fact deeply informed by ethico-religious commitments, for better and for worse.
"A partir de una crítica al «sentido común» de las imágenes como representaciónde la realidad, Imágenes del terror propone un estatuto contraintituivo que lesdevuelve su propiedad procesual, generativa y transformadora; unaproblematización que aprovecha el rendimiento de la ambigüedad entre terror yerror, es decir el impacto por la fricción de lo errático.
Diese Arbeit zeigt, dass die Dualität des mathematischen und dynamischen Erhabenen bei Kant auch dem Zweck der dritten Kritik dient, die Kluft zwischen den Gebieten der Natur und der Freiheit zu schließen.
