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Books > Philosophy > Topics in philosophy > Aesthetics
This volume re-examines traditional interpretations of the rise of modern aesthetics in eighteenth-century Britain and Germany. It provides a new account that connects aesthetic experience with morality, science, and political society. In doing so, it challenges long-standing teleological narratives that emphasize disinterestedness and the separation of aesthetics from moral, cognitive, and political interests. The chapters are divided into three thematic parts. The chapters in Part I demonstrate the heteronomy of eighteenth-century British aesthetics. They chart the evolution of aesthetic concepts and discuss the ethical and political significance of the aesthetic theories of several key figures: namely, the third Earl of Shaftesbury, David Hume, and Adam Smith. Part II explores the ways in which eighteenth-century German, and German-oriented, thinkers examine aesthetic experience and moral concerns, and relate to the work of their British counterparts. The chapters here cover the work of Kant, Moses Mendelssohn, Alexander Gottlieb Baumgarten, and Madame de Stael. Finally, Part III explores the interrelation of science, aesthetics, and a new model of society in the work of Goethe, Johann Wilhelm Ritter, Friedrich Hoelderlin, and William Hazlitt, among others. This volume develops unique discussions of the rise of aesthetic autonomy in the eighteenth century. In bringing together well-known scholars working on British and German eighteenth-century aesthetics, philosophy, and literature, it will appeal to scholars and advanced students in a range of disciplines who are interested in this topic.
Is it appropriate to honour and admire people who have created great works of art, made important intellectual contributions, performed great sporting feats, or shaped the history of a nation if those people have also acted immorally? This book provides a philosophical investigation of this important and timely question. The authors draw on the latest research from ethics, value theory, philosophy of emotion, social philosophy, and social psychology to develop and substantiate arguments that have been made in the public debates about this issue. They offer a detailed analysis of the nature and ethics of honour and admiration, and present reasons both in favour and against honouring and admiring the immoral. They also take on the important matter of whether we can separate the achievements of public figures from their immoral behaviour. Ultimately, the authors reject a "onesize-fits-all" approach and argue that we must weigh up the reasons for and against honouring and admiring in each particular case. Honouring and Admiring the Immoral is written in an accessible style that shows how philosophy can engage with public debates about important ethical issues. It will be of interest to scholars and students working in moral philosophy, philosophy of emotion, and social philosophy.
Kanta (TM)s Critique of Judgment is one of the most important texts in the history of modern aesthetics. This GuideBook discusses the Third Critique section by section, and introduces and assesses:
This GuideBook is an accessible introduction to a notoriously difficult work and will be essential reading for students of Kant and aesthetics.
Engineering has always been a part of human life but has only recently become the subject matter of systematic philosophical inquiry. The Routledge Handbook of the Philosophy of Engineering presents the state-of-the-art of this field and lays a foundation for shaping future conversations within it. With a broad scholarly scope and 55 chapters contributed by both established experts and fresh voices in the field, the Handbook provides valuable insights into this dynamic and fast-growing field. The volume focuses on central issues and debates, established themes, and new developments in: Foundational perspectives Engineering reasoning Ontology Engineering design processes Engineering activities and methods Values in engineering Responsibilities in engineering practice Reimagining engineering The Routledge Handbook of the Philosophy of Engineering will be of value for both students and active researchers in philosophy of engineering and in cognate fields (philosophy of technology, philosophy of design). It is also intended for engineers working both inside and outside of academia who would like to gain a more fundamental understanding of their particular professional field. The increasing development of new technologies, such as autonomous vehicles, and new interdisciplinary fields, such as human-computer interaction, calls not only for philosophical inquiry but also for engineers and philosophers to work in collaboration with one another. At the same time, the demands on engineers to respond to the challenges of world health, climate change, poverty, and other so-called "wicked problems" have also been on the rise. These factors, together with the fact that a host of questions concerning the processes by which technologies are developed have arisen, make the current Handbook a timely and valuable publication.
Richard Linklater's celebrated Before trilogy chronicles the love of Jesse (Ethan Hawke) and Celine (Julie Delpy) who first meet up in Before Sunrise, later reconnect in Before Sunset and finally experience a fall-out in Before Midnight. Not only do these films present storylines and dilemmas that invite philosophical discussion, but philosophical discussion itself is at the very heart of the trilogy. This book, containing specially commissioned chapters by a roster of international contributors, explores the many philosophical themes that feature so vividly in the interactions between Celine and Jesse, including: the nature of love, romanticism and marriage the passage and experience of time the meaning of life the art of conversation the narrative self gender death Including an interview with Julie Delpy in which she discusses her involvement in the films and the importance of studying philosophy, Before Sunrise. Before Sunset. Before Midnight: A Philosophical Exploration is essential reading for anyone interested in philosophy, aesthetics, gender studies, and film studies.
Aesthetics is one of the most vital and wide-ranging fields of philosophical inquiry. This four volume set brings together both classic and contemporary writings to provide a comprehensive collection of the most important essays on the subject. All of the various artistic genres are addressed, with sections on film, dance and architecture as well as music, literature and the visual arts. With a new introduction by the editor to guide the reader through the volumes, this major new work will provide student and researcher alike with key writings on aesthetics in one convenient, unique resource.
This book examines how contemporary artists have engaged with histories of nature, geology, and extinction within the context of the changing planet. Susan Ballard describes how artists challenge the categories of animal, mineral, and vegetable-turning to a multispecies order of relations that opens up a new vision of what it means to live within the Anthropocene. Considering the work of a broad range of artists including Francisco de Goya, J. M. W. Turner, Robert Smithson, Nancy Holt, Yhonnie Scarce, Joyce Campbell, Lisa Reihana, Katie Paterson, Taryn Simon, Susan Norrie, Moon Kyungwon and Jeon Joonho, Ken + Julia Yonetani, David Haines and Joyce Hinterding, Angela Tiatia, and Hito Steyerl and with a particular focus on artists from Australia and Aotearoa New Zealand, this book reveals the emergence of a planetary aesthetics that challenges fixed concepts of nature in the Anthropocene. The book will be of interest to scholars working in art history, visual culture, narrative nonfiction, digital and media art, and the environmental humanities.
Literature and Understanding investigates the cognitive gain from literature by focussing on a reader's close analysis of a literary text. It examines the meaning of 'literature', outlines the most prominent positions in the literary cognitivism debate, explores the practice of close reading from a philosophical perspective, provides a fresh account of what we mean by 'understanding' and in so doing opens up a new area of research in the philosophy of literature. This book provides a different reply to the challenge that we can't learn anything worthwhile from reading literary fiction. It makes the innovative case that reading literary fiction as literature rather than as fiction stimulates five relevant senses of understanding. The book uses examples of irony, metaphor, play with perspective and ambiguity to illustrate this contention. Before arguing that these five senses of understanding bridge the gap between our understanding of a literary text and our understanding of the world beyond that text. The book will be of great interest for researchers, scholars and post-graduate students in the fields of aesthetics, literary theory, literature in education and pedagogy.
Amanda Glauert revisits Beethoven's songs and studies his profound engagement with the aesthetics of the poets he was setting, particularly those of Herder and Goethe. The book offers readers a rich exploration of the poetical and philosophical context in which Beethoven found himself when composing songs. It also offers detailed commentaries on possible responses to specific songs, responses designed to open up new ways for performing, hearing and appreciating this provocative song repertoire. This study will be of great interest to researchers of Beethoven; German song; aesthetics of words and music.
This lively and lucid introduction to the philosophy of music concentrates on the issues that illuminate musical listening and practice. It examines the conceptual debates relevant to the understanding and performing of music and grounds the philosophy to practical matters throughout. Ideal for a beginning readership with little philosophical background, the author provides an overview of the central debates enlivened by a real sense of enthusiasm for the subject and why it matters. The book begins by filling in the historical background and offers readers a succinct summary of philosophical thinking on music from the Ancient Greeks to Eduard Hanslick and Edmund Gurney. Chapter 2 explores two central questions: what is it that makes music, or, to be precise, some pieces of music, works of art? And, what is the work of music per se? Is it just what we hear, the performance, or is it something over and above that, something we invent or discover? Chapter 3 discusses a problem pecullar to music and one at the heart of philosophical discussion of it, can music have a meaning? And if so, what can it be? Chapter 4 considers whether music can have value. Are there features about music that make it good, features which can be specified in criteria? Is a work good if and only if it meets with the approval of an ideally qualified listener? How do we explain differences of opinion? Indeed, why do we need to make judgements of the relative value of pieces of music at all? This engaging and stimulating book will be of interest to students of aesthetics, musical practitioners and the general reader looking for a non-technical treatment of the subject.
Philosophy of Music is for anyone who has ever wondered whether or not music means anything or why some music is thought to be more significant than other music. It is a lively and lucid introduction to the aesthetics of music and to the issues that illuminate musical listening, understanding and practice. The book assumes no philosophical training on the part of its readers, only an interest in music and our reactions to it. It provides an authoritative analysis of the central issues, enlivened with a real sense of enthusiasm for the subject and its importance. At the heart of the book lie three key questions: What is the work of music? Can it have meaning? Can music have value? R. A. Sharpe guides the reader through the philosophical arguments and conceptual debates surrounding these questions while anchoring the discussion throughout to instances and examples from Western classical music and jazz. Unlike some other accounts of the philosophy of music, which view music as a branch of metaphysics, raising questions about sounds, tones and musical movement, Sharpe's approach is problem-orientated and the questions he raises are predominantly questions about the value of music, about the individuality of our assessments and about the way in which we prize music for its power to move us. He argues persuasively, and controversially for a philosopher, that when it comes to music philosophical analysis has its limitations and that one should not be surprised that the aesthetics of music can harbour contradictions and that our judgement of the value of music may be impossible to make internally consistent. This engaging and stimulating book will be of wide interest to music-lovers, critics, practitioners alike as well as students of aesthetics looking for a non-technical treatment of the subject.
What does 'Art' Mean Now? asks, and answers, fundamental questions about the nature of aesthetic experience and role of the arts in contemporary society. The Modern Age, Romanticism and beyond. viewed art as something transcending and separated from life, and usually something encountered in museums or classrooms. Nowadays, however, art tends to be defined not by a commonly agreed-upon standard of 'quality' or by its forms, such as painting and sculpture, but instead by political and ideological criteria. So how do we connect with the works in museums whose point was precisely they stood apart from such considerations? Can we and should we be educated to "appreciate" art-and what does it do for us anyway? What are we to make of the so-different newer works-installations, performances, excerpts from the world-held to be art that increasingly make it into museums? Adopting a subjectivist approach, this book argues that in the absence of a universal judgement or standard of taste, the experience of art is one of freedom. The arts and literature give us the means to conceptualize our lives, showing us ourselves as we are and as we might wish-or not wish-to be, as well as where we have been and where we are going. It will appeal to scholars of sociology, philosophy, museum studies, and art history, and to anyone interested in, or puzzled by, museums or college courses and their presentation of art today.
This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The book's contributions are drawn from disciplines including the history of photography, visual anthropology and art history, with case studies from a range of countries such as the Netherlands, North America, Australia, Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images.
This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The international contributors are drawn from disciplines including the history of photogarphy, visual anthropology and art history, and their pieces focus on areas ranging from the Netherlands, North America and Australia to Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images. Inspiring and instructive, the book can be used either as an overview of this exciting new area of investigation, or as a practical guide to the student or academic on how to understand photographs as objects in diverse contexts.
This book engages artistic interventions in the aerial elements to investigate the aesthetics and politics of atmosphere. Sensing Art in the Atmosphere: Elemental Lures and Aerosolar Practices traces the potential of artistic, community-driven experiments to amplify our sensing of atmosphere, marrying attentions to atmospheric affect with visceral awareness of the materials, institutions and processes hovering in the air. Drawing on six years of practice-led research with artistic and activist initiatives Museo Aero Solar and Aerocene, initiated by artist Tomas Saraceno, each chapter develops creative relations to atmosphere from the studio to stratospheric currents. Through narrative-led writing, the voices of artists and collaborators are situated and central. In dialogue with these aerographic stories and sites, the book develops a notion of elemental lures: the sensual and imaginative propositions of aerial, atmospheric and meteorological phenomena. The promise of elemental lures, Engelmann suggests, is to reconcile our sensing of atmosphere with the myriad social, cultural and political forces suspended in it. Through tales of floating journeys, shared envelopes of breath and surreal levitations, the book foregrounds the role of art in crafting alternative modes of perceiving, moving and imagining (in) the air. The book ends with a call for elemental experiments in the geohumanities. It makes an important and original contribution to elemental geographies, the geohumanities and interdisciplinary scholarship on air and atmosphere.
This collection aims to map a diversity of approaches to the artform by creating a 360° view on the circus. Three sections of the book, Aesthetics, Practice, Culture, approach aesthetic developments, issues of artistic practice, and the circus’ role within society. This book consists of a collection of articles from renowned circus researchers, junior researchers, and artists. It also provides the core statements and discussions of the conference UpSideDown—Circus and Space in a graphic recording format. Hence, it allows a clear entry into the field of circus research and emphasizes the diversity of approaches that are well balanced between theoretical and artistic point of views. This book will be of great interest to students and scholars of circus studies, emerging disciples of circus and performance.
Dance and the Corporeal Uncanny takes the philosophy of the body into the field of dance, through the lens of subjectivity and via its critique. It draws on dance and performance as its dedicated field of practice to articulate a philosophy of agency and movement. It is organized around two conceptual paradigms - one phenomenological (via Merleau-Ponty), the other an interpretation of Nietzschean philosophy, mediated through the work of Deleuze. The book draws on dance studies, cultural critique, ethnography and postcolonial theory, seeking an interdisciplinary audience in philosophy, dance and cultural studies.
First published in 2000. This is Volume VII of ten in the International Library of Philosophy in a series on Ancient Philosophy. Written around 1953, this book looks at Plato and his ideas on art based on his 'Dialogues'.
First published in 2000. This is Volume III of seven in the Library of Philosophy series on Philosophy of Religion and General Philosophy. Written in 1924, this is a collection of essays on Humanism and the Philosophy of Art by Thomas Hulme who published five poems as well as commentary and various articles. The current volume has been collated from his daily notebooks and unpublished manuscripts as well as his introduction to Sorel's Reflections on Violence.
Originally published in 1988 Arthur Schopenhauer's English Schooling examines the famous German philosopher Arthur Schopenhauer, and his image of England and the influences and experiences which formed that image, notably his visit to England in 1803. His philosophy, when he came to formulate it, showed the pervasive influence of his English reading, was riddled with allusions to his three months at Wimbledon School, and was indeed in many 'English' style; above all it was a philosophy designed as a refutation of 'Christianity' as understood and practised by his English headmaster, who is the invisible bete noire behind it. In the course of the book two major figures who have hitherto been known only by name are identified and their lives related. The book also examines many background figures in Schopenhauer's English diary and the letters addressed to him in 1803. This book, which is based on a wide variety of hitherto unknown material from many different sources, will permanently modify our view of his philosophy; it also has important implications for educationalists and for all interest in the history of ideas.
This integrated study of the emerging interdisciplinary field of environmental aesthetics takes the reader through a brief history of both aesthetics and taste, then discusses the psychology of human-environment relations, the influences of literary, artistic and legal activism on city, countryside and wilderness, and concludes with an analysis of the roles of public policy and of planning. Clearly written and illustrated, the book brings together the ideas, method and practices of a range of academic and professional disciplines. The book should be a useful introduction to those interested in how the experience of city (and country) life can and should be improved.
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