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Author: Michael J. Matthis Publisher: Cambridge Scholars Publishing ISBN: 1527554074 Category : Art Languages : en Pages : 140
Book Description
The eighteenth-century Enlightenment represents a turn toward experience, that is, toward the experiencing subject. Still the Enlightenment involves an aspiration toward objective truth in the ideals of the newly emerging sciences and in the experiments in democracy that were beginning to transform the political landscape of Europe and America. Immanuel Kant’s towering philosophical achievement in his critical works helps to reformulate a meaning of objectivity that is congenial to the climate of inquiry and freedom in that remarkable century, a meaning that is unburdened of the metaphysical commitments of many of his predecessors. Kant’s revolution in philosophical thought gives us an objectivity that is crucially related to epistemic conditions rooted in subjectivity, a correlation between subjectivity and objectivity that carries over as well into his critical treatises concerned with ethics and aesthetics. This book of essays explores the tension between subjectivity and objectivity as it develops in the Enlightenment in Winkelmann, Hume, and Kant. The focus is upon aesthetic theories concerning the beautiful, the sublime, and the grotesque. The question by two of the authors as to whether aesthetic enjoyment of the blues is morally justified underscores an interest in these essays in the connection between aesthetics and ethics. This concern of the relation of aesthetics to judgments in cognition and in morality underlies an area of peculiar interest to Kant, and therefore to many of these essays. Finally the authors examine a turn toward the subjective in the Postmodern world of art and aesthetic theory, a turn that represents a relaxation of the original Enlightenment tension between subjectivity and objectivity. It also represents perhaps a grotesque turn toward the extreme of subjectivity in the realm of Postmodern theory, an extreme toward which at least one of the authors casts a critical eye.
Author: Michael J. Matthis Publisher: Cambridge Scholars Publishing ISBN: 1527554074 Category : Art Languages : en Pages : 140
Book Description
The eighteenth-century Enlightenment represents a turn toward experience, that is, toward the experiencing subject. Still the Enlightenment involves an aspiration toward objective truth in the ideals of the newly emerging sciences and in the experiments in democracy that were beginning to transform the political landscape of Europe and America. Immanuel Kant’s towering philosophical achievement in his critical works helps to reformulate a meaning of objectivity that is congenial to the climate of inquiry and freedom in that remarkable century, a meaning that is unburdened of the metaphysical commitments of many of his predecessors. Kant’s revolution in philosophical thought gives us an objectivity that is crucially related to epistemic conditions rooted in subjectivity, a correlation between subjectivity and objectivity that carries over as well into his critical treatises concerned with ethics and aesthetics. This book of essays explores the tension between subjectivity and objectivity as it develops in the Enlightenment in Winkelmann, Hume, and Kant. The focus is upon aesthetic theories concerning the beautiful, the sublime, and the grotesque. The question by two of the authors as to whether aesthetic enjoyment of the blues is morally justified underscores an interest in these essays in the connection between aesthetics and ethics. This concern of the relation of aesthetics to judgments in cognition and in morality underlies an area of peculiar interest to Kant, and therefore to many of these essays. Finally the authors examine a turn toward the subjective in the Postmodern world of art and aesthetic theory, a turn that represents a relaxation of the original Enlightenment tension between subjectivity and objectivity. It also represents perhaps a grotesque turn toward the extreme of subjectivity in the realm of Postmodern theory, an extreme toward which at least one of the authors casts a critical eye.
Author: Michael James Matthis Publisher: Cambridge Scholars Publishing ISBN: 9781443819633 Category : Aesthetics Languages : en Pages : 0
Book Description
The eighteenth-century Enlightenment represents a turn toward experience, that is, toward the experiencing subject. Still the Enlightenment involves an aspiration toward objective truth in the ideals of the newly emerging sciences and in the experiments in democracy that were beginning to transform the political landscape of Europe and America. Immanuel Kantâ (TM)s towering philosophical achievement in his critical works helps to reformulate a meaning of objectivity that is congenial to the climate of inquiry and freedom in that remarkable century, a meaning that is unburdened of the metaphysical commitments of many of his predecessors. Kantâ (TM)s revolution in philosophical thought gives us an objectivity that is crucially related to epistemic conditions rooted in subjectivity, a correlation between subjectivity and objectivity that carries over as well into his critical treatises concerned with ethics and aesthetics. This book of essays explores the tension between subjectivity and objectivity as it develops in the Enlightenment in Winkelmann, Hume, and Kant. The focus is upon aesthetic theories concerning the beautiful, the sublime, and the grotesque. The question by two of the authors as to whether aesthetic enjoyment of the blues is morally justified underscores an interest in these essays in the connection between aesthetics and ethics. This concern of the relation of aesthetics to judgments in cognition and in morality underlies an area of peculiar interest to Kant, and therefore to many of these essays. Finally the authors examine a turn toward the subjective in the Postmodern world of art and aesthetic theory, a turn that represents a relaxation of the original Enlightenment tension between subjectivity and objectivity. It also represents perhaps a grotesque turn toward the extreme of subjectivity in the realm of Postmodern theory, an extreme toward which at least one of the authors casts a critical eye.
Author: Kant/Goldthwait Publisher: ISBN: 9780520352803 Category : PHILOSOPHY Languages : en Pages : 0
Book Description
When originally published in 1960, this was the first complete English translation since 1799 of Kant's early work on aesthetics. More literary than philosophical, Observations shows Kant as a man of feeling rather than the dry thinker he often seemed to readers of the three Critiques.
Author: Julie A. Brown Publisher: Ashgate Publishing, Ltd. ISBN: 9780754657774 Category : Music Languages : en Pages : 204
Book Description
In Bluebeard's Castle (1911), The Wooden Prince (1916/17), The Miraculous Mandarin (1919/24, rev. 1931) and Cantata Profana (1930), Bartók engaged scenarios featuring either overtly grotesque bodies or closely related transformations and violations of the body. In this book, Julie Brown argues that Bartók's concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. All three were thoroughly implicated in cultural constructions of the Modern during the period in which Bartók was composing.
Author: Asa Simon Mittman Publisher: Routledge ISBN: 1351894315 Category : Literary Criticism Languages : en Pages : 626
Book Description
The field of monster studies has grown significantly over the past few years and this companion provides a comprehensive guide to the study of monsters and the monstrous from historical, regional and thematic perspectives. The collection reflects the truly multi-disciplinary nature of monster studies, bringing in scholars from literature, art history, religious studies, history, classics, and cultural and media studies. The companion will offer scholars and graduate students the first comprehensive and authoritative review of this emergent field.
Author: Julie Brown Publisher: Routledge ISBN: 1351574574 Category : Music Languages : en Pages : 193
Book Description
The grotesque is one of art's most puzzling figures - transgressive, comprising an unresolveable hybrid, generally focussing on the human body, full of hyperbole, and ultimately semantically deeply puzzling. In Bluebeard's Castle (1911), The Wooden Prince (1916/17), The Miraculous Mandarin (1919/24, rev. 1931) and Cantata Profana (1930), Bart ngaged scenarios featuring either overtly grotesque bodies or closely related transformations and violations of the body. In a number of instrumental works he also overtly engaged grotesque satirical strategies, sometimes - as in Two Portraits: 'Ideal' and 'Grotesque' - indicating this in the title. In this book, Julie Brown argues that Bart concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While Bart eveloped each interest in highly individual ways, and did so separately to a considerable extent, the three concerns remained conceptually interlinked. All three were thoroughly implicated in cultural constructions of the Modern during the period in which Bart as composing.
Author: Publisher: Penn State Press ISBN: 9780271042879 Category : Art Languages : en Pages : 368
Book Description
Baudelaire's essays on caricature offered the first sustained defense of the value of caricature as a serious art, worthy of study in its own right. This book argues for the crucial importance of the essays for his conception of modernity, so fundamental to the subsequent history of modernism. From the theory of the comic formulated in De l'essence du rire to his discussions of Daumier, Goya, Hogarth, Cruikshank, Bruegel, Grandville, Gavarni, Charlet, and many others, Baudelaire develops not only an aesthetic of caricature but also a caricatural aesthetic--dual and contradictory, grotesque, ironic, violent, farcical, fantastic, and fleeting--that defines an art of modern life. In particular, Baudelaire's insistence on the dualism and ambiguity of laughter has radical implications for such emblems of modernity as the city and the flâneur who roams the streets. The modern city is the space of the comic, a kind of caricature, presenting the flâneur with an image of dualism, one's position as subject and object, implicated in the same urban experiences one seems to control. The theory of the comic invests the idea of modernity with reciprocity, one's status as laughter and object of laughter, thus preventing the subjective construction and appropriation of the world that has so often been linked with the project of modernism. Comic art reflects what Walter Benjamin later defined as Baudelairean allegory, at once representing and revealing the alienation of modern experience. But Baudelaire also transforms the dualism of the comic into a peculiarly modern unity-- the doubling of the comic artist enacted for the benefit of the audience, the self-generating and self-reflexive experience of the flâneur in a "communion" with the crowd. This study examines his views in the context of the history of comic theory and contemporary accounts of the individual artists. Complete with illustrations of the many works discussed, it illuminates the history and theory of caricature, the comic, and the grotesque, and adds to our understanding of modernism in literature and the visual arts.
Author: Amaleena Damlé Publisher: Peter Lang ISBN: 9783039119004 Category : Aesthetics, French Languages : en Pages : 250
Book Description
"The articles that appear in this collection were presented as papers at the Cambridge Annual French Graduate Conference held at King's College, Cambridge in April 2008"--P. [xi].
Author: Michael J. Matthis
Author: Michael J. Matthis
Author: Michael James Matthis
Author: Kant/Goldthwait
Author: Julie A. Brown
Author: John Todhunter
Author: Asa Simon Mittman
Author: Edmund Burke
Author: Julie Brown
Author: 
Author: Amaleena Damlé