New Arrivals: BH 1 - BH 9999
Showing 1 - 22 of 22 new items.
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© 2006,Beauty may be in the eye of the beholder, but it's also in the language we use and everywhere in the world around us. In this elegant, witty, and ultimately profound meditation on what is beautiful, Crispin Sartwell begins with six words from six different cultures - ancient Greek's 'to kalon', the Japanese idea of 'wabi-sabi', Hebrew's 'yapha', the Navajo concept 'hozho', Sanskrit 'sundara', and our own English-language 'beauty'. Each word becomes a door onto another way of thinking about, and looking at, what is beautiful in the world, and in our lives. In Sartwell's hands these six names of beauty - and there could be thousands more - are revealed as simple and profound ideas about our world and our selves.
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© 1999,Although beauty, in the pre-modern Arab world, was enjoyed and promoted almost everywhere, Islam does not possess a general theory on aesthetics or a systematic theory of the arts. This is a study of the Arabic discourse on beauty. The author had to search for her evidence in written statements from a wide variety of sources, such as the Qur'an, legal, religious and Sufi texts, chronicles, biographies, belle-lettres, literary criticism, and scientific, geographic and philosophical literature. The result is a compendium of references to beauty in chapters on the Religious Approach, Secular Beauty and Love, Music and Belle-Lettres, and the Visual Arts. This approach is informative and provocative. For the generalist, it provides comparative material for an understanding of the early Arab cultural context. For the specialist, it raises questions of sponsorship and purpose.
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© 2016,Is it merely an accident of English etymology that 'imagination' is cognate with 'image'? Despite the iconoclasm shared to a greater or lesser extent by all Abrahamic faiths, theism tends to assert a link between beauty, goodness and truth, all of which are viewed as Divine attributes. Douglas Hedley argues that religious ideas can be presented in a sensory form, especially in aesthetic works. Drawing explicitly on a Platonic metaphysics of the image as a bearer of transcendence, The Iconic Imagination shows the singular capacity and power of images to represent the transcendent in the traditions of Christianity, Judaism, Hinduism and Islam. In opposition to cold abstraction and narrow asceticism, Hedley shows that the image furnishes a vision of the eternal through the visible and temporal.
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© 2016,Is it merely an accident of English etymology that 'imagination' is cognate with 'image'? Despite the iconoclasm shared to a greater or lesser extent by all Abrahamic faiths, theism tends to assert a link between beauty, goodness and truth, all of which are viewed as Divine attributes. Douglas Hedley argues that religious ideas can be presented in a sensory form, especially in aesthetic works. Drawing explicitly on a Platonic metaphysics of the image as a bearer of transcendence, The Iconic Imagination shows the singular capacity and power of images to represent the transcendent in the traditions of Christianity, Judaism, Hinduism and Islam. In opposition to cold abstraction and narrow asceticism, Hedley shows that the image furnishes a vision of the eternal through the visible and temporal.
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© 2014,"Expanded from the 1998 first edition to six volumes and over 800 entries, the Encyclopedia of Aesthetics surveys the full breadth of critical thought on art, culture, and society-from classical philosophy to contemporary critical theory. The second edition includes increased coverage of international aesthetics, modern aesthetics, new media like computer art, and areas like neuroaesthetics that were not thoroughly covered in the first edition. Featuring 815 articles by distinguished scholars from many fields and countries, the Encyclopedia is a comprehensive survey of major concepts, thinkers, and debates about the meaning, uses, and value of all the arts-from painting and sculpture to literature, music, theater, dance, television, film, and popular culture"--
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© 2015,Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
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© 2013,This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
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© 2013,African art is an area which has had little to no critical philosophical discussion from the African perspective, leaving the assessment and discussion this artistic experience to Euro-American scholars with scant understanding of the sensibilities inherent in African and African Diaspora art. This book looks back to the values relating to the concept of beauty in Africana art and aesthetics, making a careful effort in the first three chapters to introduce African philosophy and aesthetic values to the reader before discussing Africana art within cultural contexts.
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© 2013,The concept of secular millennialism summarizes a crucial point made by Hannah Arendt in The Origins of Totalitarianism: that twentieth-century totalitarian movements, in Nazi Germany and in the Soviet Union under Stalin, are not nationalistic but essentially millennialist, focused on the achievement of a universal world order. The question of whether totalitarian thinking can be located in a secular millennialist tradition is brought to the forefront in Aesthetics as Secular Millennialism: Its Trail from Baumgarten and Kant to Walt Disney and Hitler by Benjamin Bennett. Bennett contends that the new philosophical science of aesthetics beginning in the eighteenth century with Baumgarten, Kant, and Schiller is the source of such a tradition. Bennett uses the term aesthetics to designate a tradition which begins under that name but, in the course of the nineteenth century, concerns itself less directly with questions of beauty or art while not losing its secular millennialist tendency. He argues that modern philosophical hermeneutics, in Dilthey, Heidegger, and Gadamer, belongs to the aesthetic tradition. Bennett explores the realistic novel as the main vehicle by which aesthetic tradition maintains itself in the nineteenth century and attracts a large popular following. The argument culminates in a discussion of relations among aesthetics, totalitarian propaganda, and the totalitarian imagination with its dream of human omnipotence (Arendt). Aesthetics as Secular Millennialism also maintains an attentiveness to instances of resistance against the aesthetic impetus in history hence ultimately against totalitarianism."
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© 2013,In <I> The Aesthetics of Grace: Philosophy, Art, and Nature , Raffaele Milani traces the fascinating history of the idea of 'grace' from ancient times to the 1700s. Although this term has been displaced by other concepts with the advent of modernism and postmodernism, the complex ideas related to the notion of 'grace' remain an important aesthetic category, and Milani presents an impressive panorama of reflections on and interpretations of the subject. The subtitle of the work indicates the broad scope of a study that recounts the origins of the term in Latin <I> gratias (favor, regard, or gift), corresponding to the Greek <I> Kharites (givers of beauty and charm). The volume then goes on to examine the Middle Ages, when the concept acquires a more specifically religious meaning (divine mercy, thanks), the Renaissance, when the terms 'gracefulness' and 'elegance' come to dominate in the treatises of the time, and the Ages of Romanticism and Neoclassicism, with their particular treatment of the topic. In the process, Milani meditates on the visual representations of these multiple meanings in the form of second-century frescoes, fifteenth-century paintings by Botticelli, Raphael, Titian, Da Vinci, Mantegna, Correggio, and Carracci, seventeenth-century canvases by Poussin and sculptures by Bernini, and eighteenth-century sculptures by Antonio Canova and paintings by Fragonard. This engaging work weaves with skill and subtlety philosophical, theological, and artistic ideas into a stimulating tapestry.
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© 2013,Aesthetics in Present Future: The Arts and the Technological Horizon is a collection of essays by scholars and a few artists who focus on the issue of how arts either change when conveyed by new media (such as the web, 3D printers, and videos) or are simply diffused by them. The contributors analyses describe how both virtual production and virtual communication change our attitudes toward what we call the arts. The scope of the topics ranges from photography to cinema and painting, from theater to avant-garde art and Net art, and from construction of robots to simulation of brain functions. The result is an astonishing range of new possibilities and risks for the arts, and new perspectives regarding our knowledge of the world."
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© 2013,In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy (with a focus on Kant), nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world.
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© 2014,Speed is an obvious facet of contemporary society, whereas slowness has often been dismissed as conservative and antimodern. Challenging a long tradition of thought, Lutz Koepnick instead proposes we understand slowness as a strategy of the contemporary--a decidedly modern practice that gazes firmly at and into the present's velocity. As he engages with late twentieth- and early twenty-first-century art, photography, video, film, and literature, Koepnick explores slowness as a critical medium to intensify our temporal and spatial experiences. Slowness helps us register the multiple layers of time, history, and motion that constitute our present. It offers a timely (and untimely) mode of aesthetic perception and representation that emphasizes the openness of the future and undermines any conception of the present as a mere replay of the past. Discussing the photography and art of Janet Cardiff, Olafur Eliasson, Hiroshi Sugimoto, and Michael Wesely; the films of Peter Weir and Tom Tykwer; the video installations of Douglas Gordon, Willie Doherty, and Bill Viola; and the fiction of Don DeLillo, Koepnick shows how slowness can carve out spaces within processes of acceleration that allow us to reflect on alternate temporalities and durations. -
© 2011,In this groundbreaking book, David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution. The total work of art is usually understood as the intention to reunite the arts into the one integrated whole, but it is also tied from the beginning to the desire to recover and renew the public function of art. The synthesis of the arts in the service of social and cultural regeneration was a particularly German dream, which made Wagner and Nietzsche the other center of aesthetic modernism alongside Baudelaire and Mallarm. The history and theory of the total work of art pose a whole series of questions not only to aesthetic modernism and its utopias but also to the whole epoch from the French Revolution to the totalitarian revolutions of the twentieth century. The total work of art indicates the need to revisit key assumptions of modernism, such as the foregrounding of the autonomy and separation of the arts at the expense of the countertendencies to the reunion of the arts, and cuts across the neat equation of avant-gardism with progress and deconstructs the familiar left-right divide between revolution and reaction, the modern and the antimodern. Situated at the interface between art, religion, and politics, the total work of art invites us to rethink the relationship between art and religion and art and politics in European modernism. In a major departure from the existing literature David Roberts argues for twin lineages of the total work, a French revolutionary and a German aesthetic, which interrelate across the whole epoch of European modernism, culminating in the aesthetic and political radicalism of the avant-garde movements in response to the crisis of autonomous art and the accelerating political crisis of European societies from the 1890s forward. -
© 2013,Engagement with the image has played a decisive role in the formulation of the very idea of philosophy since Plato. Identifying pivotal moments in the history of philosophy, Dennis J. Schmidt develops the question of philosophy's regard of the image in thinking by considering painting-where the image most clearly calls attention to itself as an image. Focusing on Heidegger and the work of Paul Klee, Schmidt pursues larger issues in the relationship between word, image, and truth. As he investigates alternative ways of thinking about truth through word and image, Schmidt shows how the form of art can indeed possess the capacity to change its viewers. -
© 2014,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. Building upon a view advanced by James McAllister, the assertion is that beauty in science does not confine itself to anecdotes or personal idiosyncrasies, but rather that it had played a role in shaping the development of science. Mathematicians often evaluate certain pieces of mathematics using words like beautiful, elegant, or even ugly. Such evaluations are prevalent, however, rigorous investigation of them, of mathematical beauty, is much less common. The volume integrates the basic elements of aesthetics, as it has been developed over the last 200 years, with recent findings in neuropsychology as well as a good knowledge of mathematics. The volume begins with a discussion of the reasons to interpret mathematical beauty in a literal or non-literal fashion, which also serves to survey historical and contemporary approaches to mathematical beauty. The author concludes that literal approaches are much more coherent and fruitful, however, much is yet to be done. In this respect two chapters are devoted to the revision and improvement of McAllister's theory of the role of beauty in science. These antecedents are used as a foundation to formulate a naturalistic aesthetic theory. The central idea of the theory is that aesthetic phenomena should be seen as constituting a complex dynamical system which the author calls the aesthetic as process theory. The theory comprises explications of three central topics: aesthetic experience (in mathematics), aesthetic value and aesthetic judgment. The theory is applied in the final part of the volume and is used to account for the three most salient and often used aesthetic terms often used in mathematics: beautiful, elegant and ugly. This application of the theory serves to illustrate the theory in action, but also to further discuss and develop some details and to showcase the theory's explanatory capabilities. -
© 1987,Five Faces of Modernity is a series of semantic and cultural biographies of words that have taken on special significance in the last century and a half or so: modernity , avant-garde , decadence , kitsch , and postmodernism . The concept of modernity-the notion that we, the living, are different and somehow superior to our predecessors and that our civilization is likely to be succeeded by one even superior to ours-is a relatively recent Western invention and one whose time may already have passed, if we believe its postmodern challengers. Calinescu documents the rise of cultural modernity and, in tracing the shifting senses of the five terms under scrutiny, illustrates the intricate value judgments, conflicting orientations, and intellectual paradoxes to which it has given rise. Five Faces of Modernity attempts to do for the foundations of the modernist critical lexicon what earlier terminological studies have done for such complex categories as classicism , baroque , romanticism , realism , or symbolism and thereby fill a gap in literary scholarship. On another, more ambitious level, Calinescu deals at length with the larger issues, dilemmas, ideological tensions, and perplexities brought about by the assertion of modernity. -
© 2013,The British Aesthetic Tradition: From Shaftesbury to Wittgenstein is the first single volume to offer readers a comprehensive and systematic history of aesthetics in Britain from its inception in the early eighteenth century to major developments in Britain and beyond in the late twentieth century. The book consists of an introduction and eight chapters, and is divided into three parts. The first part, The Age of Taste, covers the eighteenth-century approaches of internal sense theorists, imagination theorists and associationists. The second, The Age of Romanticism, takes readers from debates over the picturesque through British Romanticism to late Victorian criticism. The third, The Age of Analysis, covers early twentieth-century theories of Formalism and Expressionism to conclude with Wittgenstein and a number of views inspired by his thought. -
© 2013,Derek Matravers introduces students to the philosophy of art through a close examination of eight famous works of twentieth-century art. Each work has been selected in order to best illustrate and illuminate a particular problem in aesthetics. Each artwork forms a basis for a single chapter and readers are introduced to such issues as artistic value, intention, interpretation, and expression through a careful analysis of the artwork. Questions considered include what does art mean in contemporary art practice? Is the artistic value of a painting the same as how much you like it? If a painting isn't of anything, then how do we understand it? Can art be immoral? By grounding abstract and theoretical discussion in real examples the book provides an excellent way into the subject for readers new to the philosophical dimension of art appreciation. -
© 2013,The third edition of the acclaimed Routledge Companion to Aesthetics contains over sixty chapters written by leading international scholars covering all aspects of aesthetics. This companion opens with an historical overview of aesthetics including entries on Plato, Aristotle, Kant, Nietzsche, Heidegger, Adorno, Benjamin, Foucault, Goodman, and Wollheim. The second part covers the central concepts and theories of aesthetics, including the definitions of art, taste, the value of art, beauty, imagination, fiction, narrative, metaphor and pictorial representation. Part three is devoted to issues and challenges in aesthetics, including art and ethics, art and religion, creativity, environmental aesthetics and feminist aesthetics. The final part addresses the individual arts, including music, photography, film, videogames, literature, theater, dance, architecture and design. With ten new entries, and revisions and updated suggestions for further reading throughout, The Routledge Companion to Aesthetics is essential for anyone interested in aesthetics, art, literature, and visual studies.