Books: 'Aesthetic awareness'

1

Poetry and the romantic musical aesthetic. New York: Cambridge University Press, 2008.

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2

Ecological awareness: Exploring religion, ethics and aesthetics. Berlin: Lit, 2011.

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3

D'Aloia, Adriano. Neurofilmology of the Moving Image. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725255.

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A walk suspended in mid-air, a fall at breakneck speed towards a fatal impact with the ground, an upside-down flip into space, the drift of an astronaut in the void… Analysing a wide range of films, this book brings to light a series of recurrent aesthetic motifs through which contemporary cinema destabilizes and then restores the spectator’s sense of equilibrium. The ‘tensive motifs’ of acrobatics, fall, impact, overturning, and drift reflect our fears and dreams, and offer imaginary forms of transcendence of the limits of our human condition, along with an awareness of their insurmountable nature. Adopting the approach of ‘Neurofilmology’—an interdisciplinary method that puts filmology, perceptual psychology, philosophy of mind, and cognitive neuroscience into dialogue—, this book implements the paradigm of embodied cognition in a new ecological epistemology of the moving-image experience.

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4

Metafiktion und Ästhetik in Christa Wolfs "Nachdenken über Christa T.", "Kindheitsmuster" und "Sommerstück". Würzburg, Germany: Königshausen & Neumann, 2004.

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5

Roberts, Louis O. Man between earth and sky: A symbolic awareness of architecture through a process of creativity. Carmel, CA: Octavio Pub., 2009.

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6

Man between earth and sky: A symbolic awareness of architecture through a process of creativity. Carmel, CA: Octavio Pub., 2009.

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7

Roberts, Louis O. Man between earth and sky: A symbolic awareness of architecture through a process of creativity. Carmel, CA: Octavio Pub., 2009.

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8

Schwarte, Ludger, Helmar Schramm, and Jan Lazardzig. Spuren der Avantgarde: Theatrum anatomicum : frühe Neuzeit und Moderne im Kulturvergleich. Berlin: De Gruyter, 2011.

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9

Valjakka, Minna, and Meiqin Wang, eds. Visual Arts, Representations and Interventions in Contemporary China. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462982239.

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This edited volume provides a multifaceted investigation of the dynamic interrelations between visual arts and urbanization in contemporary Mainland China with a focus on unseen representations and urban interventions brought about by the transformations of the urban space and the various problems associated with it. Through a wide range of illuminating case studies, the authors demonstrate how innovative artistic and creative practices initiated by various stakeholders not only raise critical awareness on socio-political issues of Chinese urbanization but also actively reshape the urban living spaces. The formation of new collaborations, agencies, aesthetics and cultural production sites facilitate diverse forms of cultural activism as they challenge the dominant ways of interpreting social changes and encourage civic participation in the production of alternative meanings in and of the city. Their significance lies in their potential to question current values and power structures as well as to foster new subjectivities for disparate individuals and social groups.

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10

Courageous vulnerability: Ethics and knowledge in Proust, Bergson, Marcel, and James. Leiden: Brill, 2010.

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11

Environmental Awareness: Evoluntionay, Aesthetic and Social Perspectives. Kendall/Hunt Publishing Company, 2004.

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12

Coss, Richard. Environmental Awareness: Evolutionary, Aesthetic and Social Perspectives. Kendall/Hunt Publishing Company, 2004.

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13

Stopher, Ben, John Fass, Eva Verhoeven, and Tobias Revell. Design and Digital Interfaces: Designing with Aesthetic and Ethical Awareness. Bloomsbury Academic & Professional, 2021.

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14

Zhang, Aidong. Zhong Rong's Shipin and the aesthetic awareness of the six Dynasties. 1996.

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15

Project, America's Industrial Heritage, and United States. National Park Service, eds. Aesthetic awareness of design in improvements to US 22 and heritage route selection criteria, southwestern Pennsylvania. [Washington, D.C.?]: America's Industrial Heritage Project, 1989.

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16

von Bonsdorff, Pauline. Children’s aesthetic agency: The pleasures and power of imagination. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198747109.003.0007.

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This chapter perceives the aesthetic sensibilities and creativity of young children through the lens of aesthetic theory and childhood studies. Understanding the aesthetic as encompassing sensitivity, emotion, imagination, and thought, I discuss how children make sense of their world, become familiar with social norms and expressive media, and create their self (including self–other relationships) through imaginative play. Aesthetic agency combines receptive and productive activity, or awareness in action—particularly evident in childhood, but not its privilege. Remembering that many pleasures of childhood relate to make-believe, I include ‘deceit’ and ‘lying’—how playful practices enlarge, change, test, and form alternatives to children’s self-conceptions and life-worlds. A moral and political perspective on make-believe (including a defence of lying) acknowledges that children’s social position is ultimately one of subordinates. Examples from research, novels about or for children (especially the work of Astrid Lindgren), and first-hand experiences emphasize the need for contextual and situated understanding.

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17

Gisela, Hermann-Brennecke, and Kindermann Wolf 1951-, eds. Anglo-American awareness: Arpeggios in aesthetics. Münster: Lit, 2005.

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18

Rohman, Carrie. Woolf’s Floating Monkeys and Whirling Women. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.003.0004.

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This chapter considers two of Virginia Woolf’s most experimental texts, her Nurse Lugton story for children and her novel The Waves. The first catalogues an awareness of the way that a writer’s aesthetic powers are profoundly linked to animality. Moreover, the curtain in Woolf’s story should be read as creative materiality itself, its folds participating in the self-varying dynamism of the virtual and actual. In the wake of such recognitions, I outline an affirmative biopoetics at the heart of Woolf’s aesthetic project. In discussing The Waves, I argue that Jinny, contrary to most scholarly views, may be the most creative character in the text, if we understand creativity in a posthumanist sense. Jinny, who often is dismissed as shallow or overly sexualized in Woolf criticism, is better theorized as a dancer figure who harnesses vibrational forces and engages in the becoming-artistic of life itself.

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19

Lurie, Peter. “Orders from the House”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199797318.003.0003.

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This chapter takes its title from an essay about The Shining by Fredric Jameson, “Historicism in the Shining,” which, for all its acuity about the film’s awareness of economic history, demonstrates a notable blind spot around issues of race and the violence subtending America’s past in regions like the U.S. west. It shows a troubling alliance between Jack Torrance’s will to mastery and director Stanley Kubrick’s unique wielding of cinematic omniscience, suggesting the film’s awareness of the frontier as both a space of supposed white sovereignty and aesthetic spectacle. It employs key visual tropes and verbal details as well as the film’s stylistic excesses to suggest the history of genocide embedded in both the Overlook Hotel’s history and in American historical concepts such as manifest destiny. Its conclusion utilizes Gilles Deleuze’s model of the time-image to describe an apprehensible historicity in the film’s dual ending.

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20

Peponi, Anastasia-Erasmia. Lyric Atmospheres. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0008.

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Lyric genres have often been associated with a particular type of aesthetic experience in which semantic concreteness may give way to more diffused modes of perception and feeling, creating vague yet all-pervasive moods or atmospheres. This phenomenon has been largely attributed to lyric poetry’s heightened musicality, which in antiquity was further enhanced by actual singing and instrumental accompaniment. This chapter contends that in some of Plato’s dialogues interesting versions of this broader issue are either openly addressed or treated as an implicit struggle that results sometimes in negative, while at other times in remarkably creative, responses. In either case, Plato’s awareness and handling of this issue illuminates neglected but exciting aspects of his encounter with mousikē, mimesis, and the verbal arts.

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21

Pryce, Paula. Choir. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190680589.003.0005.

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Expanding on the notion of “keeping intention,” introduced in Chapter 2, Chapter 5 shows how contemplative Christians refine their capacity to “keep attention” and cultivate “contemplative senses” through formal group rituals, body awareness techniques, and the construction of aesthetic environments. It notes the contemplative Christian concept of the Body of Christ in which individual bodies and the collective body are perceived as interconnected entities with expandable and contractible boundaries. The chapter describes the monastic Daily Office and how non-monastic contemplatives adapt monastic rites to their lives outside monasteries. Introducing the important relationship between agency and habitus in contemplative practice, the chapter also develops a model that explicates the process of changing perception, called “contemplative transformation,” as an ever-moving ritualization between “posture” (intentional cataphatic ritual action and positive knowledge) and “flow” (apophatic, ambiguous “inner gestures” and “unknowing”).

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22

Smith, Angela. Colonial Modernists. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199609932.003.0016.

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This chapter looks at a range of colonial fiction up to 1950 by writers native to Australia, New Zealand, India, the Caribbean, and Canada, which in some way develops and inflects modernist aspiration and practice. The old paradigm, that European models of literary modernism were disseminated to outposts of the British Empire, possibly via such cultural missionaries as E. M. Forster or D. H. Lawrence, and then belatedly imitated, or that artists from the colonies travelled to the metropolitan centre to discover and be transformed by the avant-garde, is evidently undermined by a cursory glance at colonial writing at the end of the nineteenth century. The colonial modernist fiction to 1950 discussed in this chapter is inflected by intimate experience of imperial power, as in the case of Mulk Raj Anand and Claude McKay, and by awareness of an alternative aesthetic and morality in the work of Emily Carr and Katherine Susannah Prichard.

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23

Schrijver, Lara, ed. The Tacit Dimension. Leuven University Press, 2021. http://dx.doi.org/10.11116/9789461663801.

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Within architecture, tacit knowledge plays a substantial role both within the design process and its reception. This book explores the tacit dimension of architecture in its aesthetic, material, cultural, design-based, and reflexive understanding of what we build. Much of architecture’s knowledge resides beneath the surface, in nonverbal instruments such as drawings and models that articulate the spatial imagination of the design process. Tacit knowledge, described in 1966 by Michael Polanyi as what we ‘can know but cannot tell’, often denotes knowledge that escapes quantifiable dimensions of research. Beginning in the studio, where students are guided into becoming architects, the book follows a path through the tacit knowledge present in models, materials, conceptual structures, and the design process, revealing how the tacit dimension leads to craftsmanship and the situated knowledge of architecture-in-the-world. Awareness of the tacit dimension helps to understand the many facets of the spaces we inhabit, from the ideas of the architect to the more hidden assumptions of our cultures.

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24

Cynthia, Allen, College of Environmental Science and Forestry. Faculty of Landscape Architecture., United States. National Park Service., and Scenic America (Organization), eds. O, say, can you see: A visual awareness tool kit for communities. Washington, DC: Scenic America, 1999.

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25

Petho, Ágnes, ed. Caught In-Between. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474435499.001.0001.

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This collection of essays explores intermediality as a new perspective in the interpretation of the cinemas that have emerged after the collapse of the former Eastern Bloc. As an aesthetic based on a productive interaction of media and highlighting cinema's relationship with the other arts, intermediality always implies a state of in-betweenness which is capable of registering tensions and ambivalences that go beyond the realm of media. The comparative analyses of films from Hungary, Romania, Poland, the Czech Republic, Bosnia and Herzegovina, and Russia demonstrate that intermediality can be employed in this way as a form of introspection dealing with complex issues of art and society. Appearing in a variety of sensuous or intellectual modes, intermediality can become an effective poetic strategy to communicate how the cultures of the region are caught in-between East and West, past and present, emotional turmoil and more detached self-awareness. Through different theoretical approaches and thematic focuses, the book attempts to contribute to the understanding of intermedial phenomena in contemporary cinema as a whole by mapping meaningful areas of in-betweenness including the intermedial and interart relations in-between cinema, music, theatre, photography, painting, sculpture, literature, language and the new, digital technologies of the moving image.

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26

Seeing Beauty, Sensing Race in Transnational Indonesia (Southeast Asia: Politics, Meaning, and Memory). University of Hawaii Press, 2013.

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27

Chandler, David P., Rita Smith Kipp, and L. Ayu Saraswati. Seeing Beauty, Sensing Race in Transnational Indonesia. University of Hawaii Press, 2013.

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28

Chandler, David P., Rita Smith Kipp, and L. Ayu Saraswati. Seeing Beauty, Sensing Race in Transnational Indonesia. University of Hawaii Press, 2013.

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29

Anglo-American Awareness: Arpeggios in Aesthetics Halle Studies in English and American Literature and Culture, Vol. 11 (Halle Studies in English and American Literature and Culture). Lit Verlag, 2006.

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30

Schwarte, Ludger, Helmar Schramm, and Jan Lazardzig. Spuren der Avantgarde: Theatrum Machinarum - Fruhe Neuzeit und Moderne Im Kulturvergleich. De Gruyter, Inc., 2008.

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31

Bahoora, Haytham. Iraq. Edited by Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.16.

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This chapter examines the development of the novel in Iraq. It first considers the beginnings of prose narrative in Iraq, using the intermingling of the short story and the novel, particularly in the first half of the twentieth century, as a framework for reassessing the formal qualities of the Arabic novel. It then turns to romantic and historical novels published in the 1920s, as well as novels dealing with social issues like poverty and the condition of peasants in the countryside. It discusses the narrative emergence of the bourgeois intellectual’s self-awareness and interiority in Iraqi fiction, especially the novella; works that continued the expression of a critical social realism in the Iraqi novelistic tradition and the appearance of modernist aesthetics; and narratives that addressed dictatorship and war in Iraq. The chapter concludes with an overview of the novel genre in Iraq after 2003.

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32

d'Hubert, Thibaut. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190860332.003.0009.

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In the conclusion, I come back on key issues of my analysis of Ālāol’s poetics. Whereas performance and the absence of theoretical frame recorded in treatises on grammar or poetics are defining features of the vernacular tradition, we witness attempts to describe and systematize vernacular poetics in eastern South Asia. Sanskrit played a major role in this attempt at systematizing vernacular poetics to foster connoisseurship. The domain of reference of vernacular poets was not poetics per se or rhetoric, but lyrical arts and musicology. But efforts to describe vernacular poetics also display an awareness of the importance of heteroglossia and fluidity in vernacular aesthetics in contrast with Sanskrit. The opening up of the Sanskrit episteme constituted by vernacular poetics also made possible the recourse to literary models and quasi-experimental uses of vernacular poetic idioms. Old Maithili, Avadhi, and Persian were visible components of the making of vernacular poetics in Bengal.

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33

Uden, James. Spectres of Antiquity. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190910273.001.0001.

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Gothic literature imagines the return of ghosts from the past. What about the classical past? Spectres of Antiquity is the first full-length study describing the relationship between Greek and Roman culture and the Gothic novels, poetry, and drama of the eighteenth and early-nineteenth century. Rather than simply representing the opposite of classical aesthetics and ideas, the Gothic emerged from an awareness of the lingering power of antiquity, and it irreverently fractures and deconstructs classical images and ideas. The Gothic also reflects a new vision of the ancient world: no longer inspiring modernity through its examples, antiquity has become a ghost, haunting and oppressing contemporary minds rather than guiding them. Through readings of canonical works by authors including Horace Walpole, Ann Radcliffe, Matthew Lewis, and Mary Shelley, Spectres of Antiquity argues that these authors’ ghostly plots and ideas preserve the remembered traces of Greece and Rome. In comprehensive detail, Spectres of Antiquity rewrites the history of the Gothic, demonstrating that the genre was haunted by a far deeper sense of history than readers had previously assumed.

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Books on the topic 'Aesthetic awareness'

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