Relevant bibliographies by topics / Aesthetic contemplation

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Aesthetic contemplation'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Aesthetic contemplation"

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Flores Barboza, José Clemente, and Franks Paredes Rosales. "La contemplación: estado superior del espíritu." Tradición, segunda época, no. 18 (January 9, 2020): 154–59. http://dx.doi.org/10.31381/tradicion.v0i18.2670.

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ResumenEl presente artículo está dividido en tres partes: En la primera se hace un esclarecimiento del concepto “Contemplación” refiriéndolo a los primeros filósofos griegos Platón y Aristóteles, quienes lo definieron como el asombro ante un hecho, objeto, paisaje, personaje que despierta vivencias fuertemente arraigadas en el espíritu. Se destaca el aporte de Platón a la contemplación de las ideas, particularmente el Bien como base de todo lo bueno y recto que existe. También meditaciones de Aristóteles y Plotino. En la segunda parte, se ocupa de los ámbitos de la contemplación estética, filosófica y mística, y finalmente, se vincula la educación al enriquecimiento del espíritu para contemplar lo bueno y lo bello. En cada ámbito se destaca un ejemplo: Neruda revive a Vallejo, Watanabe contempla la naturaleza y finalmente la imagen de Macchu Picchu vista desde la Casa del Guardián.Palabras clave: Contemplación estética, contemplación filosófica, contemplación mística, vida contemplativa, contemplación y educación, razón y pasión
 AbstractThis article is divided into three parts. In the first part the concept “Contemplation” is clarified associating it with Greek philosophers Plato and Aristotle, who defined it as the amazement one holds at an event, object, landscape, or character that evokes experiences closely related to one’s spirit. Plato’s contribution towards the contemplation of ideas is highlighted, especially, righteousness as the foundation of everything that is good and correct. Meditations by Aristotle and Plotinus are also discussed. In the second part, it deals with the fields of aesthetic,philosophical and mystical contemplation and, finally, educationis linked to the enrichment of the spirit to contemplate the good and the beautiful. In each scenario, an example is analyzed,Neruda brings Vallejo back, Watanabe contemplates nature, and finally the citadel of Macchu Picchu as seen from Casa del Guardian.Keywords: Aesthetic Contemplation - Philosophical, cobtemplation - Mystical Contemplation - Contemplative Life - Contemplation and Education - Reasoning and Passion
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Romand, David. "Konrad Lange on ‘the Illusion of Materials’ in Painting and Visual Arts: Revisiting a Psychoaesthetic Theory of the Perception of Material Properties." Art and Perception 8, no. 3-4 (2019): 283–98. http://dx.doi.org/10.1163/22134913-20191126.

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In the present article, I discuss the concept of ‘the illusion of materials’ (die Stoffillusion) as it was elaborated in the late 19th and early 20th centuries by the German aesthetician and art historian Konrad Lange (1855–1921). Here I intend to revisit a remarkable theory of the psychological mechanisms that underlie the aesthetic experience of mimesis in painting and, more generally speaking, in visual arts. First, I deal with the historical background of Lange’s contribution by saying a word about the German-speaking psychoaesthetic paradigm as it developed between the mid-19th century and WWI. Second, I discuss the basic tenets of Lange’s ‘illusionistic aesthetics’ (Illusionsästhetik), the view according to which the experience of the beautiful lies in a process of ‘conscious self-delusion’ (bewusste Selbsttäuschung) by which means the contemplating subject mentally oscillates between ‘semblance’ and ‘reality’. Third, I analyze Lange’s theoretical way of conceiving the illusion of materials by showing that he identified it as one of the seven chief categories of aesthetic illusions and by insisting on his distinction between the ‘subjective’ non-aesthetic illusion and the ‘objective’ aesthetic illusion of materials. Fourth, I show how Lange conceived the place of the illusion of materials in aesthetic experience in general and in the contemplation of painting and sculpture in particular. In a fifth, concluding part, I deal with the significance of Lange’s ideas on the illusion of materials today by highlighting their close relation to Daniel Arasse’s conception of painting contemplation as a dialectics of ‘the pictorial’ and ‘the iconic’, while also suggesting that they may be very fruitful within the context of current experimental psycho- and neuroaesthetic research.
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Dorofeev, Daniil. "Visual Communications of Love in Athens and Venice: Plato and Tomas Mann." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 14, no. 2 (2020): 637–64. http://dx.doi.org/10.25205/1995-4328-2020-14-2-637-664.

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The article is devoted to the study of ontological, aesthetical and anthropological features of visual communication in Plato and Thomas Mann. I compare T. Mann’s Death in Venice artistic conception with the philosophical understanding of the image, contemplation, beauty and Eros of Plato, primarily in the dialogues Phaedrus and Symposium (with some reference to F. Nietzsche and the film by L. Visconti). The author explores the specifics of the visual-plastic worldview and the contemplative cognition of being, determined by the erotic foundation of the aesthetic contemplation of the human image as phenomenal manifestation of truth, fundamentally different from the one revealed in speech communication, and even capable of being autonomous from it, and represents the philosophical and artistic phenomenology of the development, transformation and implementation of such consciousness. The role of Athens and Venice as particularly significant historical-cultural topoi of visual communication is specially emphasized.
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Schubert, Emery, Adrian C. North, and David J. Hargreaves. "Aesthetic Experience Explained by the Affect-Space Framework." Empirical Musicology Review 11, no. 3-4 (2017): 330. http://dx.doi.org/10.18061/emr.v11i3-4.5115.

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A framework for organizing the semantic structure of aesthetic experience is proposed. The new framework is presented in an 'affect-space' and consists of three sets of dichotomous classifications: (1) internal locus (the felt experience) versus external locus (the description of the object), (2) 'affect-valence' — the attraction to (positive valence, e.g. preference, awe) or repulsion from (negative valence, e.g. hatred, disgust) the artwork/object — versus 'emotion-valence' — the character/contemplation of an emotion (happiness-an example of positive valence, sadness-an example of negative valence), and (3) deep versus shallow hedonic tone—e.g. 'awe' is deep, 'preference' is shallow. Deep hedonic tone is proposed as a better index of aesthetic experience (awe, being moved etc.) than shallow hedonic tone (preference, pleasure, enjoyment). Deep, internal locus, affect-valence during the contemplation of an object amenable to an aesthetic judgement (beautiful, ugly etc.) presents the necessary and sufficient conditions for an aesthetic experience. The framework allows future researchers to consider which aspects of an experience come closest to actual aesthetic experience from an empirical aesthetics perspective. It also highlights the limited value in grouping together so many aesthetic experiences under the rubric of emotion, such as aesthetic emotions, preference, basic emotions and so forth. Our framework paves the way for testing and further development of theory on aesthetic experience.
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Fingerhut, Joerg, and Jesse J. Prinz. "Aesthetic Emotions Reconsidered." Monist 103, no. 2 (2020): 223–39. http://dx.doi.org/10.1093/monist/onz037.

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Abstract We define aesthetic emotions as emotions that underlie the evaluative assessment of artworks. They are separated from the wider class of art-elicited emotions. Aesthetic emotions historically have been characterized as calm, as lacking specific patterns of embodiment, and as being a sui generis kind of pleasure. We reject those views and argue that there is a plurality of aesthetic emotions contributing to praise. After presenting a general account of the nature of emotions, we analyze twelve positive aesthetic emotions in four different categories: emotions of pleasure, contemplation, amazement, and respect. The emotions that we identify in each category, including feelings of fluency, intrigue, wonder, and adoration, have been widely neglected both within aesthetics and in emotion research more broadly.
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황재호. "A Study on Media Aesthetic Contemplation of Web." Journal of Digital Design 12, no. 2 (2012): 191–99. http://dx.doi.org/10.17280/jdd.2012.12.2.018.

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Donaldson, C. "RICHARD ADELMAN, Idleness, Contemplation and the Aesthetic, 1750-1830." Notes and Queries 60, no. 1 (2013): 151–52. http://dx.doi.org/10.1093/notesj/gjs212.

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Neville Kaushall, Justin. "The Metamorphic Temporality of Natural Beauty: Adorno’s Negation of Kantian Disinterested Contemplation." New German Critique 47, no. 2 (2020): 139–67. http://dx.doi.org/10.1215/0094033x-8288167.

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Abstract This article argues that Immanuel Kant’s concept of disinterested contemplation is inadequate because it represses the historical suffering of nature, and thus the aesthetic object’s materiality. It also argues that Theodor W. Adorno’s concept of natural beauty ought to be considered a response to Kant’s concept of disinterested contemplation and, finally, that Adorno must ground the aesthetic concept of natural beauty in a concept of temporality. Such temporality would be a mode of aesthetic experience that allows natural beauty to critically present the violence of history while also anticipating a future in which such violence does not exist. The article calls the new form of temporality that would engage properly with past and future metamorphic. Metamorphic time thus involves recollection and speculation that dialectically refer to each other.
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Agung, Lingga, and Novian Denny Nugraha. "Digital Culture and Instagram: "Aesthetics for All?"." IMOVICCON Conference Proceeding 1, no. 1 (2019): 93–98. http://dx.doi.org/10.37312/imoviccon.v1i1.7.

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Aesthetics is the study of beauty but in a cultural discourse is a representation of cultural expressions that mark its position in social reality. Thus, aesthetics is not a subjective expression of culture but rather a mechanism by which beauty is produced and distributed. The mechanism continues to operate even in a wider landscape such as in multidimensional technological space. This has resulted the aesthetic deconstruction because the norm operates differently. Instagram, which attracted latest generation, has birth a digital culture oriented to the new aesthetic visual forms. The aesthetic visual on Instagram constructed through visual production that is continuously interwoven with one another. The mechanism of cultural production in Instagram tends to deconstruct aesthetics as a norm. The public is more oriented to actions rather than philosophical contemplation. However, the mechanism of culture produces the discourse of aesthetics in Instagram still needs to explore. This research is important because we facing ‘loss of ideological and historical awareness’ of the aesthetics and aesthetics are the alternative to explore the nature of humanity. This research tries to explain how the aesthetics mechanism works on Instagram by virtual ethnography method and Bourdieu's ‘Capital Culture’ theory.
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Marty, Nicolas. "Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)." Organised Sound 21, no. 2 (2016): 166–75. http://dx.doi.org/10.1017/s1355771816000091.

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Drawing on Deleuze’s work about cinema (the ‘movement-image’ and the ‘time-image’), this article explores formal and aesthetic resonances with sound-based music, distinguishing between aesthetics of energy, articulation and montage, and aesthetics of contemplation, space and virtual relations. A second perspective is given, focusing on how listening behaviours may impose a ‘movement-image’ or a ‘time-image’ lens through which we could experience and remember a work’s form. This is exemplified with a short analysis of the first section ofChat Noir(1998–2000) by Elizabeth Anderson.
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Dissertations / Theses on the topic "Aesthetic contemplation"

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Adelman, Richard. "Idleness, contemplation, and the aesthetic, 1750-1830." Thesis, University of York, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503938.

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Primack, Candace Sweet. "Art, contemplation and humankind in the aesthetic theories of James Joyce and Thomas Merton." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Silva, Marcella Marino Medeiros. "\"Fantasia e consciência de imagem\", lições apresentadas por Husserl no semestre de inverno de 1904 - 1905: tradução, introdução e notas." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-06112012-104628/.

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O presente trabalho consiste na tradução anotada da Terceira Parte das Lições do Semestre de Inverno de 1904-1905 intitulada Fantasia e Consciência de Imagem, acompanhada de uma introdução. Nesta apresentamos inicialmente a teoria da intencionalidade desenvolvida nas Investigações Lógicas, cujos elementos são fundamentais para a compreensão da análise da estrutura intencional das imagens físicas e da fantasia empreendida nas Lições. Num segundo momento, buscamos retraçar o percurso analítico feito por Husserl nas Lições, o qual conduz ao reconhecimento de que as fantasias, consideradas inicialmente imagens, possuem uma estrutura intencional semelhante à das percepções. Esta descoberta o levará ao questionamento e à crítica do esquema apreensão-conteúdo de apreensão, até então válido para descrever os diversos modos de consciência intencional, e ao esboço de uma nova teoria para explicitar a diferença entre o caráter atual dos atos presentantes e o caráter inatual dos atos presentificantes, como a memória, a fantasia e a expectativa.<br>This dissertation comprises the annotated translation of the Third Part of the Lectures from the Winter Semester 1904/1905, entitled Fantasy and Image Consciousness, and an introduction. In the introduction, we initially present the theory of intentionality developed in the Logical Investigations, whose elements are fundamental to understand the analysis of the intentional structure of physical and fantasy images carried out in the Lectures. Secondly, we seek to retrace the analytical path taken by Husserl in the Lectures, which leads to the recognition that fantasies, initially considered as images, have an intentional structure similar to that of perceptions. This discovery will lead him to criticize the scheme apprehension-content of apprehension, hitherto valid for describing the various modes of intentional consciousness, and to outline a new interpretation to explain the difference between the actual character of the acts of presentation and the inactual character\" of the acts of representation, such as memory, fantasy and expectation.
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Enberg, Mårten. "Begreppet estetiskt välbehag: Kant och nutid." Thesis, Uppsala universitet, Filosofiska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-379563.

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Yang, Julianne Qiuling Ma, and 楊秋凌. "Towards a cinema of contemplation: Roy Andersson's aesthetics and ethics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50162810.

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Considered one of Northern Europe’s most renowned art film directors to date, Swedish filmmaker Roy Andersson has been hailed by critics and art cinemagoers alike for his unconventional visual and narrative style. Marked by his use of long, static shots filmed in wide-angle and deep focus, Andersson’s “tableau aesthetic” is intimately linked to his idea that films, like other art forms, can have an important function in contemporary society: to provoke social and moral awareness in its audience. Aiming to counter what he considers a “fear of seriousness” and a dearth of critical contemplation in modern society and media, Andersson uses his films and his distinct tableau aesthetic to explore the key social, political and philosophical issues of our times: the human condition, the problems of modernity, and the lingering legacy of past historical traumas. This dissertation presents a study of Andersson’s aesthetic and thematic concerns. The central thesis is that his films continue and innovate key stylistic and ideological tendencies associated with modernist painting and theatre. The introductory chapter serves to justify why Andersson’s work represents a “modernist structure of feeling.” Besides giving an overview of the key ideas, themes and stylistic techniques that mark his films, the introduction explains the humanistic philosophy that is central to not only his aesthetic and thematic concerns, but also his approach to filmmaking itself. The topics that emerge from this introduction – including the function of Andersson’s distinct tableau aesthetic, the thematic richness of his films, and his position within contemporary Nordic cinema and global art cinema – serve as points of departure for the thesis proper. Chapter 1 focuses on Andersson’s tableau aesthetic, its relationship to his overall tableaux narrative structure, and the influences of pictorial arts and earlier cinematic trends on his style. The chapter discusses the director’s justification for the tableau aesthetic and narrative structure, and what it may tell us about the limits of conventional narrative cinema, and cinema’s relationship to the other arts. Chapters 2-4 explore three of the central themes in Andersson’s work: the human condition, the critique of modernity, and the lingering legacy of past historical traumas. Chapter 2 focuses on the human condition as a theme in You, the Living (Du Levande, 2007) and compares the film thematically and stylistically to the Theatre of the Absurd. Chapter 3 analyzes Songs from the Second Floor (Sånger från andra våningen, 2000) and its critique of the Swedish welfare state, modern institutions and ideologies. Meanwhile, Chapter 4 looks at the changing ways that Andersson has artistically rendered the topic of historical traumas during the course of his career. In the concluding chapter, Andersson and his films are discussed within the wider contexts of the Swedish film industry and global art cinema. This dissertation, then, has a two-fold aim: to illuminate the thematic and stylistic richness of Andersson’s much under-researched films, while also critically exploring how his films may move us towards a cinema of contemplation.<br>published_or_final_version<br>Comparative Literature<br>Master<br>Master of Philosophy
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Johnston, Jennene Louise Hooper. "Subtle exchanges : cultivating relations with duration : Eastern, Western and esoteric approaches to contemplating art practice /." [Richmond, N.S.W.] : University of Western Sydney, Hawkesbury, 1999. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030527.120956/index.html.

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Escribano, Miguel. "Dalí's religious models : the iconography of martyrdom and its contemplation." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/17356/.

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This thesis investigates Dalí’s adoption of religious iconography to help represent themes that he had conceptualised through Surrealism, psychoanalysis and other thought systems. His selective use of sources was closely bound to his life circumstances, and I integrate biographical details in my analysis of his paintings. I identify unexpected sources of Dalí's images, and demonstrate how alert he was to the psychological motivations of traditional art. I find he made especial use of the iconography of martyrdom – and the perceptual and cognitive mechanics of the contemplation of death – that foreground the problem of the sexual and mortal self. Part I examines the period 1925-7, when Dalí developed an aesthetic outlook in dialogue with Lorca, formulated in his text, 'Sant Sebastià'. Representations of Sebastian and other martyr saints provided patterns for Dalí's exposition of the generative and degenerating self. In three chapters, based on three paintings, I plot the shift in Dalí's focus from the surface of the physical body – wilfully resistant to emotional engagement, and with classical statuary as a model – to its problematic interior, vulnerable to forces of desire and corruption. This section shows how Dalí's engagement with religious art paradoxically brought him into alignment with Surrealism. In Part II, I contend that many of the familiar images of Dalí’s Surrealist period – in which he considered the self as a fundamentally psychic rather than physical entity – can be traced to the iconography of contemplative saints, particularly Jerome. Through the prism of this re-interpretation, I consider Jerome's task of transcribing Biblical meaning in the context of psychoanalytical theories of cultural production. In Part III, I show how Dalí's later, overt use of religious imagery evolved from within his Surrealism. I trace a condensed, personalised life-narrative through Dalí’s paintings of 1948-52, based on Biblical mythology, but compatible with psychoanalytical theory: from birth to death to an ideal return to the mother's body.
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Johnston, Jennene, of Western Sydney Hawkesbury University, and Faculty of Social Inquiry. "Subtle exchanges : cultivating relations with duration : eastern, western and esoteric approaches to contemplating art practice." THESIS_FSI_XXX_Johnston_J.xml, 1999. http://handle.uws.edu.au:8081/1959.7/419.

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This thesis aims to consider the potential for perception of the subtle exchanges of viewers and artwork; subject and object. This necessitates an examination of ontologies, concepts of the body, perceptive schemas and modes of consciousness that ultimately destabilise the assumed solidity and individuality of subject and object. Exchanges of subtle effects are continually taking place between viewer and object, and the space between subject and object is alive with interaction. Process philosophy is introduced as the basic ontological perspective underlying this reflection of subject-object relations. Three conceptualisations of subject-object interaction are considered: Western, Esoteric and Eastern, and three types of body-mind proposed by these investigations are discussed. The process and practice of cultivation required to activate intuition as a faculty able to perceive subtle effects are considered. This focuses mainly upon Eastern practices, with emphasis on the interrelation of cultivation and the creation/contemplation of visual art works.<br>Master of Arts (Hons)
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Rundall, Shane. "Artistic Action and Contemplation: Recapturing The Elements of Mystery That Make Every Round of Golf A Voyage of Discovery." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32376.

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Artists think differently. They challenge the practical and apply their ideas to the contemporary world creating many journeys and excitement along the way. Without them, the world would have remained flat and as unique as black and white. This thesis investigation is grounded in phenomenological theories of aesthetics proposed by Maurice Merleau-Ponty and John Dewey, the artistic approach of Jackson Pollock and Yves Klein, and my own perceptions of the process of creating art. The objective is to apply aesthetic concepts and principles derived from these sources to the practice of golf course architecture and expand the way we view and play in our golf course environment. Golf, unlike any other sport, is carried out over an area of awarded luck and encouraged misfortune that also happens to be a living environment. Without question, no two courses are alike. Nor is any hole on any course ever the same. Nor is any hole, even if played the very next day, going to relinquish the same experience. Daily tee and hole locations make for an infinite number of configurations; as does wind, the temperature, the condition of the grass or the suddenly drooping branches of a once upright tree. However, not all courses reach their potential and capitalize on the environments possibilities and the perception of those experiencing it. Some course designers simply place holes in a pattern to reach desired numbers of par and yardage in order to fulfill a requirement. With the unrelenting expense of land and the continued awareness of negative development impacts, the art of golf course architecture could be viewed a bit differently. By incorporating the attitude of an artist such as Jackson Pollock, or the mentality of a psychologist such as Merleau-Ponty, and revealing the possibilities of the subconscious, the golf course architectâ s design can do more than give shape to space. Blacksburg Country Club, located in Ellett Valley just outside of the town of Blacksburg, Virginia serves as a case study site for this design investigation. The intent of the thesis is to develop a design that addresses the technicalities of golf course architecture and the history of the profession while creating a piece of â art in natureâ that touches all the senses â the gateway to the soul. There just happens to be a game inside.<br>Master of Landscape Architecture
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Popa, Emilia Diana. "The specificity of the aesthetics of slowness in contemporary Romanian cinema." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/14124.

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Contemporary Romanian cinema, particularly in its internationally successful instances, displays formal characteristics that have often led to its being seen in terms of the so-called Slow Cinema trend in contemporary cinema. This thesis proposes that there is something distinctive about slowness in contemporary Romanian films, similar to and yet different from Slow Cinema. Through a detailed analysis of films made by Cristi Puiu and Cristian Mungiu, two of the most representative contemporary Romanian filmmakers, Romanian slow films emerge as a less stringent form of slowness characterised by tension. This thesis first looks at some of the ways in which slowness can be developed in film - through the use of the long take and the trope of waiting along with the use of stillness and silence. Within this slowness an attitude of contemplation emerges, a characteristic that is key to Slow Cinema. Through close textual analysis of a number of films with a reputation for slowness, both classic and more recent examples, this thesis looks at how the techniques used to develop slowness in film allow for variation and how they can be used not only to create this attitude of contemplation but also to create tension. While this aspect has been less discussed with the more prevalent focus on Slow Cinema and its themes of contemplation, tension can be identified in a variety of films, both those considered part of Slow Cinema and those considered slow films. The distinctiveness of slowness in contemporary Romanian cinema is partly to do with its being rooted in Romanian culture. This study looks at Romanian cinematic and cultural inheritance, specifically at how slowness figures in this history. This thesis contributes to the existing body of research on contemporary Romanian cinema addressing its most salient characteristic, its sense of slowness, by placing it in relation to wider discussions about slowness and Slow Cinema as well as by linking its distinctiveness to wider cultural notions and practices of temporal organisation as well as the social history of the nation.
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Books on the topic "Aesthetic contemplation"

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Idleness, contemplation and the aesthetic, 1750-1830. Cambridge University Press, 2011.

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La Contemplation du monde: Figures du style communautaire. B. Grasset, 1993.

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Maffesoli, Michel. The contemplation of the world: Figures of community style. University of Minnesota Press, 1996.

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Spiro, Audrey G. Contemplating the ancients: Aesthetic and social issues in early Chinese portraiture. University of California Press, 1990.

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(autograph), Siskind Aaron, Torosian Michael 1952-, and Lumiere Press, eds. The Siskind variations: A quartet of photographs & contemplations. Lumiere Press, 1990.

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Adelman, Richard. Idleness, Contemplation and the Aesthetic, 1750-1830. University of Cambridge ESOL Examinations, 2014.

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Cheyne, Peter. Coleridge's Contemplative Philosophy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851806.001.0001.

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‘PHILOSOPHY, or the doctrine and discipline of ideas’ as S. T. Coleridge understood it, is the theme of this book. It considers the most vital and mature vein of Coleridge’s prose writings to be ‘the contemplation of ideas objectively, as existing powers’. A theory of ideas emerges in critical engagement with thinkers including Plato, Plotinus, Böhme, Kant, and Schelling. A commitment to the transcendence of reason, central to what Coleridge calls ‘the spiritual platonic old England’, distinguishes him from his German contemporaries. This book pursues a theory of contemplation that draws from Coleridge’s theories of imagination and the ‘Ideas of Reason’ in his published texts and extensively from his thoughts as they developed throughout published works, fragments, letters, and notebooks. He posited a hierarchy of cognition from basic sense intuition to the apprehension of scientific, ethical, and theological ideas. The structure of the book follows this thesis, beginning with sense data, moving upwards into aesthetic experience, imagination, and reason, with final chapters on formal logic and poetry that constellate the contemplation of ideas. Coleridge’s Contemplative Philosophy is not just a work of history of philosophy; it addresses a figure whose thinking is of continuing interest, arguing that contemplation of ideas and values has consequences for everyday morality and aesthetics, as well as metaphysics. The book also illuminates Coleridge’s prose by analysis of his poetry, notably the ‘Limbo’ sequence. The volume will be of interest to philosophers, intellectual historians, scholars of religion, and of literature.
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Kirwan, James. Coleridge on Beauty. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799511.003.0004.

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Chapter 3 examines Coleridge’s analysis of beauty in the ‘Principles of Genial Criticism’ (1814), which aimed to establish a religious dimension to aesthetic experience. Coleridge’s argument is traced through his Kantian account of aesthetic judgement, and his assertion of unity-in-multiplicity as the formal condition of beauty, to his grounding beauty in that which is ‘pre-configured’ to our faculties. Coleridge’s depends on eighteenth-century aesthetic axioms, despite deliberately avoiding explicit reference to such accounts, electing Plotinus instead as a precursor. It is suggested that Coleridge is therefore reluctant to explain aesthetic experience in purely psychological and, potentially, exclusively naturalistic terms. The appeal to Plotinus’s traditional notion of beauty as the soul’s recognition of its divine origin grounds aesthetic experience in religion. Concomitantly, in Coleridge’s reassertion of the claims of religion in the wake of the Enlightenment, aesthetic experience as contemplation of the world as it is becomes proof of the existence of the divine.
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Winner, Ellen. Can This Be Art? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863357.003.0002.

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While philosophers have tried to define art by necessary and sufficient features, this effort has failed. Art is a socially constructed, open concept that eludes formal definition. While art cannot be tightly defined, we can loosely define art by listing possible characteristics of works of art—recognizing that this list must remain an open one. We may not be able define art, but philosophers and psychologists together have revealed the difference between observing something with or without an aesthetic attitude. While any artifact may be used as a work of art, we respond differently to that artifact when we believe it is was created intentionally as a work of art rather than a non-art artifact. We adopt an aesthetic attitude, paying attention to the surface form and the expressive properties of the object. This conclusion is consistent with Kant’s idea of the aesthetic attitude being a form of disinterested contemplation.
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Brown, David. Anselm. Edited by William J. Abraham and Frederick D. Aquino. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199662241.013.1.

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Anselm’s acceptance of three sources for knowledge of God (in reason, the teaching authority of the Bible and church, and experience) is used to try to overcome the conventional opposition between philosophers and theologians on how Anselm should be interpreted. In particular, due note is taken of aesthetic aspects to his search for understanding and also the various ways in which these might contribute to the holding of his three epistemic sources in creative tension and all within an ideal of monastic contemplation. This aesthetic perspective is explored well beyond its customary location in Cur Deus Homo to include other writings such as On Truth, the Proslogion, and On the Procession of the Holy Spirit. This chapter ends by acknowledging the limitations inherent in Anselm’s approach.
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Book chapters on the topic "Aesthetic contemplation"

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Vandenabeele, Bart. "Sensory Perception and Aesthetic Contemplation." In The Sublime in Schopenhauer’s Philosophy. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137358691_3.

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Zhang, Hong. "Aesthetic Contemplation of the Tang Dynasty Dunhuang Frescoes Elements on Contemporary Costume Design." In Cross-Cultural Design. User Experience of Products, Services, and Intelligent Environments. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49788-0_32.

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Singh, Shalini, and Tej Vir Singh. "Chapter 8. Aesthetic Pleasures: Contemplating Spiritual Tourism." In Philosophical Issues in Tourism, edited by John Tribe. Multilingual Matters, 2009. http://dx.doi.org/10.21832/9781845410988-009.

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Flora, Holly. "Sensory Engagement and Contemplative Transformation in Cimabue’s Assisi Transepts." In Aesthetic Theology in the Franciscan Tradition. Routledge, 2019. http://dx.doi.org/10.4324/9780429318658-3.

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Turner, Jeremy O., and Steve DiPaola. "Transforming Kantian Aesthetic Principles into Qualitative Hermeneutics for Contemplative AGI Agents." In Artificial General Intelligence. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97676-1_23.

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Rist, Peter. "Renewal of Song Dynasty Landscape Painting Aesthetics Combined with a Contemplative Modernism in the Early Work of Chen Kaige." In The Poetics of Chinese Cinema. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55309-6_4.

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Cheyne, Peter. "Aesthetic Contemplation." In Coleridge's Contemplative Philosophy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851806.003.0004.

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The ‘aesthetic’ referred to throughout Chapter 3 is not especially the aesthetics of art, but that of everyday experience, the shared world, and of nature. Section 3.1, following up some Coleridgean notes that relate ‘Ideas’ to ‘thoughts &amp; enjoyments’, performs a Socratic elenchus on unreflective cognitive attitudes in aesthetic states to distinguish value in the experience from prejudice. Section 3.2 then explores Coleridge’s concern with the activity of ideas in everyday aesthetics and the aim of enlightening ‘our feelings’ so they ‘actualize our reason’ ‘with their vital warmth’, relating this to Schiller’s concept of aesthetic education. Section 3.3 introduces the author’s theory of inchoate contemplation that commences in aesthetically informed feelings, in local or national culture, as an initial and perhaps universal, non-intellectualist form of the intuition of ideas. This theory then helps to illuminate a Coleridgean ‘philosophy of life’ where everyday symbols and aesthetic practices reach ‘far higher and far inward’.
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Tobin, Claudia. "‘Inactive contemplation’: Wallace Stevens and Charles Mauron." In Modernism and Still Life. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474455138.003.0005.

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The final chapter of Modernism and Still Life crosses the Atlantic to consider the American poet, Wallace Stevens. It argues that his creative project was underpinned by the desire for a transformative attentiveness to the everyday, an ‘illumination of the usual’, which coincides with the still life aesthetic. The chapter is structured around the poet’s annotated personal copy of Aesthetics and Psychology (1935), authored by the French aesthetician, Charles Mauron (1899–1966). Mauron’s text, which Stevens read and closely annotated during the 1930s, provides a unique paradigm through which to approach the poet’s still life meditations in his lyric poetry and criticism, with particular focus on Parts of a World (1942). This chapter reads Stevens’s ‘still life’ poems in the light of two traditions in the pictorial representation of the genre: one characterised by sensuous abundance and the other by ascetic abstinence. Such an approach illuminates the poems’ internal debates about aestheticism and asceticism, absorption and detachment, contemplation and activity and uncovers the ways in which Mauron’s theory of ‘inactive’ and ‘active’ contemplation shaped the poet’s ‘still life aesthetic’. The chapter ends by revealing the nexus between Bloomsbury, Mauron and Stevens.
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Trowbridge, Serena. "Past, present, and future in the Gothic graveyard." In The Gothic and Death. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784992699.003.0002.

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This chapter examines the development of a Gothic aesthetic of mortality in Graveyard poetry that in turn provided a significant influence for later Gothic novels. In its reflective, psychologically complex subject matter, poetry provides rich material for Gothic, and the genre drew upon the work of the graveyard poets, including Gray, Young, Blair and Parnell. Not only are the aesthetics of graveyard poetry significant in the development of Gothic, but also the structures of Christianity which emphasise life after death. The locus of death provides a focal point where the poetic and the constructed self meet, uniting the rational and the sublime in contemplating the terrible and unknowable, replacing the pre-Reformation prayers for the dead with a Protestant contemplation of Heaven.
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"7. Schopenhauer on Aesthetic Contemplation (W I, §§ 30–42)." In Arthur Schopenhauer: Die Welt als Wille und Vorstellung. De Gruyter (A), 2014. http://dx.doi.org/10.1524/9783050064314.101.

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