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Books on the topic 'Aesthetic contemplation'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

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

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2

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

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3

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

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4

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

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5

(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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6

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

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7

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

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8

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 Col

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9

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 a

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10

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

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11

Maffesoli, Michel. La contemplation du monde. LGF, 1996.

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12

Contemplating Art. Oxford University Press, USA, 2006.

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13

Levinson, Jerrold. Contemplating Art. Oxford University Press, USA, 2006.

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14

Higgins, Kathleen. Comparative Aesthetics. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0040.

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One of the first questions that arises in efforts to conduct comparative aesthetics is whether or not the terms ‘art’ and ‘aesthetics’ are inextricably bound to certain cultures and their presuppositions. Since the Enlightenment, the dominant Western conception of ‘fine’ art is distinguished from that of ‘crafts’ used in everyday life. A work of art is understood to be designed primarily for contemplation; if it serves any other practical function, this is considered to be secondary. Theorists disagree on the criteria for judging the work of art, but typically these are linked to a state of mi

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15

Hamilton, G. Rostrevor. Poetry and Contemplation: A New Preface to Poetics. University of Cambridge ESOL Examinations, 2014.

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16

Poetry, Beauty, and Contemplation: The Complete Aesthetics of Jacques Maritain. The Catholic University of America Press, 2011.

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17

1927-, Katz Ruth, and Dahlhaus Carl 1928-, eds. Contemplating music: Source readings in the aesthetics of music. Pendragon Press, 1987.

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18

Contemplating music: Source readings in the aesthetics of music. Pendragon Press, 1986.

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19

Katz, Ruth. Contemplating Music: Source Readings in the Aesthetics of Music : Substance (Aesthetics in Music Series). Pendragon Pr, 1987.

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20

Katz, Ruth, and Carl Dahlhaus. Contemplating Music: Source Readings in the Aesthetics of Music : Import (Aesthetics in Music Series). Pendragon Pr, 1990.

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21

Katz, Ruth. Contemplating Music: Source Readings in the Aesthetics of Music : Essence (Aesthetics in Music Series). Pendragon Press, 1992.

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22

Rabinowitz, Stanley J., ed. And Then Came Dance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190943363.001.0001.

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Here for the first time in English are freshly translated essays on famous women in the arts, in contemporary Russian life, and especially in the world of classical dance written by Russia’s foremost ballet critic of his day, Akim Volynsky (1861–1926). Volynsky’s depiction of the body beautiful onstage at St. Petersburg’s storied Maryinsky Theater is preceded by his earlier writings on women in Leonardo da Vinci, Dostoevsky, and Otto Weininger, and on such illustrious female personalities as Zinaida Gippius, Liubov Gurevich, Ida Rubinstein, and Lou Andreas-Salome. Volynsky was a man for whom t

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23

Katz, Ruth. Contemplating Music: Source Readings in the Aesthetics of Music : Community of Discourse (Aesthetics in Music Series). Pendragon Press, 1993.

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24

Wheeler, Kathleen. Coleridge, John Dewey, and the Art of Contemplation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198799511.003.0005.

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Chapter 4 reads Dewey’s Art as Experience as steeped in Coleridge, a constant reference throughout this foundational pragmatist aesthetics. Indeed Dewey said he found ‘spiritual emancipation’ in Coleridge’s Aids to Reflection, calling it ‘my first Bible’ (qtd in John Beer Aids to Reflection cxxv). Coleridge’s account of perception as active and creative, not passively receptive, gave Dewey profound insight into human experience, helping him articulate his philosophy of ‘art as experience’ whereby art originates in imaginative ordinary life. For Coleridge, ‘act’ and ‘activity’ ground both mind

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25

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 mona

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26

Hawkins, Stan. Aesthetics and Hyperembodiment in Pop Videos. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.002.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter uses textual analysis of the music video “Umbrella,” featuring Rihanna, to demonstrate the intricacies of sound and image synchronization. It argues that music highlights subject positions according to the viewer’s expectations, assessment, and understanding of the displayed subject. Rihanna’s erotic imagery forms a critical point for contemplating the pop artist’s physical responses to music. One central ingredient of most video performances is

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27

Berchman, Robert M. Origen of Alexandria. Edited by William J. Abraham and Frederick D. Aquino. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199662241.013.38.

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Three philosophical questions guide this chapter: what is mind, what is language, and what is reference (or meaning)? Emphasis centres upon Origen’s episteme of ‘ultimate presuppositions’, first principles, philosophy of mind and language, theory of intentionality, aesthetics of scriptural exegesis, and prayer. His approach to self-knowledge and subjectivity is key to his claims concerning the limits of thought and language, the intentionality of mental acts, and distinctions made between ordinary and ideal languages. As a focusing mechanism, contemplative prayer is examined as an intentionall

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28

Hallett, Nicky. Female Religious Houses. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.23.

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Nuns in early modern convents formed a discerning group of writers whose interpretive skills were distinctly shaped by their devotional discipline. This chapter explores their use of particular biblical passages that expose their contemplative concerns, aesthetic impetus, and wider mission to advance the spiritual state of their own readers. Among other material, the women drew on the Psalms, on Thomas à Kempis, the work of Teresa of Ávila and of other contemporary nuns, many of whom wrote anonymously and have only recently been identified. Nuns’ writing shows detailed knowledge of a wide rang

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29

Voyatzaki, Maria, ed. Architectural Materialisms. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420570.001.0001.

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This book gathers 14 voices from a diverse group of architects, designers, performing artists, film makers, media theorists, philosophers, mathematicians and programmers. By transversally crossing disciplinary boundaries, new and profound insights into contemporary thinking and creating architecture emerge. The book is at the forefront of the current contemplation on matter and its significance for and within architecture. The premise is that matter in posthuman times has to be rethought in the rich and multifaceted context of contemporary computational architecture, and in the systemic and ec

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