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Books on the topic 'Aesthetic forms of expressions'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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1

Regazzoni, Susanna, and Fabiola Cecere. America: il racconto di un continente | América: el relato de un continente. Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-319-9.

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In this collection, the multifaceted character of Latin American literature takes the form of an itinerary that shows plural and heterogeneous aesthetic expressions. The aim of the book is to think, once again, about the cultural identity of the continent, which is open and in constant development, through a reflection that considers new points of view and an interdisciplinary approach.
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2

Gall, Gregor, ed. New Forms and Expressions of Conflict at Work. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137304483.

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3

Marc, Groenen, ed. Expressions esthétiques et comportements techniques au paléolithique: Aesthetic expressions and technical behaviours in the palaeolithic age. Archaepress, 2013.

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4

Fatima, Ibrahim Binta, and Binta Fatima Ibrahim. Themes, patterns and oral aesthetic forms in Nigerian literature. Haytee Press and Pub. Co., 2008.

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5

Entre naturalisme sonore et synthèse en temps réel: Images et formes expressives dans la musique contemporaine. Archives Contemporaines Editions, 2013.

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6

Babič, Saša. Beseda ni konj: Estetska struktura slovenskih folklornih obrazcev = Word is not a horse : it doesn't hurt to ask : aesthetic structure of Slovenian short folklore forms. Inštitut za slovensko narodopisje ZRC SAZU, 2015.

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7

Simon, Julia. Time, Tradition, Performance, and the Aesthetic Object. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190666552.003.0006.

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The final chapter addresses the temporality of a genre based on tradition. Working from conceptions of tradition gleaned from the epic and historical chronicle, and of modern anxieties about the weight of the past, reveals a resonating, vibrant, multi-temporal field for the blues that employs meta-textual references to the tradition to create ironic distance. Tracing the genealogy of a riff from Robert Johnson’s “If I Had Possession Over Judgment Day” to Muddy Waters’s “Rollin’ and Tumblin’, ” through to Nick Moss and the Flip Tops’ “The Money I Make” reveals the dynamic forms of temporal simultaneity that define the blues as a genre. An investigation of improvisation foregrounds the historical rootedness of all creative expression, while the necessary interplay between tradition and reception enables a final interrogation of the relationship between individual and community in the blues.
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8

Klein, Gabriele. Urban Choreographies. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.48.

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In recent years, above all in urban environments, new cultures of public protest and artistic interventions have established themselves. These artistic and aesthetic forms increasingly operate with physical, theatrical, and choreographic practices and tools, developing a politics of images in an effective and affective media environment. This chapter discusses, using the examples of LIGNA’s performances Radioballet and Dance of All, the aesthetic, political, and social dimensions of artistic interventions based on a concept of community that is defined by corporeal and aesthetic practices. The chapter highlights the political potential implied in the aesthetic and artistic forms of public cultural gatherings. It focuses on the production of attention by means of bodily practices (gestures, facial expressions, movement, dance), theatrical settings (stage, costumes, music), and choreographic tools (organization of bodies, rhythm, dramaturgy).
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9

Reed, Christopher Robert. Cultural and Aesthetic Expressions. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036231.003.0008.

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This chapter discusses the cultural undergirding that made the Jazz Age what it was. The performing arts—which included instrumental music, choral music, and individual vocal presentations—dominated creative performance in Chicago. Mastery of the voice heard in sopranos, tenors, baritones, and basses accompanied widespread mastery of the piano. As a result, highly skilled musicians abounded. In the second decade of the century, ragtime, blues, and jazz emerged. Black groups performed throughout the city in concert halls such as the downtown district's Orchestra Hall and Auditorium Theater, in South Side churches, and in the private homes of wealthy whites on the North Side.
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10

Seitler, Dana. Reading Sideways. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823282623.001.0001.

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This book explores the pivotal role that various art forms played in American literary fiction in direct relation to the politics of gender and sexuality at the turn of the twentieth century. It tracks the transverse circulation of aesthetic ideas in fiction and argues that at stake in fin-de-siècle American writers’ aesthetic turn was not only the theorization of aesthetic experience, but also a fashioning forth of an understanding of aesthetic form in relation to political arguments and debates about available modes of sociability and cultural expression. To track these practices it performs an interpretive method Seitler calls “lateral reading,” a mode of interpretation that moves horizontally through various historical entanglements and across the fields of the arts to make sense of, and see in a new light, their connections, challenges, and productive frictions.
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11

Lehman, Frank. Expression and Transformation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0003.

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This chapter introduces the two core theoretical concepts of this study: expressivity and transformation. These two topics are broached through an initial examination of two highly dissimilar cinematic style topics: whole-tone harmony and stepwise modulations. The stylistic and aesthetic continuity with Romantic Era practices, especially from Wagner, is emphasized. A working model of tonal expressivity is constructed, in which intrinsic and extrinsic musical factors combine to form combinatorial meaning. With these concepts in hand, the notion of transformation—the cornerstone of neo-Riemannian theory—is introduced, and the second half of this chapter fleshes out the idiom of pantriadic chromaticism. A clear definition for pantriadicism is offered, along with a provisional aesthetics and analytical methodology for the idiom. The chapter concludes with a treatment of three common guises of pantriadicism—absolute progressions, sequences, and discursive chromaticism—all of which tend to occur on the musical surface rather than background.
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12

Günther, Christoph, and Simone Pfeifer, eds. Jihadi Audiovisuality and its Entanglements. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474467513.001.0001.

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This volume situates jihadi audio-visual media within a global communicative web, and provides perspectives that relate the production and dissemination of jihadi images and sound to various forms of engagement and appropriation. Through 12 case studies, this book examines the different ways in which Jihadi groups and their supporters use visualisation, sound production and aesthetic means to articulate their cause in online as well as offline contexts and how different actors relate to these media. Divided into four thematic sections, the chapters probe Jihadi appropriation of traditional and popular cultural expressions and show how, in turn, political activists appropriate extremist media to oppose and resist the propaganda. By conceptualising militant Islamist audio-visual productions as part of global media aesthetics and practices, the authors shed light on how religious actors, artists, civil society activists, global youth, political forces, security agencies and researchers engage with mediated manifestations of Jihadi ideology to deconstruct, reinforce, defy or oppose the messages.
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13

Blackwood, Sarah. The Portrait's Subject. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469652597.001.0001.

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Between the invention of photography in 1839 and the end of the nineteenth century, portraiture became one of the most popular and common art forms in the United States. In The Portrait's Subject, Sarah Blackwood tells a wide-ranging story about how images of human surfaces came to signal expressions of human depth during this era in paintings, photographs, and illustrations, as well as in literary and cultural representations of portrait making and viewing. Combining visual theory, literary close reading, and archival research, Blackwood examines portraiture's changing symbolic and aesthetic practices, from daguerreotype to X-ray. Portraiture, the book argues, was a provocative art form used by writers, artists, and early psychologists to imagine selfhood as hidden, deep, and in need of revelation, ideas that were then taken up by the developing discipline of psychology. The Portrait’s Subject reveals the underappreciated connections between portraiture's representations of the material human body and developing modern ideas about the human mind. It encouraged figures like Frederick Douglass, Nathaniel Hawthorne, Thomas Eakins, Harriet Jacobs, and Henry James to reimagine how we might see inner life, offering a rich array of metaphors and aesthetic approaches that helped reconfigure the relationship between body and mind, exterior and interior. In the end, Blackwood shows how nineteenth-century psychological discourse developed as much through aesthetic fabulation as through scientific experimentation.
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14

Kẹhinde, Olupọna Jacob Obafẹmi, ed. African spirituality: Forms, meanings, and expressions. Crossroad, 2000.

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15

Harrell, D. Fox. Subjective Computing and Improvisation. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.003.

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Subjective computingis an approach to designing and understanding computational systems that serve improvisational, cultural, and critical aims typically exhibited in the arts. The termphantasmal mediadescribes media forms that evoke and reveal phantasms: blends of cultural knowledge and sensory imagination. Phantasmal media include subjective computing systems that deeply engage human culture, imagination, and aesthetics through computer programming (Harrell, 2009). Such subjective computing systems can powerfully useagency play(Harrell and Zhu, 2009), the interplay betweenuser agency(actions that users perform on systems) andsystem agency(experiences that the system enables for users), as a basis for creative expression. This chapter explores the relationship between user agency and system agency as analogous to the relationship between improvisation and composition. The result is a model articulating how subjective computing systems can embody an aesthetic approach grounded in improvisation.
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16

Steane, Andrew. The Human Community. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824589.003.0019.

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The chapter considers the worldwide community of people. Our evolutionary story is briefly sketched, and early human expression such as cave art. Our aesthetic ability, reasoning ability, and moral ability are considered. All of these are end-products of physical processes; all are none the less genuine for that. The same goes for our religious sense, which is the aptitude for discerning meaning. Some of the variety of forms of religious expression are mentioned, and comments on their history are given.
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17

Weir, David. Decadence: A Very Short Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190610227.001.0001.

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Decadence: A Very Short Introduction provides an overview of the culture of decadence—the artistic expression of a conflicted sense of modernity—by tracing its origin in ancient Rome, development in nineteenth-century Paris and London, manifestation in early-twentieth-century Vienna and Weimar Berlin, and current resonance in contemporary life. It explores conflicting attitudes toward modernity in decadent culture by examining both aesthetic decadence—the excess of artifice—and social decadence, which involves excess in many forms, whether perversely pleasurable or gratuitously cruel. The integration of aesthetic and social decadence led some of its practitioners to substitute art for life and to stress the importance of taste over morality, a move with far-reaching cultural consequences.
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18

Kapila, Vatsyayan, Chattopadhyaya D. P. 1933-, Deshpande Sharad, Anand Anand K. 1930-, Centre for Studies in Civilizations (Delhi, India), and Project of History of Indian Science, Philosophy, and Culture., eds. Aesthetic theories and forms in Indian tradition. Centre for Studies in Civilization, 2008.

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19

Gall, G. New Forms and Expressions of Conflict at Work. Palgrave Macmillan, 2013.

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20

Olupona, Jacob K. African Spirituality: Forms, Meanings and Expressions (World Spirituality). Herder & Herder, 2001.

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21

New Forms And Expressions Of Conflict At Work. Palgrave Macmillan, 2013.

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22

Fluhrer, Sandra, and Alexander Waszynski, eds. Tangieren - Szenen des Berührens. Rombach Wissenschaft, 2020. http://dx.doi.org/10.5771/9783968210032.

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Scenic representations in the arts and cultural practices create countless forms of contact. Not only are film, theatre, opera, performance and exhibitions forms of expression that evoke tactile and emotional responses, that is, that allow us to touch or that touch us in some way, but so are cultural theory and philology. This is achieved just as much through closeness and detachment and illusions of immediacy, or of an infectious or spellbinding nature as through forms of imagery, conceptuality and corporeality. Based on the concept of touching someone emotionally and from both historical and systematic perspectives, this book examines scenes which affect their viewers in some way. How can the tension between loss of distance and modulation in the process of evoking an emotional response at the point where aesthetic behaviour and reception meet and interact be described?
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23

Shay, Anthony. LADO, the State Ensemble of Croatian Folk Dances and Songs. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.009.

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Unlike many European nations, Croatia has historically used folk dance as a form of representation, according to dance historian and ethnographer Stjepan Sremac. Following World War II, the Yugoslav State established several professional ensembles, among which was Lado, the Ensemble of Folk Dances and Songs of Croatia, under the direction of Zvonko Ljevakovic. Unlike Igor Moiseyev, and in direct opposition to the Moiseyev aesthetic, Ljevakovic employed many authentic details of dance movements, costume, and vocal and instrumental music in his theatricalized folk dance choreographies. Many of the people in Eastern Europe, in which nearly every nation had a professional folk dance ensemble, have turned away from the state-sponsored companies in favor of newer forms of cultural expression, however Lado’s popularity, due to performance strategies created by the new artistic director, Ivan Ivancan, Jr, has greatly increased.
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24

Henderson, Andrea. Algebraic Art. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198809982.001.0001.

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Algebraic Art explores the invention of a peculiarly Victorian account of the nature and value of aesthetic form, and it traces that account to a surprising source: mathematics. The nineteenth century was a moment of extraordinary mathematical innovation, witnessing the development of non-Euclidean geometry, the revaluation of symbolic algebra, and the importation of mathematical language into philosophy. All these innovations sprang from a reconception of mathematics as a formal rather than a referential practice—as a means for describing relationships rather than quantities. For Victorian mathematicians, the value of a claim lay not in its capacity to describe the world but its internal coherence. This concern with formal structure produced a striking convergence between mathematics and aesthetics: geometers wrote fables, logicians reconceived symbolism, and physicists described reality as consisting of beautiful patterns. Artists, meanwhile, drawing upon the cultural prestige of mathematics, conceived their work as a “science” of form, whether as lines in a painting, twinned characters in a novel, or wave-like stress patterns in a poem. Avant-garde photographs and paintings, fantastical novels like Flatland and Lewis Carroll’s children’s books, and experimental poetry by Swinburne, Rossetti, and Patmore created worlds governed by a rigorous internal logic even as they were pointedly unconcerned with reference or realist protocols. Algebraic Art shows that works we tend to regard as outliers to mainstream Victorian culture were expressions of a mathematical formalism that was central to Victorian knowledge production and that continues to shape our understanding of the significance of form.
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25

Bick, Sally. Unsettled Scores. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042812.001.0001.

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Unsettled Scores treats the Hollywood activities of Aaron Copland and Hanns Eisler, who were among the earliest modernist composers to negotiate the collision of the high/low dichotomy within these two cultural realms. The social and political crises provoked by capitalism and war profoundly affected these ideals and, in turn, the men’s cultural and aesthetic thinking. Confronting and living through social crisis (Eisler during the instability of Weimar Germany and Copland through America’s Depression years), both composers experimented with new artistic forms and values, shaping their musical perspectives. Eventually, they turned to Hollywood, where they found possibilities to negotiate their distinct modernist aesthetics and political beliefs. The book approaches Copland’s and Eisler’s Hollywood activities through a dual study, pairing interpretations of their writings on the subject with close examination of their first film scores: Copland’s music for Lewis Milestone’s 1939 film Of Mice and Men and Eisler’s 1943 score for Hangmen Also Die!, directed by Fritz Lang. This study examines how the highly politicized and topical nature of these films appealed to each composer’s political ideologies concerning society and the human condition. Their scores became agents for political expression as they transformed their individual styles into the commercial sphere.
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26

Hiratsuka, Toshiko. Politeness expressions on an American university campus. 1987.

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27

Anderson, Edward, and Arkotong Longkumer. Neo-Hindutva: Evolving Forms, Spaces, and Expressions of Hindu Nationalism. Taylor & Francis Group, 2020.

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28

Olupona, Jacob K. African Spirituality: Forms, Meanings and Expressions (World Spirituality, V. 3). Herder & Herder, 2001.

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29

Anderson, Edward, and Arkotong Longkumer. Neo-Hindutva: Evolving Forms, Spaces, and Expressions of Hindu Nationalism. Taylor & Francis Group, 2020.

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30

Anderson, Edward, and Arkotong Longkumer. Neo-Hindutva: Evolving Forms, Spaces, and Expressions of Hindu Nationalism. Taylor & Francis Group, 2020.

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31

Anderson, Edward, and Arkotong Longkumer. Neo-Hindutva: Evolving Forms, Spaces, and Expressions of Hindu Nationalism. Taylor & Francis Group, 2020.

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32

Edward, Read Herbert. The Forms Of Things Unknown: Essays Towards An Aesthetic Philosophy. Kessinger Publishing, LLC, 2007.

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33

O'Donoghue, Bernard. Poetry: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199229116.001.0001.

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Poetry, arguably, has a greater range of conceptual meaning than perhaps any other term in English. At the most basic level everyone can recognize it—it is a kind of literature that uses special linguistic devices of organization and expression for aesthetic effect. However, far grander claims have been made for poetry. Poetry: A Very Short Introduction looks at the many different forms of writing that have been called ‘poetry’—from the Greeks to the present day. As well as questioning what poetry is, it asks what poetry is for, and considers contemporary debates on its value. Is there a universality to poetry? Does it have a duty of public utility and responsibility?
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34

Breitenwischer, Dustin, Hanna-Myriam Häger, and Julian Menninger, eds. Faktuales und fiktionales Erzählen II. Ergon Verlag, 2020. http://dx.doi.org/10.5771/9783956505126.

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This volume deals with historically specific forms of factual and fictional narration within literature and various non-literary media. The contributions address the question of how and why the respective medium, the historical context, socio-cultural norms, and aesthetic conventions can (or cannot) formulate certain claims to factuality or fictionality within a given narrative. More specifically, the collected essays clarify that the validity claims of a text are equally tied to its historical framework, its particular medium, and its respective narrative practice. The discussion, analysis, and comparison of historical peculiarities on the one hand and an extended media arsenal on the other thus enables the contributors to uncover and describe narrative-specific characteristics of factual and fictional narration in their diverse forms of expression. In line with the disciplinary diversity of its contributors, the volume is aimed both at media-scientifically oriented narratologists and literary scholars as well as social scientist and scholars in the humanities who are invested in the interdisciplinarity of narrative theory.
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35

Aesthetic lives: 'new experiences, new subjects of poetry, new forms of art'. The Rivendale Press, 2013.

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36

Gilmore, Michael T. Rethinking Class: Literary Studies and Social Formations (Social Foundations of Aesthetic Forms). Columbia University Press, 1994.

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37

Arac, Jonathan. Critical Genealogies: Historical Situations for Postmodern Literary Studies (Social Foundations of Aesthetic Forms). Columbia Univ Pr, 1989.

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38

Rose-Coutré, Robert. Abstract Objects, Ideal Forms, and Works of Art: An Epistemic and Aesthetic Analysis. iUniverse, Inc., 2006.

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39

Gailus, Andreas. Forms of Life. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749803.001.0001.

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This book argues that the neglect of aesthetics in most contemporary theories of biopolitics has resulted in an overly restricted conception of life. The book insists we need a more flexible notion of life: one attuned to the interplay and conflict between its many dimensions and forms. The book develops such a notion through the meticulous study of works by Kant, Goethe, Kleist, Nietzsche, Wittgenstein, Benn, Musil, and others. It shows that the modern conception of “life” as a generative, organizing force internal to living beings emerged in the last decades of the eighteenth century in biological thought. At the core of this vitalist strand of thought, the book maintains, lies a persistent emphasis on the dynamics of formation and deformation, and thus on an intrinsically aesthetic dimension of life. The book brings this older discourse into critical conversation with contemporary discussions of biopolitics and vitalism, while also developing a rich conception of life that highlights, rather than suppresses, its protean character. It demonstrates that life unfolds in the open-ended interweaving of the myriad forms and modalities of biological, ethical, political, psychical, aesthetic, and biographical systems.
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40

Benovsky, Jiri. The Limits of Art: On Borderline Cases of Artworks and their Aesthetic Properties. Springer Nature, 2021.

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41

Harding, Jason, and John Nash, eds. Modernism and Non-Translation. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821441.001.0001.

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Modernism and Non-Translation proposes a new way of reading key modernist texts, including the work of canonical figures such as T. S. Eliot, James Joyce, and Ezra Pound. The topic of this book is the incorporation of untranslated fragments from various languages within modernist writing. It explores non-translation in modernist fiction, poetry, and other forms, with a principally European focus. The intention is to begin to answer a question that demands collective expertise: what are the aesthetic and cultural implications of non-translation for modernist literature? How did non-translation shape the poetics, and cultural politics, of some of the most important writers of this period? Twelve essays by leading scholars of modernism explore American, British, and Irish texts, alongside major French and German writers, and the wider modernist recovery of Classical languages. They explore non-translation from the dual perspectives of both ‘insider’ and ‘outsider’, unsettling that false opposition, and articulating in the process their individuality of expression and experience. The range explored indicates something of the reach and vitality of the matter of translation—and specifically non-translation—across a selection of poetry, fiction, and non-fictional prose, while focusing on mainly canonical voices. Offering a series of case studies, the volume aims to encourage further exploration of connections across languages and among writers. Together, the collection seeks to provoke and extend debate on the aesthetic, cultural, political, and conceptual dimensions of non-translation as an important yet hitherto neglected facet of modernism, helping to redefine our understanding of that movement. It demonstrates the rich possibilities of reading modernism through instances of non-translation.
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42

Richardson, John, Claudia Gorbman, and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.

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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.
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Brown, Richard H. Through The Looking Glass. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190628079.001.0001.

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Through the Looking Glass examines John Cage’s interactions and collaborations with avant-garde and experimental filmmakers, and in turn seeks out the implications of the audiovisual experience for the overall aesthetic surrounding Cage’s career. As the commercially dominant media form in the 20th century, cinema transformed the way listeners were introduced to and consumed music. Cage’s quest to redefine music, intentionality, and expression reflects the similar transformation of music within the larger audiovisual experience of sound film. This study covers a wide variety of topics, ranging from Cage’s father, John Cage Sr.’s patents in infrared and military technology during World War II, theories of dance aesthetics, film and television theory, visual music, information technology, copyright, and the postwar position of the American Neo-Avant-Garde. This volume examines key moments in Cage’s career in which cinema either informed or transformed his position on the nature of sound, music, expression, and the ontology of the musical artwork. The examples point to moments of rupture within Cage’s own consideration of the musical artwork, pointing to new-found collision points that have a significant and heretofore unacknowledged role in Cage’s notions of the audiovisual experience and the medium-specific ontology of a work of art.
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44

Duncan, Ian. Human Forms. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691175072.001.0001.

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The 120 years between Henry Fielding's Tom Jones (1749) and George Eliot's Middlemarch (1871) marked both the rise of the novel and the shift from the presumption of a stable, universal human nature to one that changes over time. This book reorients our understanding of the novel's formation during its cultural ascendancy, arguing that fiction produced new knowledge in a period characterized by the interplay between literary and scientific discourses—even as the two were separating into distinct domains. The book focuses on several crisis points: the contentious formation of a natural history of the human species in the late Enlightenment; the emergence of new genres such as the Romantic bildungsroman; historical novels by Walter Scott and Victor Hugo that confronted the dissolution of the idea of a fixed human nature; Charles Dickens's transformist aesthetic and its challenge to Victorian realism; and George Eliot's reckoning with the nineteenth-century revolutions in the human and natural sciences. Modeling the modern scientific conception of a developmental human nature, the novel became a major experimental instrument for managing the new set of divisions—between nature and history, individual and species, human and biological life—that replaced the ancient schism between animal body and immortal soul. The book explores the interaction of European fiction with “the natural history of man” from the late Enlightenment through the mid-Victorian era and sets a new standard for work on natural history and the novel.
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45

Bureau des traductions. Secrétariat d'Etat. Expressions usuelles des formulaires : lexique = Common phrases on forms: Glossary. Appr. et Services, 1985.

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46

Viswanathan, Gauri. Masks of Conquest: Literary Study and British Rule in India (Social Foundations of Aesthetic Forms). Columbia University Press, 1992.

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47

Radical Parody: American Culture and Critical Agency After Foucault (The Social Foundations of Aesthetic Forms). Columbia Univ Pr, 1994.

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48

Görner, Rüdiger. Friedrich Hölderlin’s Romantic Classicism. Edited by Paul Hamilton. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199696383.013.15.

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Hölderlin’s emphasis on the interrelatedness of genres and forms of artistic expression brings him close to early Romantic aesthetics as developed by Friedrich Schlegel, Ludwig Tieck, and Novalis. At the same time, Hölderlin engaged in a particular quest for ‘purity’ of expression modelled on what were perceived, since Johann Joachim Winckelmann’sHistory of Ancient Art(1764), as the Greek principles of artistic production. This engagement in attaining, in Winckelmann’s proverbial phrase, ‘noble simplicity and quiet grandeur’ brought Hölderlin closer to the ambition of Weimar Classicism. If one were to single out one recurrent theme in Hölderlin’s works, it would be experiencing and dealing with emotional, and existential, extremes and, eventually, attaining ἀταραξία that is tranquillity of the mind and soul achieved through measure and centredness.
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49

Reader, Ian. 2. Forms, themes, and meanings. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198718222.003.0002.

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‘Forms, themes, and meanings’ considers what is meant by ‘pilgrimage’. Pilgrimage incorporates three main elements: travel and movement; veneration in some form; and a special place or places considered to have some deep significance, often associated with sacred figures or founders. Pilgrims are people who travel to and perform acts of meaningful significance, such as praying and performing rituals at and on the route to such special places. The journey can have both real and symbolic meanings. Pilgrimage can provide the setting for expressions of individual development and self-awareness along with a group-related sense of togetherness and belonging, while also providing potential for contest and conflict.
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50

(Editor), John Carlos Rowe, Richard Berg (Editor), and John Berg (Editor), eds. The Vietnam War and American Culture: The Vietnam War and American Culture (Social Foundations of Aesthetic Forms). Columbia University Press, 1991.

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