Relevant bibliographies by topics / Aesthetics, Renaissance

Contents

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

Academic literature on the topic 'Aesthetics, Renaissance'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Aesthetics, Renaissance"

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Sedley, David L. "Sublimity and Skepticism in Montaigne." PMLA/Publications of the Modern Language Association of America 113, no. 5 (October 1998): 1079–92. http://dx.doi.org/10.2307/463243.

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This essay argues that two early modern phenomena, the rise of the sublime as an aesthetic category and the emergence of skepticism as a philosophical problem, are interrelated. This argument, introduced through a study of Montaigne's meditation on the ruins of Rome in his Travel Journal, takes on complementary forms. The first is that sublimity motivated skepticism: the sense that a force existed outside the aesthetic categories conventional in the Renaissance (such as wonder) drove authors into a skeptical frame of mind. The second is that skepticism created sublimity: the skeptical mindset offered alternative resources of aesthetic power as authors quarried the fragmentation and distraction embedded in skepticism to fashion a sublime style. These claims revise standard views of skepticism and the sublime, suggesting a mandate for an enriched aesthetics behind late-Renaissance loss of belief and exposing the Renaissance impulse behind the modern career of sublimity.
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Langer, U. "Pleasure as Unconstrained Movement in Renaissance Literary Aesthetics." French Studies 64, no. 1 (December 17, 2009): 13–25. http://dx.doi.org/10.1093/fs/knp259.

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Holgate, John. "Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?" Proceedings 47, no. 1 (May 15, 2020): 54. http://dx.doi.org/10.3390/proceedings47010054.

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The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.
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Holgate, John. "Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?" Proceedings 47, no. 1 (May 15, 2020): 54. http://dx.doi.org/10.3390/proceedings2020047054.

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The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.
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Barolsky, Paul. "As in Ovid, So in Renaissance Art." Renaissance Quarterly 51, no. 2 (1998): 451–74. http://dx.doi.org/10.2307/2901573.

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AbstractThis essay is a prolegomenon to the general study of Ovid's relations to Renaissance art and art theory. As is well known, the Metamorphoses determined the subjects of numerous works of art during the Renaissance. What is not sufficiently appreciated, however, is the extent to which the ancient poet's sense of "metamorphosis" as a figure of poesis, making or "poetry," helped shape Renaissance notions of poetic transformation in the visual arts. The emergent taste for the non finito in the Renaissance, most notably in the work of Michelangelo, had important roots in Ovidean aesthetics.
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Gould, Rebecca. "The Persian Translation of Arabic Aesthetics: Rādūyānī's Rhetorical Renaissance." Rhetorica 34, no. 4 (2016): 339–71. http://dx.doi.org/10.1525/rh.2016.34.4.339.

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Notwithstanding its value as the earliest extant New Persian treatment of the art of rhetoric, Rādūyānī's Interpreter of Rhetoric (Tarjumān al-Balāgha) has yet to be read from the vantage point of comparative poetics. Composed in the Ferghana region of modern Central Asia between the end of the eleventh century and the beginning of the twelfth century, Rādūyānī's vernacularization of classical Arabic norms inaugurated literary theory in the New Persian language. I argue here that Rādūyānī's vernacularization is most consequential with respect to its transformation of the classical Arabic tropes of metaphor (istiʿāra) and comparison (tashbīh) to suit the new exigencies of a New Persian literary culture. In reversing the relation between metaphor and comparison enshrined in Arabic aesthetics, Rādūyānī concretized the Persian contribution to the global study of literary form.
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NAREMORE, JAMES. "Stanley Kubrick and the Aesthetics of the Grotesque." Film Quarterly 60, no. 1 (2006): 4–14. http://dx.doi.org/10.1525/fq.2006.60.1.4.

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ABSTRACT ““The grotesque,”” which became a stylistic term in the Italian renaissance and later contributed significantly to all forms of modernist art, can help us better understand the so-called ““coldness”” often attributed to Stanley Kubrick's films. The whole of Kubrick's art is designed to produce a grotesque clash of emotions, an unstable blending of humor and terror that derives ultimately from anxieties about the human body.
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Pye, Christopher. "Leonardo's Hand: Mimesis, Sexuality, and Early Modern Political Aesthetics." Representations 111, no. 1 (2010): 1–32. http://dx.doi.org/10.1525/rep.2010.111.1.1.

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Focusing on Leonardo's incarnational images, this essay argues that the category of the aesthetic emerges during the Renaissance around the problem of autochthony, and that the work's mimetic character as well as its political and historical status only become apparent during the era in relation to that question of the image's self-grounding.
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Tuters, Marc. "Belief Beyond Belief: On Fashwave’s Esoteric Future Past." Krisis | Journal for Contemporary Philosophy 41, no. 1 (June 15, 2021): 172–78. http://dx.doi.org/10.21827/krisis.41.1.37162.

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This essay looks at the use of vernacular web culture by the new right. Specifically it focuses on how, in recent years, the new right appropriated a genre of web aesthetics known as ‘vapourwave’ to create the sub-genre of ‘fashwave’. Like vapourwave before it, fashwave taps into web cultural imaginary that is nostalgic for an imagined ‘cyberpunk’ past future — but while the former has been the subject of a monograph (Tanner 2016), very little has yet been written on the latter. Largely ignored within mainstream popular culture, these ‘—wave’ aesthetics flourish on the ‘deep vernacular web’ (de Zeeuw & Tuters 2019) of imageboards and web fora. As trivial as many fashwave memes may appear, this paper argues that they can be understood as the aesthetic manifestations of a contemporary renaissance in esoteric “traditionalism” — a discourse that posits an alternative theory of western culture, and which was influential on 20th century ideologues. The essay argues that fashwave transposes traditionalism’s fantasy of imagined past glories into an imagined future — one that is informed by the vapourwave’s distinctly vernacular nostalgia for masculine cyberpunk aesthetics.
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Szilágyi-Gál, Mihály. "The Aesthetics of the Public Space." East Central Europe 30, no. 2 (2003): 63–67. http://dx.doi.org/10.1163/187633003x00144.

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AbstractThese words of Victor Burgin serve as the motto of the first issue of the Review. In fact, the very same sentences can be taken as the motto also of this review of the Review. One of the authors in Idea's first issue, Boris Groys recalls Greenberg's words, that the avant-gard imitates art, and art imitates the world itself - the avant-gard imitates art because art is part of the world. Idea leaves the impression of a report of an avant-gard renaissance in the present art of the East-Central European and Balkan regions. It does not commit itself to any particular artistic current: its foci are the aesthetic phenomena of everyday life, and the concordant relationship between art and society.
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Dissertations / Theses on the topic "Aesthetics, Renaissance"

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Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.

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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
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Day, H. J. M. "The aesthetics of the sublime in Latin literature of the Neronian renaissance." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598430.

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This thesis examines the concept of the sublime as represented by three Latin authors of the Neronian period: Lucan, Seneca and Petronius. Through analysis of these texts I explore, first, the relationship between Pseudo-Longinus’ Peri Hupsous and post-Classical theorisations of the sublime; and, second, the complex relationship between the sublime and politico-ethical discourses of freedom and oppression. In doing so, I argue in particular for Lucan’s epic Bellum Civile as a vital and hitherto overlooked text of the sublime and, more broadly, for the Neronian period as an important phase in the concept’s artistic history.
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Barton, William Michael. "The aesthetics of the mountain : Latin as a progressive force in the late-Renaissance and Early Modern period." Thesis, King's College London (University of London), 2015. https://kclpure.kcl.ac.uk/portal/en/theses/the-aesthetics-of-the-mountain(3fc30b0b-2294-42f4-834f-fa2b8c9208c2).html.

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Neo-Latin was a progressive force in Renaissance and Early Modern Europe. As such, its literature played a significant role in shaping the ideas of the modern world. This study will attempt to corroborate these assertions by taking the example of the aesthetic attitude change towards the mountain that took place in the Renaissance and Early Modern Period. This attitude shift saw the mountain change from a fearful, ugly or simply aesthetically uninteresting place, to one of beauty and splendor over the course of around 300 years. Previous studies have argued that this change took place in the vernacular literature of the early and mid 18th century. This thesis will contend that it took place earlier and in Latin. The aesthetic attitude shift towards the mountain can be shown to have had its catalysts in two broad spheres: firstly the development of an idea of 'landscape', and secondly in its increasing scientific and theological investigation. These two broad spheres can then be divided into a further two topics each: the 'landscape idea' emerged on the one hand from growing geographical—particularly chorographical—interest in Germanic countries at the beginning of the 16th century, and on the other hand out of the growing trend for specialisation and secularisation in art theory during the same period. The scientific interest in the mountain was driven by the numerous debates that sprang out of attempts to explain natural phenomena with reference to scripture. The effect of the changes in both scientific and theological thought on the aesthetic perception of the mountain reached its peak in the late seventeenth and early eighteenth centuries. The new Latin evidence for the change in aesthetic attitude towards the mountain unearthed in the course of this study brings new material to the current debate on the aesthetics of nature. This study's concluding chapter shows that looking more closely into the processes that produced the Late Renaissance and Early Modern shift in aesthetic attitude towards the mountain can reveal important information for modern positions on the aesthetic appreciation of nature.
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Potter, Lawrence T. "Harlem's forgotten genius : the life and works of Wallace Henry Thurman /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946287.

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Jeffrey, Anthony Cole. "The Aesthetics of Sin: Beauty and Depravity in Early Modern English Literature." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062818/.

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This dissertation argues that early modern writers such as William Shakespeare, Thomas Middleton, George Herbert, John Milton, and Andrew Marvell played a critical role in the transition from the Neoplatonic philosophy of beauty to Enlightenment aesthetics. I demonstrate how the Protestant Reformation, with its special emphasis on the depravity of human nature, prompted writers to critique models of aesthetic judgment and experience that depended on high faith in human goodness and rationality. These writers in turn used their literary works to popularize skepticism about the human mind's ability to perceive and appreciate beauty accurately. In doing so, early modern writers helped create an intellectual culture in which aesthetics would emerge as a distinct branch of philosophy.
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Robin, Diane. "Paradoxes de la mimésis : Conceptions et représentations du laid dans les textes et les images français et italiens au seuil de la modernité." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040218.

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La thèse analyse les conceptions pré-modernes du laid en confrontant les traités philosophiques, rhétoriques, poétiques et artistiques italiens et français de la Renaissance à la première moitié du dix-septième siècle. En tant que difformité physique, le laid est considéré comme une transgression des normes du corps : il met en question la conception de la mimésis comme imitation idéalisante et permet de repenser la nature de la représentation. Le laid est en outre conçu comme le signe du vice : l’étude cherche à reconstituer le paradigme physiognomonique qui sous-tend cette interprétation traditionnelle du corps et s’interroge sur ses limites en examinant le paradoxe de la laideur de Socrate. Les interprétations morales de la difformité mettent en jeu différentes fonctions sémiotiques de la représentation. Dans la topique héritée de la scolastique, la mimésis du laid vise à stigmatiser les défauts moraux, comme le montrent les allégories des vices et les satires ; de son côté, la difformité paradoxale donne lieu à une herméneutique du texte et de l’image. Enfin, le laid tient à son effet sur le destinataire. Si le laid est traditionnellement appréhendé comme un objet repoussant, sa représentation vise à susciter l’effet inverse, selon les poétiques et les traités d’art inspirés d’Aristote. L’analyse de ce plaisir paradoxal met en lumière les qualités cognitives et esthétiques de la mimésis. Au seuil de la modernité, la question du laid est à la croisée des problématiques morales héritées de l’Antiquité, et des réflexions esthétiques qui se développeront pleinement du dix-huitième siècle à nos jours, notamment dans les théories de la fiction
Through cross-analysis of French and Italian philosophical, rhetorical, poetic, and artistic treatises from the Renaissance to the first half of the seventeenth century, this study seeks to understand what the early modern period conceived of the ugly. In terms of physical deformity, the ugly is considered as a transgression of the norms of the body: it questions the concept of mimesis as an idealised imitation and allows a reconsideration of the nature of representation. Furthermore, the ugly is seen as the sign of vice: this study looks to reconstruct the physiognomical paradigm which underlies this traditional interpretation of the body and to question its limits through examining Socrates’ paradoxical ugliness. Moral interpretations of deformity bring different semiotic functions of representation into play. In the topic inherited from scholasticism, mimesis of the ugly aims to stigmatise moral defects, as they are represented in allegories about vice and satire. Paradoxical deformity, for its part, gives rise to hermeneutics of text and image. Finally, the ugly is concerned with its effect on its recipient. If the ugly is traditionally understood as a repellent object, its representation aims to arouse the inverse effect, according to the poetics and treatises on art inspired by Aristotle. Analysis of this paradoxical pleasure highlights the aesthetic and cognitive qualities of mimesis. At the brink of modernity, the question of the ugly is at the crossroads of moral issues that stem from the Antiquity, and of aesthetic reflections which develop more fully from the eighteenth century to the present day, notably in theories on fiction
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Gress, Thibaut. "Le sens du sensible. Essai de théorisation d’une philosophie de l’art à partir de la peinture renaissante." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040240.

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Il s’agit dans cette thèse de penser les conditions de possibilité d’une philosophie de l’art à partir d’un examen précis et rigoureux de la production artistique picturale de la Renaissance italienne. Cherchant d’abord à définir une méthode, nous étudions en détail les présupposés de l’iconologie afin d’établir ce qui nous en semble être les limites. Puis, forts de cette analyse, nous en déduisons la nécessité d’une philosophie de l’art qui, loin de se contenter d’une analyse érudite de l’icône, cherche à extraire la signification de l’œuvre à partir de sa forme sensible. Si les pensées de Platon, Hume et Kant nous semblent échouer à proposer pareille démarche, les leçons de Hegel consacrées à l’Esthétique nous offrent un schéma analytique opérant, grâce auquel l’espace, le dessin et le coloris fournissent le lieu même à partir duquel peut surgir le sens. C’est ainsi que les œuvres de Fra Angelico, Botticelli, Léonard de Vinci et Michel-Ange constituent le matériau artistique grâce auquel nous mettons à l’épreuve la pertinence du triptyque espace-dessin-coloris, tel qu’il fut élaboré par Hegel. En outre, ce sont les pensées philosophiques consacrées au lieu, à la lumière ou encore à la couleur que nous convoquons – tant chez Thomas d’Aquin que chez Marsile Ficin, chez Albert le Grand que chez Plotin, chez Aristote que chez Nicolas de Cues – afin de proposer un sens philosophique des œuvres picturales, que ne nous semblent paradoxalement pas pouvoir délivrer les théories de l’art que proposent ces derniers. Chercher le sens philosophique des œuvres à même leur sensibilité et non dans une théorie de l’image, tel est donc le projet essentiel de cette thèse
This thesis discusses the conditions of possibility for a philosophy of art based on a precise and rigorous analysis of the pictorial artistic production of the Italian Renaissance. After attempting at defining a method, the presuppositions of iconology are studied in detail with a view to establishing what appear to be their limits. On the basis of this analysis, the author deduces the need for a philosophy of art which, rather than just carrying out an erudite analysis of the icon, endeavours to extract the meaning of a work of art on the basis of its sensitive shape. While Plato, Hume and Kant’s thoughts seem to fail in proposing such an approach, Hegel’s teachings dedicated to aesthetics offer an operational analytical framework, thanks to which space, drawing and colour provide the very place out of which sense can come into being.Hence the works of Fra Angelico, Botticelli, Leonardo da Vinci and Michelangelo constitute the artistic material out of which the relevance of the space-drawing-colour triptych, as developed by Hegel, is put to the test. Furthermore, reference is made to the philosophical thoughts on space, light and colour – as expressed by authors like Thomas Aquinas, Marsilio Ficino, Albert the Great, Plotinus, Aristotle and Nicholas of Kues – with a view to proposing a philosophical sense of pictorial works of art, which paradoxically the theories of art provided by these authors do not seem able to deliver. It is the fundamental aim of this thesis to look for the philosophical sense of works of art through their own sensitiveness and not through a theory of the image
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Wexler, Thomas. "Collective Expressions: The Barnes Foundation and Philadelphia." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1383558977.

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Rowley, Neville. "Pittura di luce. La manière claire dans la peinture du Quattrocento." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040197/document.

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La présente thèse a pour point de départ une exposition florentine organisée en 1990 et intitulée « Pittura di luce ». Ses organisateurs entendaient désigner ainsi un courant de la peinture florentine du milieu du XVe siècle fondé sur la lumière et la couleur claire. Comme l’avait bien compris l’exposition, cette « peinture de lumière » est d’abord identifiable dans la « manière colorée » portée par Fra Angelico et Domenico Veneziano, mais elle doit aussi être élargie à une manière plus « blanche », qui va de Masaccio aux premières œuvres d’Andrea del Verrocchio, au début des années 1470. Les implications techniques et symboliques d’un tel style méritent également d’être étudiées car elles renforcent le sens et la cohérence d’un mouvement publiquement soutenu par les Médicis et dont l’ambition majeure fut de « faire surgir » les peintures religieuses de la pénombre des églises (I). L’étude du développement géographique vaste mais discontinu de la pittura di luce approfondit les hypothèses proposées dans le cas florentin : tout autant qu’une façon moderne et proprement « renaissante » de peindre, la « manière claire » est aussi fondée sur une lumière théologique, associée en partie à la religiosité franciscaine. Piero della Francesca est assurément le grand protagoniste de ce double rayonnement, dans les cours et dans les campagnes (II). C’est également Piero qui sera au cœur de la redécouverte d’une peinture que les XIXe et XXe siècles ont réappris à voir grâce aux historiens de l’art et aux artistes, mais également en raison du changement des conditions de vision des œuvres d’art. En ce sens, la pittura di luce constitue un chapitre important de l’histoire du regard, que l’on propose de rapprocher d’autres redécouvertes picturales elles aussi fondées sur la notion d’apparition (III)
This thesis starts from an 1990 Florentine exhibition called “Pittura di luce” which intended to identify a trend in the mid-15th-century Florentine painting. This “painting of light” is not only, as was said at the time, a “coloured style” led by Fra Angelico and Domenico Veneziano, but it should be extended to a more “white manner”, from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the “pittura di luce” is to make “emerge” religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this “bright style” amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the “pittura di luce” was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the “pittura di luce” is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar “paintings of apparition” (III)
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Platevoet, Marion. "Médée en échos dans les arts : La réception d’une figure antique, entre tragique et merveilleux, en France et en Italie (1430-1715)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040166.

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Le mythe de Médée, reçu par la première modernité comme un paradigme complet depuis la Conquête de la Toison d’or jusqu’à son retour sur le trône de Colchide, compose un prisme à multiples facettes : « Médée-tueenfant » (La Péruse), le personnage légué par la tragédie attique et devenu archétype d’une violence contrenature, y croise Médée magicienne, qui bouleverse le lignage et la ligne du temps, mais aussi la princesse orientale éprise d’un héros civilisateur. Pétrie par la culture chrétienne et admise au répertoire des arts officiels, cette figure ambivalente se rend perméable aux recherches esthétiques et aux débats éthiques des Temps modernes, en vue de l’expression de l’horreur, de l’allégorisation de la gloire, comme dans la représentation des passions.Or, la fondation de l’Ordre de chevalerie de la Toison d’or au duché de Bourgogne, en 1430, jusqu’à la fin de la Guerre de succession d’Espagne où se redessine la carte des puissances européennes, fait de la fable un miroir fictionnel privilégié des jeux de pouvoir entre les grandes dynasties européennes, en tant qu’instrument du discours programmatique du Prince. Dans le paysage culturel d’influences communes que forment les Cités-États de l’Italie et le royaume de France, cette étude montre, par la réunion de l’iconographie de Médée, l’analyse de saprésence dans les imprimés et de ses réécritures à la scène d’après l’antique, comment les échanges entre les arts visuels et les arts du texte oeuvrent à l’établissement d’un motif héroïque paradoxal. Ou comment Médée « devient Médée », renouvelant le serment que lui avait fait jurer Sénèque : « Fiam »
The exceptional scope provided by the myth of Medea, which spans from the Conquest of the Golden Fleece to her return to the throne of Colchis, was received in its entirety by the Early Modern Arts and offers a multi-faced prism : Medea “tue-enfant” (La Péruse), the character left by the Ancient ancient Greek tragedy that became an archetypal figure of monstrous violence, crosses the path of the oriental lover of a civilizing hero, and also the enchantress who scatters lineages and timelines. Sculpted by the Christian culture and allowed into the official artistic repertory, this ambivalent figure absorbs the aesthetics and ethical debates of modernity. Indeed, Her Medea’s myth can be used for the expression of horror, allegories of glory, as well as expression of the passions.In addition, from the establishment of the Order of the Golden Fleece, by the Duke of Burgundy in 1430, to the end of the War of the Spanish Succession (which redefined the entire map of major European powers), Medea’s myth becomes one of the most efficient fictional mirrors of the political disputes between the most influential families of Europe, as an instrument of the publication of the Prince programme. Into the landscape of the cultural influences shared by the States of Early Italy and the French Kingdom, this study intends to show, by analysingthe spread of iconography of Medea, her presence in printed material and her classical performance reception and rewriting, how the exchanges between visual and literary productions work towards the definition of a paradoxical heroic standard. Where Medea “becomes Medea” and renews the oath that Seneca made her take: “Fiam”
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Books on the topic "Aesthetics, Renaissance"

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Whitwell, David. Aesthetics of music in the early Renaissance. Northridge, CA: Winds, 1995.

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David, Summers. The judgement of sense: Renaissance naturalism and the rise of aesthetics. Cambridge: Cambridge University Press, 1987.

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Shestakov, Vi︠a︡cheslav Pavlovich. Filosofii︠a︡ i kulʹtura ėpokhi Vozrozhdenii︠a︡: Rassvet Evropy. Sankt-Peterburg: Nestor-Istorii︠a︡, 2007.

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Castelli, Patrizia. L' estetica del Rinascimento. Bologna: Il mulino, 2005.

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The aesthetics of Italian Renaissance art: A reconsideration of style. Cambridge: Cambridge University Press, 1999.

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Puglisi, Filippo. La rivoluzione artistico-filosofica di Giordano Bruno. Roma: Bulzoni, 1989.

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Leon Battista Alberti: Człowiek jako dzieło sztuki. Zielona Góra: Oficyna Wydawnicza Uniwersytetu Zielonogórskiego, 2007.

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Perpeet, Wilhelm. Das Kunstschöne: Sein Ursprung in der italienischen Renaissance. Freiburg: K. Alber, 1987.

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Cultural aesthetics: Renaissance literature and the practice of social ornament. Chicago: University of Chicago Press, 1991.

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Losev, Alekseĭ Fedorovich. Ėstetika Vozrozhdenii͡a︡ ; Istoricheskiĭ smysl ėstetiki Vozrozhdenii͡a︡. Moskva: "Myslʹ", 1998.

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Book chapters on the topic "Aesthetics, Renaissance"

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Crawford, Margo Natalie. "The Aesthetics ofAnticipation." In A Companion to the Harlem Renaissance, 385–401. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118494110.ch23.

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Dubrow, Heather. "The Politics of Aesthetics." In Renaissance Literature and Its Formal Engagements, 67–88. New York: Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-07177-4_4.

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Knowles, James. "‘Infinite Riches in a Little Room’: Marlowe and the Aesthetics of the Closet." In Renaissance Configurations, 3–29. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230378667_1.

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Fubini, Enrico. "The Renaissance and the New Intellectual Approach to Music." In The History of Music Aesthetics, 110–24. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-09689-3_7.

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Milligan, Gerry. "Aesthetics, Dress, and Militant Masculinity in Castiglione’s Courtier." In Sex, Gender and Sexuality in Renaissance Italy, 141–59. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351008723-8.

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Caton, Lou Freitas. "Historical and Ideological Contexts: The Burden of F.O. Matthiessen’s American Renaissance." In Reading American Novels and Multicultural Aesthetics, 43–59. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610286_3.

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Lanier, Lee. "Copying a Renaissance Still Life." In Aesthetic 3D Lighting, 147–66. New York : Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315185279-8.

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Terry-Fritsch, Allie. "Franciscan Art and Somaesthetic Devotion in the Italian Renaissance Holy Lands." In Aesthetic Theology in the Franciscan Tradition, 252–74. New York : Routledge, 2020. | Series: Routledge research in art and religion: Routledge, 2019. http://dx.doi.org/10.4324/9780429318658-12.

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Heiler, Lars. "The Holocaust and Aesthetic Transgression in Contemporary British Fiction." In Taboo and Transgression in British Literature from the Renaissance to the Present, 243–58. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105997_13.

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Jaminet, Jean, Gabriel Esquivel, and Shane Bugni. "Serlio and Artificial Intelligence: Problematizing the Image-to-Object Workflow." In Proceedings of the 2021 DigitalFUTURES, 3–12. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5983-6_1.

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AbstractVirtual design production demands that information be increasingly encoded and decoded with image compression technologies. Since the Renaissance, the discourses of language and drawing and their actuation by the classical disciplinary treatise have been fundamental to the production of knowledge within the building arts. These early forms of data compression provoke reflection on theory and technology as critical counterparts to perception and imagination unique to the discipline of architecture. This research examines the illustrated expositions of Sebastiano Serlio through the lens of artificial intelligence (AI). The mimetic powers of technological data storage and retrieval and Serlio’s coded operations of orthographic projection drawing disclose other aesthetic and formal logics for architecture and its image that exist outside human perception. Examination of aesthetic communication theory provides a conceptual dimension of how architecture and artificial intelligent systems integrate both analog and digital modes of information processing. Tools and methods are reconsidered to propose alternative AI workflows that complicate normative and predictable linear design processes. The operative model presented demonstrates how augmenting and interpreting layered generative adversarial networks drive an integrated parametric process of three-dimensionalization. Concluding remarks contemplate the role of human design agency within these emerging modes of creative digital production.
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Conference papers on the topic "Aesthetics, Renaissance"

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Dittmar, Gunter. "Architecture and the Dilemma of Aesthetics: Towards an Alternate Defintion and Approach to Architecture." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.24.

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The paper calls for a paradigm shift in the definition and approach to architecture to reverse the erosion of its societal relevance, and the loss of its identity as a discipline. The paper contends that this development originated with the Renaissance when architecture evolved from a craft into an art, and the pursuit of beauty became the foremost ideal: the aspect that distinguishes architecture from “mere building”. Ever since, architecture has tried-and failed- to solve the dilemma of aesthetics: the integration of utility, technology and beauty. However, neither beauty, nor the question of aesthetics, are really the problem. The real issue is that architecture is, ultimately, about more than beauty or aesthetics: it is about our life and our existence; about creating a place for our being in the world. Architecture is, thus, grounded in an ontological paradigm rather than an aesthetic one. This has far-reaching, theoretical implications. The paper then proceeds to delineate some of the premises fundamental to an ontological approach to architecture, based on the notion that architecture makes possible the congruence between human and natural order, between our inner and our outer world. Beauty is present when one resonates and reveals itself through the other.
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Zapata Parra, José Antonio. "El castillo de Mula (1520-2020). Historia de la construcción de una fortaleza renacentista." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11355.

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The castle of Mula (1520-2020). History of the construction of a Renaissance fortressFive hundred years after the construction of the castle of Mula, which was ordered to build the I Marqués de los Vélez, Pedro Fajardo Chacón, as a result of his expulsion from the town during the communal uprisings of the kingdom of Murcia. The fortress, a work of masonry, built on the old Andalusian citadel, has a novel construction in the southeast of the peninsular from the point of view of the multi-aesthetic. The conservation of documentation related to its construction between 1520 and 1531, allows us to approach the work of the stonecutters and master gunners.
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