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Journal articles on the topic 'Aesthetics, Renaissance'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Ardolino, Frank, and Patricia Fumerton. "Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament." Sixteenth Century Journal 23, no. 4 (1992): 801. http://dx.doi.org/10.2307/2541735.

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12

Pfisterer, Ulrich, and Hellmut Wohl. "The Aesthetics of Italian Renaissance Art. A Reconsideration of Style." Zeitschrift für Kunstgeschichte 63, no. 4 (2000): 569. http://dx.doi.org/10.2307/1594965.

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13

James, Sara Nair, and Hellmut Wohl. "The Aesthetics of Italian Renaissance Art: A Reconsideration of Style." Sixteenth Century Journal 32, no. 2 (2001): 498. http://dx.doi.org/10.2307/2671774.

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14

Wynne-Davies, Marion, and Patricia Fumerton. "Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament." Modern Language Review 89, no. 1 (January 1994): 199. http://dx.doi.org/10.2307/3733183.

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15

Mousley, Andy. "Renaissance Literary Studies after Theory: Aesthetics, History and the Human." Literature Compass 1, no. 1 (January 2004): **. http://dx.doi.org/10.1111/j.1741-4113.2004.00102.x.

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16

Fumerton (book author), Patricia, and A. Kent Hieatt (review author). "Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament." Renaissance and Reformation 29, no. 4 (January 20, 2009): 69–71. http://dx.doi.org/10.33137/rr.v29i4.11450.

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17

Simion, Aurelia. "Musical Instruments In Renaissance Paintings." Review of Artistic Education 22, no. 1 (June 1, 2021): 177–85. http://dx.doi.org/10.2478/rae-2021-0022.

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Abstract Art, the language of ideas and concepts, comprises a multitude of means of manifestation through sound, word, color, gesture, etc., between which there is often an interconnection. This article highlights some aspects of the aesthetics of the Renaissance period in which artists, starting from Italy, focused on realism and human emotion in art, but also on the interconnection between two arts - painting and music. In this sense, we turned our attention to identifying the symbolic role of the musical instruments of that period represented in paintings by some notable masters from Italy, Flanders and Germany.

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18

Ульянова, Наталия, and Nataliya Ulyanova. "The Art of the Renaissance Era As an Interlink of the World Culture." Scientific Research and Development. Socio-Humanitarian Research and Technology 6, no. 4 (December 18, 2017): 68–70. http://dx.doi.org/10.12737/article_5a2e741f3393d8.02235297.

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The article is devoted to the analysis of the features of Italian artistic culture, the Renaissance period, on the example of the work of the outstanding artist Michelangelo Buonarroti. Particular attention is paid to the significance and influence of the Italian culture of the Renaissance period on the world artistic culture. An analysis is made of the patterns of the further development of cultural relations based on the principles of the aesthetics of humanism.

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19

Michelsen, Lea Laura. "Thinking Beyond Biometrics." A Peer-Reviewed Journal About 7, no. 1 (July 6, 2018): 36–49. http://dx.doi.org/10.7146/aprja.v7i1.115063.

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Today, digital biometrics are proliferating. Based on scans of biological traits – from faces, fingerprints and gait to vein patterns, heart rhythm, brain activity, and body odor – biometrics are known to be able to establish the identity of a human subject. When reading humanities research on biometrics, though, it becomes evident that we are altering a lot more than just our faces. This article proposes a study of a wave of artistic counter-biometrics in order to enable thinking beyond the biometric box, practicing the ‘art of disappearing’ from the biometric gaze. With an outset in Zach Blas’ Face Cages (2013- 16) and his “Fag Face” mask from Facial Weaponization Suite (2011-14) the article argues that biometrics produces an aesthetics, and that it should be treated as such. This shifts our perspective from the technical media to the narratives we inscribe in these media and the aesthetic output enabled by that. Activating a counter- biometric aesthetics is far from naïve. On the contrary, engaging in the aesthetics of biometrics is a valuable and urgently needed research strategy for dealing with the physiognomic renaissance biometrics brings about.

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20

Andrijauskas, Antanas. "The Aesthetics of the Intellectual (Wenrenhua) School in the Milieu of Chinese Renaissance Ideas." Dialogue and Universalism 30, no. 3 (2020): 245–61. http://dx.doi.org/10.5840/du202030345.

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This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual (Wenrenhua) Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world.

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21

McMANUS, I. C. "Symmetry and asymmetry in aesthetics and the arts." European Review 13, S2 (August 22, 2005): 157–80. http://dx.doi.org/10.1017/s1062798705000736.

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Symmetry and beauty are often claimed to be linked, particularly by mathematicians and scientists. However philosophers and art historians seem generally agreed that although symmetry is indeed attractive, there is also a somewhat sterile rigidity about it, which can make it less attractive than the more dynamic, less predictable beauty associated with asymmetry. Although a little asymmetry can be beautiful, an excess merely results in chaos. As Adorno suggested, asymmetry probably results most effectively in beauty when the underlying symmetry upon which it is built is still apparent. This paper examines the ways in which asymmetries, particularly left-right asymmetries, were used by painters in the Italian Renaissance. Polyptychs often show occasional asymmetries, which are more likely to involve the substitution of a left cheek for a right cheek, than vice-versa. A hypothesis is developed that the left and right cheeks have symbolic meanings, with the right cheek meaning ‘like self’ and the left cheek meaning ‘unlike self’. This principle is evaluated in pictures such as the Crucifixion, the Annunciation and, the Madonna and Child. The latter is particularly useful because the theological status of the Madonna changed during the Renaissance, and her left–right portrayal also changed at the same time in a comprehensible way. Some brief experimental tests of the hypothesis are also described. Finally the paper ends by considering why it is that the left rather than the right cheek is associated with ‘unlike self’, and puts that result in the context of the universal ‘dual symbolic classification’ of right and left, which was first described by the anthropologist Robert Hertz.

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22

Becker, Marvin B., and David Summers. "The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics." American Historical Review 93, no. 5 (December 1988): 1317. http://dx.doi.org/10.2307/1873582.

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23

Diller, Christopher. "The art of rhetoric: Aesthetics and rhetoric in the American renaissance." Rhetoric Society Quarterly 28, no. 3 (June 1998): 5–31. http://dx.doi.org/10.1080/02773949809391122.

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24

Koenigsberger, Dorothy. "The judgement of sense: Renaissance naturalism and the rise of aesthetics." History of European Ideas 10, no. 2 (January 1989): 258–59. http://dx.doi.org/10.1016/0191-6599(89)90086-7.

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25

Jordan, Joseph P. "The aesthetics of surprise in Waller’s ‘Song’ (‘Go, lovely Rose’)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 100, no. 1 (August 2, 2019): 44–50. http://dx.doi.org/10.1177/0184767819864364.

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Edmund Waller’s ‘Song’ (‘Go, lovely Rose’) ends shockingly: when the rose, which had been acting as a gently chiding intermediary between the speaker and the beloved, is suddenly commanded to perish. But this surprise is prepared for by a host of imperceptible effects, making readers experience the surprise as, paradoxically, an inevitable one. The quietness of the anticipatory effects may account for why this poem has occasioned such scant critical commentary despite it being one of the masterpieces of the late English Renaissance.

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26

Green, Edward. "HOW OLD! HOW NEW!: SOME NOTES ON SCHOENBERG'S PETRARCH SETTING FOR THE ‘SERENADE’, OP. 24." Tempo 66, no. 259 (January 2012): 15–23. http://dx.doi.org/10.1017/s0040298212000022.

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AbstractAs the first systematic 12-tone composition, the Petrarch movement from Schoenberg's Serenade has been associated with ‘newness’. Yet it has conservative features. Medieval notions of isomelody and isorhythm, as well as Renaissance concepts of paralleling a poem's prosody and emotional content, are here. Moreover, 12-tone composition itself is an evolution of ‘Chromatic Completion’ – a technique already flourishing in Haydn and Mozart. Ultimately, what matters most is Schoenberg's understanding of the aesthetics of love. To appreciate this, the essay makes use of the philosophy of Aesthetic Realism, founded by the great American poet and scholar Eli Siegel. Beauty, he taught, is ‘a making one of opposites, and the making one of opposites is what we are going after in ourselves’. And love, he explained, has an aesthetic basis: it is ‘proud need’. This essay indicates technical ways in which Schoenberg illustrates the truth of these concepts.

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27

Martindale, Colin. "Recent Trends in the Psychological Study of Aesthetics, Creativity, and the Arts." Empirical Studies of the Arts 25, no. 2 (July 2007): 121–41. http://dx.doi.org/10.2190/b637-1041-2635-16nn.

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In order to explain what has happened in psychological aesthetics and the study of genius, a brief overview of the history of psychology since the nineteenth century is given. There has been a movement from grand theories and the beginnings of experimental aesthetics though behaviorism, which was a catastrophic era for the study of aesthetics, to a sort of renaissance marked by the emergence of cognitive psychology. Across the 25 years during which Empirical Studies of the Arts has been published there has been a consistent trend in psychological studies of aesthetics, creativity, and the arts. In the early years, studies were based upon a mélange of late behaviorist, early cognitive, and psychodynamic theories. This was followed by a period during which cognitive approaches were dominant. During the last decade there has been a very clear trend toward work based upon evolutionary psychology and neuroscience. Examples of some but far from all of the important work done during the last several decades are discussed.

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28

Chung, Hyun Sook, and Kil Soon Park. "An Analysis on the Aesthetics of Men's Costume in the Renaissance Period." Korean Journal of Human Ecology 24, no. 4 (August 31, 2015): 531–39. http://dx.doi.org/10.5934/kjhe.2015.24.4.531.

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29

Gaston, Robert W., and Leonard Barkan. "Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture." Art Bulletin 82, no. 4 (December 2000): 770. http://dx.doi.org/10.2307/3051422.

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30

Schiffman, Zachary S., and Leonard Barkan. "Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture." Sixteenth Century Journal 31, no. 3 (2000): 944. http://dx.doi.org/10.2307/2671174.

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31

Barkan (book author), Leonard, and Alexander Nagel (review author). "Unearthing the Past: Archeology and Aesthetics in the Making of Renaissance Culture." Renaissance and Reformation 37, no. 1 (January 1, 2001): 113–14. http://dx.doi.org/10.33137/rr.v37i1.8685.

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32

Hughes, Aaron W. "Transforming the Maimonidean Imagination: Aesthetics in the Renaissance Thought of Judah Abravanel." Harvard Theological Review 97, no. 4 (October 2004): 461–84. http://dx.doi.org/10.1017/s0017816004000793.

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33

Mitchell, Dianne. "Poetry in a World of Things: Aesthetics and Empiricism in Renaissance Ekphrasis." Genre 53, no. 3 (December 1, 2020): 253–58. http://dx.doi.org/10.1215/00166928-8847214.

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34

Landro, Vincent. "Henslowe's Relocation to the North: Playhouse Management in Renaissance London." Theatre Survey 38, no. 2 (November 1997): 31–47. http://dx.doi.org/10.1017/s0040557400002064.

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If the London theatre of the Renaissance was one of the earliest examples of theatre as a commercial entertainment, then its playhouses were its largest physical investment and central visual focus. The Theatre, Curtain, Rose, Fortune, Globe, Swan, Hope and Cockpit were not only architectural inventions designed to replace previous itinerant playing practices with performances in fixed spaces where the acting companies could control admissions. They were also major financial investments by playhouse owners. The increase in the building of playhouses between 1576 and 1616 reflect a growing industry creating custom-built places of production that became regular fixtures in the urban geography of Renaissance London. The unprecedented rate of playgoing also increased interest in the possibility of profits by investors, shareholders, and those who operated the playhouses. In short, the London theatre was organized to make money, and London's playhouses were profit centers for the production and consumption of an aesthetic product. Within such a commercial climate, the decisions of playhouse owners concerning building, rebuilding, or abandonment of each facility were critical choices based on profits rather than aesthetics. The location of a playhouse was as important as what went on inside it. Decisions regarding playhouse location, then, can be examined as successful or unsuccessful pragmatic responses to competitive pressures, changing audience response, and expectation of profits in a speculative new industry within a fast-growing city.

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35

Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.

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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.

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36

Biemann, Asher. "The Satyr as Prophet: Notes on the “Jewish” Michelangelo." IMAGES 2, no. 1 (2008): 45–64. http://dx.doi.org/10.1163/187180008x408582.

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AbstractFocusing on the nineteenth and early twentieth centuries, the essay argues that there existed a Jewish fascination with the work of Michelangelo Buonarroti that was representative not only of a larger German and Jewish Italophilia at the time but also indicative of Jewish aesthetic concerns. Lodged between popular culture and the intellectual quest for an aesthetics that would problematize the figurative image and the classical sense of the beautiful, the Jewish reception of Michelangelo was guided by the themes of terribilita, unfinishedness, and the destruction of form. What emerges is a consistent dialectic of image and anti-image particularly in the writings of Salomon Ludwig Steinheim, Sigmund Freud, Hermann Cohen, Martin Buber, Franz Rosenzweig, and Ernst Bloch. But what also emerges is that German Jewish intellectuals entertained a great, though often ambivalent, admiration for the Italian Renaissance and the culture of modern Italy.

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37

Cunnar, Eugene R., and Leonard Barkan. "Unearthing the Past: Archaeology and Aesthetics in the Making of a Renaissance Culture." Rocky Mountain Review of Language and Literature 55, no. 2 (2001): 89. http://dx.doi.org/10.2307/1348259.

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38

Stockton, Sharon. "Aesthetics, Politics, and the Staging of the World: Wyndham Lewis and the Renaissance." Twentieth Century Literature 42, no. 4 (1996): 494. http://dx.doi.org/10.2307/441879.

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39

Vilches, Patricia. "Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament (review)." Philosophy and Literature 17, no. 1 (1993): 173–74. http://dx.doi.org/10.1353/phl.1993.0080.

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40

Gansen, Elizabeth. "Framing the Indies: the Renaissance aesthetics of Gonzalo Fernández de Oviedo (1478–1557)." Colonial Latin American Review 28, no. 2 (April 3, 2019): 130–51. http://dx.doi.org/10.1080/10609164.2019.1627132.

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41

Kuczyńska, Alicja. "The Position of Aesthetics in the Early Renaissance and the Philosophy of Marsilio Ficino." Dialogue and Universalism 28, no. 1 (2018): 61–76. http://dx.doi.org/10.5840/du20182815.

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42

Hutson, Lorna. "Rachel Eisendrath. Poetry in a World of Things: Aesthetics and Empiricism in Renaissance Ekphrasis." Review of English Studies 71, no. 300 (November 18, 2019): 576–78. http://dx.doi.org/10.1093/res/hgz133.

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43

Merás, Lidia. "European Cyberpunk Cinema." Arts 7, no. 3 (August 30, 2018): 45. http://dx.doi.org/10.3390/arts7030045.

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Renaissance (2006) and Metropia (2009) are two illustrative examples of European cyberpunk cinema of the 2000s. This article will consider the films as representative of contemporary trends in European popular filmmaking. As digital animations aimed at adult audiences and co-produced with other European countries, they epitomise a type of European film. In addition, they share a number of narrative premises. Set in the near future, Renaissance and Metropia depict a dystopian Europe. Recycling motifs from non-European science fiction classics, they share similar concerns with interconnectivity, surveillance, immigration, class, the representation of women, as well as the obsession with beauty and physical perfection. This article will analyse their themes and aesthetics in order to explore how European popular cinema promotes a certain idea of European cultural identity within the limits of an industry whose products are targeted at a global market.

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Carey, Katherine M. "The Aesthetics of Immediacy and Hypermediation: the Dumb Shows in Webster's The White Devil." New Theatre Quarterly 23, no. 1 (January 16, 2007): 73–80. http://dx.doi.org/10.1017/s0266464x06000650.

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Is the dumb show, that recurrent standby of Renaissance drama, an archaic convention made even less viable by the prevalence of naturalism – or a purposefully different stage ‘language’ with distinctive functions, which directors misinterpret at their peril? In this article, Katherine M. Carey explores the use of the two dumb shows in Webster's The White Devil (1612), relating this both to the new historicist understanding of the ‘salutary anxiety’ of Jacobean society and to the concept of ‘remediation’ explored in the work of Bolter and Grusin. She ends with a discussion of the dumb shows in three recent productions of the play. Katherine M. Carey has recently completed her doctoral dissertation in the Department of Theatre and Film Studies at the University of Georgia, USA.

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Fassina, Filippo. "Peter Eubanks, The limits of Renaissance Aesthetics: Jean Lemaire de Belges’s 1504 «Plainte du Désiré»." Studi Francesi, no. 161 (LIV | II) (September 1, 2010): 349. http://dx.doi.org/10.4000/studifrancesi.6576.

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Choi, Jong-Ryul. "A Historical Relationship among Science, Morality, and Aesthetics: from Ancient Greek Thoughts to Renaissance Humanism." Society and Theory 4 (May 31, 2004): 267. http://dx.doi.org/10.17209/st.2004.05.4.267.

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Kuspit, Donald B., and David Summers. "The Judgment of Sense: Renaissance Naturalism and the Rise of Aesthetics (Ideas in Context Series)." Art Bulletin 71, no. 2 (June 1989): 317. http://dx.doi.org/10.2307/3051206.

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Mousley, Andy. "Teaching & Learning Guide for: Renaissance Literary Studies after Theory: Aesthetics, History and the Human." Literature Compass 4, no. 4 (July 2007): 1336–38. http://dx.doi.org/10.1111/j.1741-4113.2007.00408.x.

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Schneider, Federico. "Pastoral Therapies for the Heartbroken in Guarini's Pastor Fido and Monteverdi's Book V." Quaderni d'italianistica 29, no. 1 (January 1, 2008): 73–103. http://dx.doi.org/10.33137/q.i..v29i1.8494.

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The idea of pastoral poetry as therapy against love-melancholy is well rehearsed throughout the Renaissance. Guarini's Pastor Fido (1589) and Monteverdi Fifth Book of Madrigals (1605) represent two effective responses to the therapeutic urgencies of the pastoral. Guarini's famous pastoral ushers in a new form of dramatic poetry: tragicomedy, that is, with its tragic-in-the-comic purging formula and its advocacy for music as a necessary catalyst for the purging effect of poetry. Monteverdi's Book V co-opts to a great extent Guarini's pastoral in order to issue a program for a new tragic-in-the-comic aesthetics of musical grieving with an obvious cathartic purpose. Both efforts, then, are symptomatic signs of a culture that is not only particularly keen on the therapeutic function of the pastoral; it also pursues that therapeutic function by means of a profound reflection on aesthetics that shows a striking continuity across disciplinary lines.

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Borges, Gabriela, and Alex Caravela. "From City of God to City of Men: The Representation of Violence in Brazilian Cinema and Television." Cinémas 22, no. 1 (September 15, 2011): 123–48. http://dx.doi.org/10.7202/1005807ar.

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This paper discusses the representation of violence in Brazilian cinema and television through analysis of the TV seriesCity of Men(2003-7), which is a follow-up to the filmCity of God(2002), with the same actors, sets and non-linear narrative. The project began with the production of the TV episodePalace II(2000), which was developed intoCity of God’s script. After receiving international acclaim, it resulted in the production ofCity of Men. In this context, it is important to emphasise the relationship between cinema and television and their particular features as products of the Brazilian audiovisual industry’s renaissance in the 1990s. The representation of violence is analysed not only as a thematic issue common to Brazilian favelas but also as an aesthetic element of TV drama. The representation of the oppressed has been well known in Brazilian cinema since Glauber Rocha’s manifesto “Aesthetics of Hunger” (1965), in which he argues that films need to be aggressive in order to truly expose poverty. The main point to be addressed, however, is whether the representation of violence in this series conveys, criticises or reflects about what is really happening in Brazilian favelas or if it merely offers an aesthetic look into poverty for the delight of audiences in Brazil and abroad.

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