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Journal articles on the topic 'Art, aesthetics, enlightenment'

Author: Grafiati

Published: 10 December 2022

Last updated: 31 July 2025

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1

Bandrovska, Olha T. "THE AESTHETIC REGIME IN THE MODERN ERA: ART AND DISCOURSE ON ART." Alfred Nobel University Journal of Philology 2, no. 26/1 (2023): 9–21. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-1.

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The article traces the changes in the aesthetic conventions of Modern art in accordance with the dynamics of literary development in Great Britain. The study focuses on three key areas: the impact of “the ancients and moderns” quarrel on European philosophical and literary thought; the nuances of critical and literary discourse in Enlightenment-era Great Britain; and the reception of the Enlightenment aesthetic values and novelties in Victorian criticism, linking them to the emergence of twentieth-century modernism. The subject involves the evolution of Enlightenment aesthetics and poetics in

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2

Liu, Jinyun, Zhenzhen Li, Haiyan Xu, and Huimin Huang. "Research on Surname Totem Art from the Perspective of Taoist Aesthetics." Arts Studies and Criticism 5, no. 2 (2024): 85. http://dx.doi.org/10.32629/asc.v5i2.2258.

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This article analyzes the surname totem from the Taoist aesthetic ideas, analyzes the aesthetic value of artistic expression research, and discusses the relationship between Taoist aesthetics and surname totem art. By comparing the core concepts, it reveals the commonality of Taoist aesthetic thought and surname totem in cultural inheritance and artistic creation, and then explores the new innovative enlightenment of Taoist aesthetic thought to art design, which helps to deepen the understanding of traditional culture. At the same time, it expands the new possibility of blending Taoist aesthet

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3

Wang, Kedi. "Art Aesthetic and Innovation Research on the Design of Car." Art and Society 3, no. 4 (2024): 82–85. http://dx.doi.org/10.56397/as.2024.08.10.

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The artistic aesthetics of automotive design involve aesthetics, design, and material science. The designer is required to use unique creativity and superb craftsmanship based on the basic design principles to create both the car form with high artistic aesthetics to meet consumers’ visual needs for the appearance of the vehicle and stimulate its sense of identity and belonging to the car brand culture. This article analyzes the artistic aesthetic points of automotive design and takes the Red Flag H9 as an example to explore the practical application of the artistic aesthetics of automobile de

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4

Berisha, Labinot, and Nexhmije Kastrati. "Aeshetics as a possibility for the study and understanding of the art of word – literature." Edelweiss Applied Science and Technology 9, no. 4 (2025): 2405–12. https://doi.org/10.55214/25768484.v9i4.6555.

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Aesthetics, as a discipline, has evolved in parallel with the arts, reflecting an increasingly broad and interconnected range of concerns. It now encompasses a wide array of categories, concepts, and principles that continue to develop. During the European Enlightenment, art was regarded as a means of transmitting knowledge and promoting moral refinement. In contrast, Romantic aesthetics foregrounded imagination, creativity, and human freedom, thereby challenging Enlightenment ideals. Aesthetic thought has consistently been shaped by both individual and collective tastes, cultural contexts, an

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Kent, Alexander J. "From a Dry Statement of Facts to a Thing of Beauty: Understanding Aesthetics in the Mapping and Counter-Mapping of Place." Cartographic Perspectives, no. 73 (September 1, 2012): 37–60. http://dx.doi.org/10.14714/cp73.592.

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Aesthetics plays a key role in cartographic design and is especially significant to the representation of place, whether by the state, the community, the crowd, or the artist. While state topographic mapping today demonstrates a rich diversity of national styles, its evolution (particularly since the Enlightenment) has led to the establishment of a particular aesthetic tradition, which has recently been challenged by counter-mapping initiatives and through map art. This paper explores the function of aesthetics in the cartographic representation of place. It offers an analysis of the aesthetic

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6

CARROLL, NOËL. "LES CULS-DE-SACOF ENLIGHTENMENT AESTHETICS: A METAPHILOSOPHY OF ART." Metaphilosophy 40, no. 2 (2009): 157–78. http://dx.doi.org/10.1111/j.1467-9973.2009.01586.x.

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7

Fritz, Martin. "Hallische Avantgarde. Die Erfindung der Ästhetik und die Ästhetisierung des Christentums." Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 21, no. 1-2 (2014): 1–27. http://dx.doi.org/10.1515/znth-2015-0001.

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AbstractAvantgarde in Halle: The Invention of Aesthetics and the Aestheticization of Christianity. The foundation of scholarly aesthetics by the Halle philosopher Alexander Gottlieb Baumgarten and Georg Friedrich Meier in the middle of the 18th century took place within a milieu that was shaped by both pietism and the Enlightenment. Martin Fritz demonstrates that aesthetics in Halle itself can be considered a synthesis of pietism and Enlightenment ideas. The sensualization of basic Christian concepts is of eminent relevance for these aesthetics, in order to reinvent the pietistic striving for

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8

Dziamski, Grzegorz. "Przemiany estetyki." Przegląd Kulturoznawczy, no. 1 (51) (March 2022): 127–47. http://dx.doi.org/10.4467/20843860pk.22.009.15754.

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Metamorphosis of Aesthetics Many aesthetic lecturers feel that the subject of their lectures is not so much aesthetics as the history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, British philosophers of taste and German romantics. Does this mean that aesthetics is nourished by its own past, nourished by reinterpretations of its classics, defends concepts and categories that no longer inspire anyone? Don’t they open up new cognitive perspectives? Does this mean that aesthetics is dead today, like Latin or Sanskrit, and that its vision of art and bea

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9

Dabney Townsend. "Art and Enlightenment: Scottish Aesthetics in the Eighteenth Century (review)." Hume Studies 31, no. 1 (2005): 184–86. http://dx.doi.org/10.1353/hms.2011.0242.

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10

Hafertepe, Kenneth. "An Inquiry into Thomas Jefferson's Ideas of Beauty." Journal of the Society of Architectural Historians 59, no. 2 (2000): 216–31. http://dx.doi.org/10.2307/991591.

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A careful reading of eighteenth-century aesthetics provides a view of Thomas Jefferson's thinking about art and architecture quite different from the existing scholarly paradigm. Jefferson owned, read, and quoted Enlightenment philosophy and criticism, most notably that of Henry Home, known as Lord Kames. Far from privileging reason over emotion, these philosophers held that all people are created with innate senses of beauty and morality, as well as a rational faculty. Because of the sense of beauty, certain qualities in objects can inspire the idea of beauty in the mind; other ideas of beaut

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11

Phan, Gia Khuê. "Sự Trỗi Dậy của Mỹ Học và cái Chết của Nghệ Thuật trong Dòng Chảy Duy Tâm Đức". Khoa Học Công Giáo và Đời Sống 3, № 2 (2023): 88–98. http://dx.doi.org/10.54855/csl.233210.

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Giữa thời đại Khai sáng của thế kỷ XVIII, sự quan tâm về nghệ thuật nổi lên mạnh mẽ. Tuy Baumgarten là người đầu tiên đã sử dụng thuật ngữ “mỹ học” (aesthetics) và phân tách nó khỏi phạm vi triết học để trở thành một lĩnh vực nghiên cứu độc lập: khoa học về cái đẹp; nhưng những khảo sát của Kant mới thực sự thiết lập cơ sở và gợi hứng để mỹ học nổi lên như một hiện tượng trong chủ nghĩa Duy tâm Đức. Tuy vậy, cũng chính bởi sự thay thế của “mỹ học” đối với “triết học nghệ thuật” đã dẫn đến điều mà Hegel chỉ ra như là sự kết thúc của nghệ thuật, hay như cách nói ấn tượng hơn: cái chết của nghệ t

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12

Tánczos, Péter. "Absztrahált szabályok szerint alkotni: Johann Elias Schlegel és Immanuel Kant az utánzásról." Kellék. Filozófiai folyóirat, no. 71 (December 10, 2024): 123–39. https://doi.org/10.61901/kellek.2024.71.08.

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Johann Elias Schlegel is remembered primarily as one of Lessing’s intellectual forerunners, but he made a major contribution to the transformation of German Enlightenment aesthetics with his theorems on similarity and his concept of imitation in art. Although it has been suggested that Immanuel Kant may have been familiar with some of J. E. Schlegel’s early writings, no direct evidence has yet been found; however, he may have been influenced indirectly by some of Schlegel’s ideas. More important than the problematic nexus of influence is the fact that the dramatist made conceptual modification

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13

Watson, Stephen H. "ADORNO, GADAMER, THE WORK OF ART AND THE RETRIEVAL OF THE SACRED." Síntese: Revista de Filosofia 47, no. 149 (2020): 693. http://dx.doi.org/10.20911/21769389v47n149p693/2020.

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This paper considers the significant role the sacred played in Hans-Georg Gadamer and Theodor Adorno’s theories of post Enlightenment rationality and experience. While these thinkers are typically thought to be at odds with one another, on this topic, as will become evident, their work remained proximate: both appealed at crucial points to theological models, somewhat controversially, to combat the limitations of strict methodological accounts of their rational. This paper first traces their mutual reliance in this endeavor upon Kantian and post- -Kantian accounts of aesthetics, which imported

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14

Dziamski, Grzegorz. "ESTHETICS TOWARDS FEMINISM." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9829.

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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created

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15

Dziamski, Grzegorz. "Estetyka wobec feminizmu." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9850.

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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created b

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16

Chernik, Aria F. "The “Peculiar Light” of Blakean Vision: Reorganizing Enlightenment Discourse and Opening the Exemptive Sublime." Articles, no. 50 (June 5, 2008): 0. http://dx.doi.org/10.7202/018148ar.

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Abstract This article argues that there is a direct connection between Blake’s rejection of conventional Enlightenment aesthetics—namely, of tropes pertaining to light and darkness and void and chaos—and a space of liberty that is opened for the reader. This space, which I term the “exemptive sublime,” is free from interpretive mandates and even orthodox assumptions. To illustrate the affiliation between Blake’s radical aesthetics and the radical space of liberty that is created for the reader, I first briefly consider how even in some of his earliest works, such as “The Little Black Boy” and

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17

Vincent, Robert Hudson. "Baroco: The Logic of English Baroque Poetics." Modern Language Quarterly 80, no. 3 (2019): 233–59. http://dx.doi.org/10.1215/00267929-7569598.

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Abstract As many scholars, including the editors of the Oxford English Dictionary, continue to cite false etymologies of the baroque, this article returns to a Scholastic syllogism called baroco to demonstrate the relevance of medieval logic to the history of aesthetics. The syllogism is connected to early modern art forms that Enlightenment critics considered excessively complicated or absurdly confusing. Focusing on the emergence of baroque logic in Neo-Latin rhetoric and English poetics, this article traces the development of increasingly outlandish rhetorical practices of copia during the

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18

Park, Seiyeon. "Ideas and Aesthetics of Yoshio Takahashi, a Modern Japanese Tea Artist : Focusing on TaishomeikiKan and KinseiDouguIdousi." Korean Tea Society 30, no. 1 (2024): 11–21. http://dx.doi.org/10.29225/jkts.2024.30.1.11.

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Takahashi Yoshio's position in Japan's modern tea ceremony is important. TaishomeikiKan and KinseiDouguIdousi, the masterpieces of his compilation of Japanese tea utensils at the time, have an important position in both tea utensils and art. After the Meiji Restoration, Japan had a strong tendency to break off the old practice and pursue practicality. Art was also dealt with from a practical point of view. Takahashi Yoshio', a student of Fukuzawa Yukichi, a strong enlightenment theorist of Japan, took the lead in the modernization of Japan more than anyone else. When it comes to the tea ceremo

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19

Costelloe, Timothy M. "The Founding of Aesthetics in the German Enlightenment: The Art of Invention and the Invention of Art by Stefanie Buchenau." Journal of the History of Philosophy 52, no. 3 (2014): 615–16. http://dx.doi.org/10.1353/hph.2014.0060.

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20

Gudimova, Svetlana. "MUSICAL AND AESTHETIC VIEWS OF V.F. ODOEVSKY." Filosofiya Referativnyi Zhurnal, no. 4 (2021): 166–85. http://dx.doi.org/10.31249/rphil/2021.04.10.

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Vladimir Fedorovich Odoevsky (1804-1869) was a man of truly encyclopedic knowledge and interests: writer (author of the first philosophical story in Russia and SF), philosopher, scientist, educator, popularizer of science, inventor, music theorist, researcher of Old Russian song art, founder of professional musicology in Russia, pianist, composer. This article deals only with his musical and aesthetic activities. Odoevsky was a Schellingian philosopher and fully shared the concept of art of the early German romanticists, in unison with whom he opposed the dogmas of rationalist classicist aesth

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21

Reglińska-Jemioł, Anna. "Motyw podróży jako element narracji tanecznej – próba rekonesansu zjawiska w świetle wybranych tematów spektakli baletowych XVIII wieku." Colloquia Litteraria 33, no. 2 (2023): 97–109. http://dx.doi.org/10.21697/cl.2022.33.2.6.

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The art of ballet in the Enlightenment era was a perfect tool of socio-cultural communication. It has fulfilled the curiosity of knowledge of “new worlds”, also referring to images preserved in the audience’s memory thanks to earlier readings (thepopular topic was the theme of Telemachus’ voyage). Moreover, introducing exoticelements, foreshadowed the upcoming changes in the form of stage presentation. Theliterary record of ballet landscapes, remained on the pages of the librettos, exists asan important source for research into the history of theater, as well as a testimonyto the culture and a

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22

Presto, Jenifer. "The Aesthetics of Disaster: Blok, Messina, and the Decadent Sublime." Slavic Review 70, no. 3 (2011): 569–90. http://dx.doi.org/10.5612/slavicreview.70.3.0569.

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In this article, Jenifer Presto argues that the 1908 Messina-Reggio Calabria earthquake had an impact on Aleksandr Blok no less significant than that which the 1755 Lisbon earthquake had on writers of the Enlightenment and proceeds to demonstrate how it shaped Blok's aesthetics of catastrophe. This aesthetics can best be termed the “decadent sublime, ” an inversion of the Kantian dynamic sublime with its emphasis on bourgeois optimism. Following Immanuel Kant, Blok acknowledges the fear and attraction that nature's forces can inspire; however, unlike Kant, he insists that modern man remains po

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23

Zorach, Rebecca. "An Astonishing Visibility: The Invisible Hand and the Visible Fist; Or, Enlightenment, Aesthetics, and Police." Visual Arts Research 48, no. 1 (2022): 17–28. http://dx.doi.org/10.5406/21518009.48.1.02.

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Abstract This essay takes as a starting point the modern influence of Scottish philosopher Adam Smith's notion of the “invisible hand” in economics, and its relationship to police and policing, to trace the power relationships and aesthetic theories embedded in both in their 18th-century origins. Smith repeatedly frames the concept of the invisible hand in aesthetic terms, as does (in a different way) his devotee, neoliberal evangelist Milton Friedman. He also connects it at the outset with the then-current definition of the word “police” as both political order and refinement (etymologically

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24

Krioukov, Alexei. "Is the beautiful moral? Lars von Trier, Schiller and Kant on morality of the work of art." SHS Web of Conferences 161 (2023): 04001. http://dx.doi.org/10.1051/shsconf/202316104001.

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The point of departure is a film by Lars von Trier, The House That Jack Built (2018). The most striking aspect of this film is that Jack has grounds for his actions. By committing a serial murder he is creating a work of art. He has his own primitive philosophy and affirms two theses: firstly,that art is the highest type of human activity and, secondly, that to be moral means to belong to the human herd. In spite of the primitiveness of these theses it is hard to disprove them. The common thesis in the Enlightenment was formulated by Diderot, Shaftesbury, and Winckelmann who claimed that aesth

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25

Królikowski, Janusz. "Przemiany symboliczno-teologicznego znaczenia materii i ich odzwierciedlanie się w estetyce i sztuce chrześcijańskiej." Sacrum et Decorum 13 (2020): 7–27. http://dx.doi.org/10.15584/setde.2020.13.2.

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Almost from its very beginning, the faith of the Church incorporated art in its various forms of expression into the process of interpreting its doctrine. Quite quickly the Church included in this process the dogma of creation, i.e. the calling of the world into existence by God. At first, in polemic against ancient Manichaean tendencies, this dogma contributed to a positive view of matter, and thus to the possibility of using it in the realm of religion: since it comes from God, it cannot be an obstacle to worshipping him. Over time, the theme of creation itself was also incorporated into art

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26

Strashnov, Sergey L. "The mass nature of art in the understanding and implementation of V. Mayakovsky." Philological Sciences. Scientific Essays of Higher Education 1, no. 6 (2021): 113–20. http://dx.doi.org/10.20339/phs.6-21.113.

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V. Mayakovsky has decisively and constantly implemented the program of art massiveness in his work. The author of this article examines the formation and development of these guidance based on the analysis of works of art and poet’s aesthetics. Special attention is paid to newspapers and advertising texts. Various aspects of Mayakovsky’s interpretation of massiveness are investigated, including the forms of his own poetic agitation and literary enlightenment. At the same time, it is noted that the movement towards simplification and popularization was not particularly straightforward. This is

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27

Cvejić, Žarko. "From "Bach" to "Bach's son": The work of aesthetic ideology in the historical reception of Carl Philipp Emanuel Bach." New Sound, no. 54-2 (2019): 90–108. http://dx.doi.org/10.5937/newso1954090c.

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The paper explores the historical correlation between the marginalization of C. P. E. Bach in his posthumous critical reception in the early and mid 19th century and the paradigm shift that occurred in the philosophical, aesthetic, and ideological conception of music in Europe around 1800, whereby music was reconceived as a radically abstract and disembodied art of expression, as opposed to the Enlightenment idea of music as an irreducibly sensuous, sonic art of representation. More precisely, the paper argues that the cause of C. P. E. Bach's marginalization in his posthumous critical recepti

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28

Zhou, Heqiang, and Lei Que. "The Causes and Enlightenment of Post-Modern Film Culture in the 5G Era." Journal of Electronic Research and Application 5, no. 5 (2021): 25–30. http://dx.doi.org/10.26689/jera.v5i5.2596.

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With the increasing influence of 5G technology on film art, the postmodern culture contained therein is also gradually becoming obvious. Understanding the context of the 5G era and clarifying the origin of postmodern film culture can help us analyze the cause of the rise of postmodern film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodern film culture. In addition, we should also consider the film culture under the postmodernism of 5G era, and explore

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Negoiță, Paul Iulius. "Observații filosofice despre arhitectura religioasă și arta sacră." Revista de filosofie 71, no. 3 (2024): 407–25. http://dx.doi.org/10.59277/rf.2024.71.3.09.

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This article tackles the aesthetic implications of religious architecture, somehow outshined by dominant metaphysical undertakings of the sacred space. The first part of this study deals with the interpretation of the principles of religious architecture explained by Vitruvius and their impact on the German and Scottish Enlightenment. The second part sheds light on the Kantian approach of the religious space through the aesthetic category of the sublime in its two paradigms – mathematical and dynamical – closely observing to what extent they support Kant’s intention to project religion within

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Zacharow, Sebastian. "Le rôle créateur de la memoria rhétorique dans la théorie des arts à l’époque des Lumières." Przegląd Humanistyczny 63, no. 4 (2020): 7–14. http://dx.doi.org/10.5604/01.3001.0013.7280.

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The article addresses the issue of one of the parts of rhetoric – memory (memoria) in relation to fine arts (beaux-arts), a term invented by Charles Batteux. In the classical understanding of the rhetorical discourse, memoria is a set of rules allowing the speaker to remember his speech and then to deliver it in the best possible way. In terms of aesthetics and art, the mentioned term takes on many new meanings, to the extent that Diderot’s Encyclopedia does not use it at all. In order to explain the role of memory as a creative process, the French theoreticians of the Age of Enlightenment (Ba

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He, Yiwen, Xuemin Zhang, Xinlei Chen, Dong Fu, Bei Zhang, and Xubin Xie. "Study on the Protection of the Spatial Structure and Artistic Value of the Architectural Heritage Xizi Pagoda in Hunan Province of China." Sustainability 15, no. 10 (2023): 8352. http://dx.doi.org/10.3390/su15108352.

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Xizi Pagoda, or the pagoda for cherishing writing paper, is part of China’s architectural heritage in culture, education, and rites. It symbolizes respect for books and ceremonies, aspirations for virtue and ideals, and hope for literati cultivation. This paper is the first comprehensive study based on the spatial structure and artistic value of the pagoda as rural stone architecture. It analyzes the shape, components, and decoration of typical Xizi Pagodas in Hunan Province, and studies the stress structure with finite element simulation software. This study delves into the science of the sha

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Zaуtseva, Nataliya Vladimirovna. "“Natural” in the philosophical and moralistic literature of the XVII century." Философия и культура, no. 11 (November 2021): 33–45. http://dx.doi.org/10.7256/2454-0757.2021.11.36779.

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In philosophy, &ldquo;natural&rdquo; is viewed as an ontological characteristic of the objects of internal and external reality along with the concept of &ldquo;artificial&rdquo;. However, in the XVII century, the philosophical and moralistic literature undergoes aestheticization. Numerous appeals of the writers, moralists and philosopher, as well as dialogues and arguments on the topic of &ldquo;natural&rdquo; indicate that this was of crucial importance for the aesthetic thought of the XVII century. The answer to the question &lsquo;what natural is&rsquo; has

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Dorofeev, Daniil. "Ancient Philosophers in Saint Petersburg: Visual-Plastic Forming of City and Person." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 2 (2021): 868–93. http://dx.doi.org/10.25205/1995-4328-2021-15-2-868-893.

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The article is devoted to the study of philosophical significance of visual and plastic iconography of ancient philosophers as a special way of education and formation of human image, landscape of the city and culture as a whole. The author seeks to identify and analyze as much as possible the presence of such images in St. Petersburg, primarily in the form of sculptural statues and busts in palaces and parks. For this purpose the article examines what role antique plastic art played in the systems of education and aesthetics of everyday life of in the 18th and 19th centuries men, how and by w

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Rajavee, Holger. "The Magus of the North: Johann Georg Hamann’s Treatment of the Artistic Genius." Baltic Journal of Art History 21 (August 20, 2021): 7–30. http://dx.doi.org/10.12697/bjah.2021.21.01.

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In the 18th century, questions abound on the new branch of sciencethat is the discipline of aesthetics. In connection with this, first inFrance and England, then also in the German sphere of thought,artistic genius as the producer of an aesthetically valued artworkbecomes an object of interest. The term ‘genius’ enters Germanvernacular in the middle of the 18th century, when the scholarand philosopher Johann Georg Hamann commences his life work.Interpretations of the works of Hamann, an influential irrationalistor anti-rationalist of the Enlightenment era, are topical even today.At the time, t

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Tao, Shilong. "Being Towards Death: Tragic Aesthetics and Stoicism in W. B. Yeats’s Men Improve With The Years." Advances in Language and Literary Studies 11, no. 4 (2020): 1. http://dx.doi.org/10.7575/aiac.alls.v.11n.4p.1.

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Men Improve With The Years was written by W. B. Yeats in 1916 by the time he had turned 50 years old. This paper argues that in this poem, Yeats presents his philosophical thoughts of the tragic life among human beings, highlighting that the joy in tragedy is “the way to survive” while the sorrow in tragedy is “being towards death”. Influenced by Nietzsche’s aesthetic notions of the Apollonian and Dionysian art, Yeats holds a kind of tragic aesthetic view towards death—“the unity of being” of individual life and nature, and aims to seek the joy of growing old and the freedom to create life out

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Istomina, Nadezhda A. "ILLUSION AND REALITY IN THE PORTRAITS BY GEORG PENCZ." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2021): 127–38. http://dx.doi.org/10.28995/2686-7249-2021-6-127-138.

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Georg Pencz’s picturesque portraits represent one of the brightest stages of development in the master’s work. In the 1540s, after his second Italian trip, the artist became the leading portrait painter of the Nuremberg nobility and turned to the type of monumental large-format portrait that included elements of genre painting. Pencz depicted the rich entourage surrounding a patron with the attention to nature inherent in German Renaissance art. It was a demonstration not only of the social status and affluence of his patron, but also of the artist’s skill. At the same time, the image was endo

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Eagleton, Terry. "A Homage to William Hazlitt." Theory Now. Journal of Literature, Critique, and Thought 5, no. 2 (2022): 9–17. http://dx.doi.org/10.30827/tn.v5i2.24498.

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Hazlitt was a man of letters who developed his career in the late eighteenth and early nineteenth century when the public sphere was still strong. Men of letters were a sort of moral guides in times of profound cultural change and political turbulence; they formed public opinion through speaking and writing to a large non-specialized audience about a wide range of issues of public interest including aesthetics, ethics, politics, religion, and science. The stage was divided between conservatives and radicals and, due to the political relevance of the debate and the intense rivalry between the c

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Wicks, Robert. "Understanding Gadamer." Dialogue 38, no. 4 (1999): 827–33. http://dx.doi.org/10.1017/s0012217300006739.

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The Philosophy of Hans-Georg Gadamer, edited by Lewis Edwin Hahn, the twenty-fourth volume in the “Library of Living Philosophers”—a series founded in 1938 by Paul Arthur Schlipp, the aim of which has been to represent some of the world's greatest living philosphers. In keeping with this tradition, the 600-page Gadamer volume contains an invaluable and lengthy autobiographical sketch by Gadamer himself, long with wide-ranging critical and interpretive essays by twenty-nine scholars. The essays address the foundations of philosophical hermeneutics, the significance of beauty, art, and aesthetic

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Alekhina, Anastasia, and Alexander Pisarev. "Enacting Technoscience: Art & Science From the Contemporary Metaphysics Perspective." Philosophical Literary Journal Logos 34, no. 1 (2024): 131–72. http://dx.doi.org/10.17323/0869-5377-2024-1-131-172.

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In the article the assumptions, strategies and possibilities of Art & Science (A&S) are considered through the prism of three types of metaphysical thinking. These types are defined by the answers to the question: why is there something rather than nothing. Thus, the analysis of classical metaphysics makes it possible to identify the basic assumptions of many A&S projects. These assumptions are borrowed by art from the public self-presentation of science and from Western common sense: there is an autonomous and definite nature, it is successfully known and mastered by science. So n

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BOOHER, C. RICHARD. "BUCHENAU, STEFANIE. The Founding of Aesthetics in the German Enlightenment: The Art of Invention and the Invention of Art. Cambridge University Press, 2013, viii + 272 pp., $84.00 cloth, $32.99 paper." Journal of Aesthetics and Art Criticism 74, no. 3 (2016): 311–14. http://dx.doi.org/10.1111/jaac.12282.

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Sechin, Alexander G. "The Sources and Meaning of the Term Decency in the Writings of Prince Dmitry Golitsyn on Fine Arts." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 682–707. http://dx.doi.org/10.21638/spbu15.2022.407.

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The author focuses on one of the most important terms of normative aesthetics and art, decency, which occupies a prominent place in the writings of Prince Dmitry Golitsyn (1734–1803), devoted to the issues of architecture and fine arts. A detailed study of the origins of decency and the meaning of this concept leads to the identification of three stages in its development, consistently considered with the involvement of both source texts and the works of modern scholars. The first stage was the flourishing of classical ancient Greek art, which corresponds to the concept of τὸ πρέπον, formed in

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Kangor, Eero. "Art History as a New Discipline at the Estonian University in Tartu after the Long 19th Century." Baltic Journal of Art History 24 (August 22, 2023): 7–45. http://dx.doi.org/10.12697/bjah.2022.24.01.

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The article is the first attempt to present the beginnings of Estonian professional art history in the 1920s in a regional and global context. The author strives to situate the University of Tartu (Dorpat) in the pan-European network of universities, where art history had gradually become regarded as a new discipline during and after the long 19th century. Art history is rooted in the Age of Enlightenment, with Johann Joachim Winckelmann retrospectively named the father of art history. But it was about a half century after his death that art history was incorporated into a general subject of a

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Lotter, Konrad. "Ästhetik des Südens. Ästhetik des Nordens. Anmerkungen zur Klimatheorie der Kunst." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 58, no. 2 (2013): 129–48. http://dx.doi.org/10.28937/1000106220.

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Die eigentümliche Verbindung geographischer Begriffe wie »Süden« und »Norden« mit dem philosophischen Begriff der Ästhetik verweist auf die sog. Klimatheorie, die die Autonomie der Kunst bestreitet und ihre Eigenart und Entwicklung durch das Wetter und andere Naturbedingungen erklärt. Zum einen werden die verschiedenen Ansätze dieser Theorie z.Zt. der europäischen Aufklärung dargestellt, die das Klima durch den Körper, die Lebensweise oder die Arbeit des Menschen vermittelt, auf seine geistige Produktion bezieht. Das Hauptanliegen des Aufsatzes ist es, die Entwicklungen der Klimatheorie und ih

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Sperotto, Valentina. "Diderot: ironia e umorismo nel Salon 1765." Diciottesimo Secolo 9 (October 7, 2024): 127–41. http://dx.doi.org/10.36253/ds-15161.

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Enlightenment philosophers often used irony in a philosophical manner. But irony is an ambiguous and complex figure of speech that can take on philosophical or anti-philosophical value, depending on the uses made of it. Diderot extensively resorts to irony throughout his works, even in unsuspected places in the Encyclopédie, but can we detect a philosophical use of this figure of speech in works of aesthetics as well? The Salon 1765 is considered here as an emblematic moment of Diderot’s reflection on the visual arts, in which irony is linked to the effort of objectivity of the art critic and

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Berlova, Maria. "The Transnationalism of Swedish and Russian National Theatres in the Second Half of the Eighteenth Century: How Foreign Performative Art Sharpened the Aesthetics of National Identity." Nordic Theatre Studies 27, no. 1 (2015): 104. http://dx.doi.org/10.7146/nts.v27i1.24243.

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In this article, I consider the formation of national theatres in Sweden and Russia under the guidance of King Gustav III and Empress Catherine II. Both Swedish and Russian theatres in the second half of the eighteenth century consolidated their nationalism by appealing to various national cultures and absorbing them. One of the achievements of the Enlightenment was the rise in popularity of theatre and its transnationalism. Several European countries, like Russia, Sweden, Po- land, Hungary and others, decided to follow France and Italy’s example with their older traditions, and participate in

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Kirillova, Natalia B. "Metamorphoses of Russian Mass Culture." Observatory of Culture 16, no. 5 (2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.

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The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the cu

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Sumchenko, Iryna, and Vitaliia Hotynian-Zhuravlova. "THE CONCEPT OF "MIDDLE AGES" IN CULTURAL STUDIES: THEMATIZATION AND INTERPRETATION FEATURES." Doxa, no. 1(41) (June 27, 2024): 60–69. https://doi.org/10.18524/2410-2601.2024.1(41).316159.

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This article examines the concept of the Middle Ages as a distinct era in the history of European civilization and its reflection in cultural thought. It explores various approaches to studying the Middle Ages that have developed within cultural studies, as well as ways of interpreting this period in relation to its religious, social, and intellectual heritage. Special attention is given to the evolving perceptions of the Middle Ages, its influence on modern culture, and the challenges of understanding its place in the broader historical context. Beginning with Flavio Biondo, who laid the foun

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Maiste, Juhan. "Miks kõneleb Laokoon kirjasõnas ja ei kõnele marmoris?" Baltic Journal of Art History 11 (November 30, 2016): 9. http://dx.doi.org/10.12697/bjah.2016.11.02.

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In this article, the author focuses on the work called Laocoön, which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia, calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoön Group. After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoön has repeatedly aroused the interest of art his

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Oliva Mendoza, Carlos. "La permanencia del pasado: lo clásico en el tiempo." Theoría. Revista del Colegio de Filosofía, no. 7 (December 1, 1998): 79–98. http://dx.doi.org/10.22201/ffyl.16656415p.1998.7.211.

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The idea behind this text is to exhibit some of the characteristics of a form of actualization of the past; more precisely, the movement of the Classic in history. Following Gadamer on the role of tradition as an element of understanding and the configuration of the present, as well as Hegel's model of the Classic in the development of art and aesthetics, the paper claims that there is a movement in the constitution of the classic, through which the past remains by itself summoning the present. Thus, the past remains through its own beliefs and forms of representation. This thesis postulates a

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Sun, Shan, and Yan Huang. "ON THE CHARACTERISTICS OF METICULOUS FLOWER AND BIRD PAINTING TEACHING FROM THE PERSPECTIVE OF EMOTIONAL BEHAVIOR CHANGE -- TAKING THE INFLUENCE OF ZHOU YANSHENG'S FLOWER AND BIRD PAINTING TEACHING ON STUDENTS' EMOTION AS AN EXAMPLE." International Journal of Neuropsychopharmacology 25, Supplement_1 (2022): A69. http://dx.doi.org/10.1093/ijnp/pyac032.095.

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Abstract Background Meticulous flower and bird painting is a basic course for art and technology majors in the Department of Chinese painting and art colleges. However, at present, the teaching of meticulous flower and bird painting is almost carried out in the order of copying, sketching and creation, and each teaching unit is often isolated. Through the study of Zhou Yansheng's painting characteristics and artistic style, it is found that the previous art research on Zhou Yansheng basically focused on his painting artistic style and brush art aesthetics, and there are few articles to deeply

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