Relevant bibliographies by topics / Fantastic, The (Aesthetics)

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

Academic literature on the topic 'Fantastic, The (Aesthetics)'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Fantastic, The (Aesthetics)"

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Deokule, Amit. "Aesthetics." Journal of Psychology & Behavior Research 2, no. 2 (June 13, 2020): p1. http://dx.doi.org/10.22158/jpbr.v2n2p1.

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In this Article the author has focused on aesthetical outlook to lead a fantastic life! There will be handful number of people who find aesthetics in every small thing which can be beautified by their own way where that will help them to stay focused and confident in life. The author has absolutely identified and explained everything in a metaphoric way and by way of his imagination where mindfully this subject becomes very effective! The author has given multiple examples in an illustrious manner because of which this small world becomes subjective with appropriate spaces used by him. He has also taken care that this word will not be misused by the people but will be utilized diligently by understanding the concept for their own betterment and the whole life, too!
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Berger, J. "The Political Fantastic: Zizek, Fantasy, and a New Autonomous Aesthetics." Minnesota review 2012, no. 79 (January 1, 2012): 53–77. http://dx.doi.org/10.1215/00265667-1708250.

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Seymour, Graham. "On reading literary fantasy: towards an aesthetics of the fantastic." Paragraph 5, no. 1 (March 1985): 56–75. http://dx.doi.org/10.3366/para.1985.0003.

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Beville, Maria. "The Macabre on the Margins: A Study of the Fantastic Terrors of the Fin de Siècle." Text Matters, no. 2 (December 4, 2012): 115–29. http://dx.doi.org/10.2478/v10231-012-0058-3.

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With a view to discussing an important three-faceted example of marginality in literature whereby terror, the literary Fantastic and the fin de siècle period are understood as interconnected marginalia, this paper examines works such as Guy de Maupassant’s “Le Horla” and H. Rider Haggard’s She from an alternative critical perspective to that dominating current literary discourse. It demonstrates that in spite of the dominant associations of fantastic literature with horror, terror, as the marginal and marginalized fear of the unknown, with its uncanny, sublime and suspenseful qualities, holds a definitive presence in fin de siècle fantastic texts. Literary analysis of the chosen texts registers significant examples of the importance of terror to fantastic writing, and as such functions to extract an “aesthetics of sublime terror” from the margins of critical studies of this often macabre literary mode.
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Mahiet, Damien. "The Aesthetics and Politics of Wonder in the First Nutcracker." 19th-Century Music 40, no. 2 (2016): 131–58. http://dx.doi.org/10.1525/ncm.2016.40.2.131.

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Critical response to Tchaikovsky's Casse-Noisette (The Nutcracker), the ballet-féerie premiered in December 1892 in St. Petersburg, has historically been mixed. An aesthetic mongrel, the original production joined the highbrow expectations of Romantic ballet with the popular conventions of the féerie and challenged its first audience just as much as its immediate predecessor, The Sleeping Beauty. To this day, writers object to the original libretto's uneven distribution of pantomime and dance and its lack of a coherent story, of continuous development, and of a satisfying conclusion. This article offers an alternative reading that reconstructs the dramatic disruptions and turnabouts and relates them to the first production's aesthetics and politics. The ballet's composer and choreographers, using music, action, and dance, repeatedly placed the audience in a position of wonder and awe similar to that of the young heroine Clara. This aesthetic captured Alexander III's particular “scenario of power” (Richard Wortman) in late-nineteenth-century Tsarist Russia, projecting imperial court culture and sovereign power onto a fantastic canvas.
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Cuillé, Tili Boon. "La Vraisemblance du merveilleux: Operatic Aesthetics in Cazotte's Fantastic Fiction." Studies in Eighteenth Century Culture 34, no. 1 (2005): 173–95. http://dx.doi.org/10.1353/sec.2010.0027.

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Zuidervaart, Lambert. "Fantastic Things: Critical Notes Toward A Social Ontology of the Arts." Philosophia Reformata 60, no. 1 (December 17, 1995): 37–54. http://dx.doi.org/10.1163/22116117-90000086.

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Future historians will note many parallels between the 1930s and the 1990s in Europe and North America. Both decades appear to be times of dramatic cultural upheaval and societal transformation. Indeed, many of the battles fought over capitalism, democracy, and cultural modernism in the 1930s have returned in recent struggles over a global economy, the welfare state, and cultural postmodernism. Hence it may be instructive for contemporary Christian scholars to revisit the seminal texts of European philosophy in the 1930s. Cultural theorists have long recognized the significance of Martin Heidegger’s essay “The Origin of the Work of Art,” both as a turning point in his own thinking and as a fundamental challenge to modern aesthetics. Presented as lectures in 1935-36 and first published in German in 1950, the essay develops a conception of artistic truth that breaks entirely with Kantian divisions among epistemology, ethics, and aesthetics. Much less recognized, even among his students and followers, is the significance of Herman Dooyeweerd’s discussion of art from around the same time.3 First published in Dutch in 1936 and then revised and republished in English in 1957, Dooyeweerd’s discussion presents a conception of the artwork that reconfigures the Kantian divisions discarded by Heidegger.
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Sputnitskaya, N. Yu. "Ideological Environment and Aesthetics in Fantastic Films of Russia and USA in 1950s." Journal of Flm Arts and Film Studies 9, no. 3 (September 15, 2017): 19–29. http://dx.doi.org/10.17816/vgik9319-29.

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Using archive material and comparative tools, the article examines the representation of the mythological and fairytale view of the world in fantasy films as exemplified by pictures about Sadkos sea wanderings in Soviet films and those of Sinbad in the American ones. The characters, the narrative, the eastern and antique theme contamination, the technologic, aesthetic and ideological aspects of the films are analyzed.
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Jeha, Júlio César. "E. A. Poe: the fall of the masque." Estudos Germânicos 7, no. 1 (December 31, 1986): 218. http://dx.doi.org/10.17851/0101-837x.7.1.218.

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This dissertation is a study of Edgar Allan Poe's "The fall of the house of Usher" and "The masque of the red death", as representative tales of the Gothic and, by extension, of the fantastic mode. It has two axes: one is a survey of critical theories on the fantastic and its main manifestation, the Gothic, in an attempt to distinguish the constituents of the mode and to apply them to a reading of Poe's tales. The other axis is centered on one of these constituents, an esoteric substratum which underlies both texts and is fundamental to Poe's metaphysics as expressed in his aesthetics, Finally, the specular construction of the texts is examined, as well as the use of intertextuality and the ideological questions projected in terms of a theory of knowledge.
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Panos, Leah. "Postmodernism, Culture and Feminism: The Aesthetics of Space and Performance inRock FolliesandRock Follies of ’77." Journal of British Cinema and Television 11, no. 1 (January 2014): 41–67. http://dx.doi.org/10.3366/jbctv.2014.0191.

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This article discusses the aesthetic and spatial representational strategies of the popular studio-based musical television drama serials Rock Follies and Rock Follies of ’77. It analyses how the texts’ themes relating to women and the entertainment industry are mediated through their postmodern ironic mode and representation of fantastic spaces. Rock Follies’ distinctive stylised aesthetic and mode of caricature are analysed with reference to the visual intentions and ‘voice’ of the writer, Howard Schuman. Through considering the programmes’ various spatial strategies, the article draws attention to the importance of visual and performance style in their postmodern discourse on culture, fantasy, gender and subjectivity. Analysis of the spaces of musical performance, characters’ domestic environments and simulated entertainment spaces reveals how a dialectic is established between the escapist imaginative pleasures of fantasy and the manipulative and exploitative practices of the culture industry. The shift from the optimism of the first series, when the Little Ladies first form, to the darker mood of the second series, in which they are increasingly divided by industry pressures, is traced through changes in the aesthetics of space and characterisation. As a space of artifice, performance and electronic visual manipulation that facilitates the texts' reflexive representation of culture and feminised fantasy, the studio's unique aesthetic strengths emerge through this case study.
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Dissertations / Theses on the topic "Fantastic, The (Aesthetics)"

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Israelson, Per. "Ecologies of the Imagination : Theorizing the participatory aesthetics of the fantastic." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-142205.

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This book is about the participatory aesthetics of the fantastic. In it, the author argues that the definition of the fantastic presented by Tzvetan Todorov in 1970 can be used, provided it is first adapted to a media-ecological framework, to theorize the role of aesthetic participation in the creation of secondary worlds. Working within a hermeneutical tradition, Todorov understands reader participation as interpretation, in which the creative ambiguities of the literary object are primarily epistemological. However, it is here argued that the aesthetic object of the fantastic is also characterized by material ambiguity. The purpose of this dissertation is then to present a conceptual framework with which to theorize the relation between the material and the epistemological ambiguity of the fantastic. It is argued that such a framework can be found in an ecological understanding of aesthetic participation. This, in turn, entails understanding human subjectivity as a process always already embodied in a material environment. To this extent, the proposed theoretical framework questions the clear and oppositional distinction between form and matter, as well as that between mind and body, nature and culture, and human and non-human, on which a modern and humanist notion of subjectivity is based. And in this sense, the basic ecological assumptions of this dissertation are posthumanist, or non-humanist. From this position, it is argued that an ecological understanding of participation offers a means to reformulate the function of a number of concepts central to studying the aesthetics of the fantastic, most notably the concepts of media, genre and text. As the fantastic focuses on the creation of other worlds, it is an aesthetics of coming into being, of ontogenesis. Accordingly, it will be argued that the participatory aesthetics of the fantastic operationalizes the ontogenesis of media, genres and texts. By mapping the ontogenesis of three distinct media ecologies – the media ecology of fantasy and J. R. R. Tolkien’s secondary world Middle-earth; the media ecology of the American comic book superhero Miracleman; and the media ecology of William Blake – this book argues that the ecological imagination generates world. Per Israelson has been a doctoral candidate in the Research School of Studies in Cultural History at the department of Culture and Aesthetics, Stockholm University. Ecologies of the Imagination is his dissertation.
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Johnson, Catherine. "Histories of telefantasy : the representation of the fantastic and the aesthetics of television." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/1294/.

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Over five case studies, this thesis brings together six 'telefantasy' programmes, television dramas that have been understood as 'cult' texts because of their fan audiences and that are centrally concerned with representing the fantastic. By situating the Quatermass serials, The Prisoner, Star Trek, The X-Files, Buffy the Vampire Slayer and Randall and Hopkirk (Deceased) within their contexts of production, this thesis challenges the characterisation of such programmes as 'unique' cultural phenomena. Through this analysis, this thesis argues that the fantastic suggests itself as a particularly rich area for re-examining the central assumptions about the aesthetics of television. Challenging the notion of television as an intimate medium of 'talk' that addresses a distracted viewer through a small screen in the living room, this thesis argues that the display of the image in these programmes functions as an aesthetic and economic strategy to address an attentive viewer with distinctive programmes. However, this tendency towards spectacle and distinctiveness is not opposed to the 'intimate' model of television, but is used to negotiate a position for these programmes in which they are both spectacular and intimate, distinctive and familiar, addressing an attentive and a distracted viewer. By analysing the different ways in which the representation of the fantastic is negotiated within each case study, this thesis reassesses the industrial and aesthetic history of 1950s/1960s television, and engages with the debates about the impact of the rise of satellite, cable and digital television services. Through an analysis of the different status of telefantasy on contemporary US network and JfK terrestrial television, this thesis explores the different ways in which these two industries have responded to the fragmentation of the industry over the 1980s and 1990s. By retheorising the aesthetics of television, this thesis argues that we need to have a clearer understanding of the complexity of television history if we are to assess fully the impact of the current changes on the future of the medium.
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Petty, John E. "Stage and Scream: The Influence of Traditional Japanese Theater, Culture, and Aesthetics on Japan's Cinema of the Fantastic." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68031/.

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Although widely viewed in the West, Japanese films are often misunderstood, as they are built on cultural, theatrical, and aesthetic traditions entirely foreign to Western audiences. Particularly in regards to Japan's "fantastic" cinema - including giant monster pictures, ghost stories, and "J-Horror" films - what is often perceived as "cheap" or "cheesy" is merely an expression of these unique cultural roots. By observing and exploring such cultural artifacts as kabuki, noh, and bunraku - the traditional theatrical forms of Japan - long-standing literary traditions, deeply embedded philosophical beliefs, and even more recent developments such as the controversial dance form butoh, these films, including Gojira (1954), Daimajin (1966), Kwaidan (1964), Onibaba (1964), Testuo the Iron Man (1989), and Ju-On (2002), can be placed in their proper perspective, leading to a reevaluation of their worth not merely as commercial products, but as uniquely Japanese expressions of that society's unique place in world culture.
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Ramos, Alquezar Sergi. "Fantômes, slashers et monstres dans le cinéma fantastique espagnol (1993-2005) : une approche du cinéma fantastique réalisé par les jeunes metteurs en scène espagnols des années 1990 et 2000." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20107/document.

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La thèse propose une approche du cinéma fantastique espagnol des années 1990 et 2000, et plus spécifiquement de la période allant de 1993 à 2005. En effet, on assiste alors à l’arrivée d’une nouvelle génération de réalisateurs qui donne un nouvel élan au genre en se le réappropriant. Nous partons du constat initial qu’au sein des diverses approches du genre présentes dans chacun de ces films, le fantastique espagnol semble privilégier l’apparition de trois incarnations du surnaturel : le fantôme, le slasher et le monstre. Notre étude se penche sur chacune d’entre elles afin de dégager quelles sont les lignes de force qui les structurent. Pour cela, nous nous servons de la notion de figure, qui à partir de l’étude de la représentation cinématographique des corps, permet également de déterminer quels sont les enjeux thématiques qui y sont associés, ainsi que la reconfiguration particulière que chacune d’entre elles opère sur le genre fantastique
This thesis tackles Spanish fantastic cinema from the 1990s and 2000s, and more specifically from 1993 to 2005. Indeed, this period of time corresponds to the rising of a new generation of directors who gave a new impetus to the genre by re-appropriating it. We start off with the initial premise that within the various approaches of the genre present in each of these films, the Spanish fantastic seems to favour the emergence of three types of supernatural : the ghost, the slasher and the monster. Our study focuses on each of these types so as to highlight its structuring driving forces. In that respect, we use the notion of figure which, based on the study of the cinematographic representation of bodies, also allows to determine the thematic stakes related to it, as well as the specific reconfiguration that each of them operates on the fantastic genre
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Fick, Kimary E. "Sensitivity, Inspiration, and Rational Aesthetics: Experiencing Music in the North German Enlightenment." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822804/.

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This dissertation examines pre-Kantian rational philosophy and the development of the discipline of aesthetics in the North German Enlightenment. With emphasis on the historical conception of the physiological and psychological experience of music, this project determines the function of music both privately and socially in the eighteenth century. As a result, I identify the era of rational aesthetics (ca.1750-1800) as a music-historical period unified by the aesthetic function and metaphysical experience of music, which inform the underlying motivation for musical styles, genres, and means of expression, leading to a more meaningful and compelling historical periodization. The philosophy of Alexander Baumgarten, Johann Georg Sulzer, and others enable definitions of the experience of beautiful objects and those concepts related to music composition, listening, and taste, and determine how rational aesthetics impacted the practice, function, and ultimately the prevailing style of music in the era. The construction, style, and performance means of the free fantasia, the most personal and expressive genre of the era, identify its function as the private act of solitude, or a musical meditation. An examination of pleasure societies establishes the role of music in performance and discussion in both social gatherings and learned musical clubs for conveying the morally good, which results in the spread of good taste. Taken together, the complimentary practices of private and social music played a significant role in eighteenth-century life for developing the self, through personal taste, and society, through a morally good culture.
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Pereira, André Luiz Rodriguez Modesto. "The Lord of the rings e a estética da finitude /." Araraquara : [s.n.], 2011. http://hdl.handle.net/11449/99086.

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Orientador: Karin Volobuef
Banca: Álvaro Luiz Hattnher
Banca: João Batista Toledo Prado
Resumo: J. R. R. Tolkien afirmou que o tema central de sua principal obra, O Senhor dos Anéis, é a tensão provocada entre a morte inevitável e a busca pela imortalidade. Diante disso, procurase nesse trabalho verificar de que maneira essa temática influencia a forma do romance e desenvolve uma crítica acerca do papel da arte e da técnica enquanto artigo de valor e fonte memória para seres cuja existência é finita ou seres ligados a um universo em constante transformação. Por um lado, há seres como os elfos que estão ligados diretamente à natureza de Arda e são fadados a não deixá-la até que chegue o seu fim. Esses seres, aparentemente imortais, sofrem com as constantes mudanças no planeta e tentam, através da técnica, agir diretamente sobre o mundo, tentando conservá-lo tal como ele é. Por outro lado, há os homens mortais, que, diante de sua própria mortalidade, buscam ter seus feitos eternizados em obras de arte, como esculturas, tapeçarias ou textos literários.
Abstract: J. R. R. Tolkien declared that the central issue of his major work, The Lord of the Rings, is the tension emerging between the unavoidable death and the search for immortality. Therefore, this study is a research about how that aspect affects the structure of the novel and how it discusses the role of art and technique as a piece of value and a resource of memory available for finite or "immortals" beings, whose existence is linked to a continuously changing world. On the one hand, there are in novel beings such as elves that are directly connected to the nature of Arda and are doomed to remain there until its end. These apparently immortal beings can't bear such constant changes on the planet and employ technical means in order to have an affect on the world and keep it as it is. On the other hand, mortal men, faced with their own mortality, seek out art as a way to have their deeds registered and so kept alive forever in works such as sculptures, tapestry or literary texts.
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7

Silva, Marcella Marino Medeiros. "\"Fantasia e consciência de imagem\", lições apresentadas por Husserl no semestre de inverno de 1904 - 1905: tradução, introdução e notas." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-06112012-104628/.

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O presente trabalho consiste na tradução anotada da Terceira Parte das Lições do Semestre de Inverno de 1904-1905 intitulada Fantasia e Consciência de Imagem, acompanhada de uma introdução. Nesta apresentamos inicialmente a teoria da intencionalidade desenvolvida nas Investigações Lógicas, cujos elementos são fundamentais para a compreensão da análise da estrutura intencional das imagens físicas e da fantasia empreendida nas Lições. Num segundo momento, buscamos retraçar o percurso analítico feito por Husserl nas Lições, o qual conduz ao reconhecimento de que as fantasias, consideradas inicialmente imagens, possuem uma estrutura intencional semelhante à das percepções. Esta descoberta o levará ao questionamento e à crítica do esquema apreensão-conteúdo de apreensão, até então válido para descrever os diversos modos de consciência intencional, e ao esboço de uma nova teoria para explicitar a diferença entre o caráter atual dos atos presentantes e o caráter inatual dos atos presentificantes, como a memória, a fantasia e a expectativa.
This dissertation comprises the annotated translation of the Third Part of the Lectures from the Winter Semester 1904/1905, entitled Fantasy and Image Consciousness, and an introduction. In the introduction, we initially present the theory of intentionality developed in the Logical Investigations, whose elements are fundamental to understand the analysis of the intentional structure of physical and fantasy images carried out in the Lectures. Secondly, we seek to retrace the analytical path taken by Husserl in the Lectures, which leads to the recognition that fantasies, initially considered as images, have an intentional structure similar to that of perceptions. This discovery will lead him to criticize the scheme apprehension-content of apprehension, hitherto valid for describing the various modes of intentional consciousness, and to outline a new interpretation to explain the difference between the actual character of the acts of presentation and the inactual character\" of the acts of representation, such as memory, fantasy and expectation.
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Harsh, Mary Anne. "From muse to militant francophone women novelists and surrealist aesthetics /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1199254932.

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Nerhed, Staffan. "Att färgsätta slöjdföremål : Elevers inspiration till färgsättning av slöjdföremål i trä-och metallslöjden." Thesis, Linköping University, Department of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-8929.

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Jag har via min verksamhetsförlagda utbildning under lärarutbildningen kommit i kontakt med elever som har för avsikt att färgsatta sina slöjdföremål. I samband med detta har jag ställt mig frågorna. Vilka är elevernas inspirationskällor och vilka faktorer skulle kunna påverka elevernas färgsättningsval? Efter intervjuer med elever och genomförda litteraturstudier så har jag fått en inblick i vilka inspirationskällor elever kan använda sig av. I min undersökning visade det sig att elever ofta vill efterlikna sin färgsättning med något de sett tidigare. De faktorer som påverkade eleverna var många gånger inspirerat från miljöer utanför skolans miljö. Men de fanns också faktorer i slöjdsalen som gav eleverna inspiration till deras färgsättningsval.

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Pereira, André Luiz Rodriguez Modesto [UNESP]. "The Lord of the rings e a estética da finitude." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/99086.

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Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-27Bitstream added on 2014-06-13T20:20:10Z : No. of bitstreams: 1 pereira_alrm_me_arafcl.pdf: 611867 bytes, checksum: 441ea8ec6438d6b91c6e4dde1fbde7d1 (MD5)
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J. R. R. Tolkien afirmou que o tema central de sua principal obra, O Senhor dos Anéis, é a tensão provocada entre a morte inevitável e a busca pela imortalidade. Diante disso, procurase nesse trabalho verificar de que maneira essa temática influencia a forma do romance e desenvolve uma crítica acerca do papel da arte e da técnica enquanto artigo de valor e fonte memória para seres cuja existência é finita ou seres ligados a um universo em constante transformação. Por um lado, há seres como os elfos que estão ligados diretamente à natureza de Arda e são fadados a não deixá-la até que chegue o seu fim. Esses seres, aparentemente imortais, sofrem com as constantes mudanças no planeta e tentam, através da técnica, agir diretamente sobre o mundo, tentando conservá-lo tal como ele é. Por outro lado, há os homens mortais, que, diante de sua própria mortalidade, buscam ter seus feitos eternizados em obras de arte, como esculturas, tapeçarias ou textos literários.
J. R. R. Tolkien declared that the central issue of his major work, The Lord of the Rings, is the tension emerging between the unavoidable death and the search for immortality. Therefore, this study is a research about how that aspect affects the structure of the novel and how it discusses the role of art and technique as a piece of value and a resource of memory available for finite or immortals beings, whose existence is linked to a continuously changing world. On the one hand, there are in novel beings such as elves that are directly connected to the nature of Arda and are doomed to remain there until its end. These apparently immortal beings can’t bear such constant changes on the planet and employ technical means in order to have an affect on the world and keep it as it is. On the other hand, mortal men, faced with their own mortality, seek out art as a way to have their deeds registered and so kept alive forever in works such as sculptures, tapestry or literary texts.
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Books on the topic "Fantastic, The (Aesthetics)"

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Architekturphantasien von Babylon bis zur virtuellen Architektur. München: Prestel, 1994.

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Andersson, Jan-Erik. Life on a leaf. Pori: Porin taidemuseo, 2011.

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The unconcept: The Freudian uncanny in late-twentieth-century theory. Albany: SUNY Press, 2011.

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Petit traité d'horreur fantastique, à l'usage des adultes qui soignent des ados. Toulouse: Érès éditions, 2012.

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Whyte, P. J. Théophile Gautier, conteur fantastique et merveilleux. Durham: University of Durham, 1996.

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Miller, Norbert. Strawberry Hill: Horace Walpole und die Ästhetik der schönen Unregelmässigkeit. München: Hanser, 1986.

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Manieri, Alessandra. L' immagine poetica nella teoria degli antichi: Phantasia ed enargeia. Pisa: Istituti editoriali e poligrafici internazionali, 1998.

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Mis, Maddalena Mazzocut. Deformazioni fantastiche: Introduzione all'estetica di Jurgis Baltrusaitis. Milano: Mimesis, 1999.

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Mazzocut-Mis, Maddalena. Deformazioni fantastiche: Introduzione all'estetica di Jurgis Baltrušaitis. Milano: Mimesis, 1999.

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Thomas, Honegger, ed. Inside language: Linguistic and aesthetic theory in Tolkien. [Zollikofen, Switzerland]: Walking Tree Publishers, 2007.

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Book chapters on the topic "Fantastic, The (Aesthetics)"

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Bondanella, Peter. "Neorealist Aesthetics and the Fantastic: The Machine to Kill Bad People and Miracle in Milan." In Vittorio De Sica, edited by Howard Curle and Stephen Snyder, 172–79. Toronto: University of Toronto Press, 2000. http://dx.doi.org/10.3138/9781442683136-016.

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Mattice, Sarah. "Daoist Aesthetics of the Everyday and the Fantastical." In Artistic Visions and the Promise of Beauty, 251–65. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-43893-1_19.

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Kouteinikova, Inessa. "A Burning Mind, a Dream Space, a “Fantastic Exhibition”." In The Home, Nations and Empires, and Ephemeral Exhibition Spaces. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463720809_ch06.

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This chapter focuses on the case of the Russian architect Aleksei Benois (1838–1902), who designed “many beautiful establishments,” as his critics tell us, both in Russia and in Central Asia. As one of the first noticeable Russian architects in Turkestan, Benois left behind fascinating sketches for the First Turkestan Exhibition (1890) that is considered here. His oeuvre revolved around one single theme: the creation of an ideal exhibition space in Tashkent, the new capital of Russia’s Central Asia. This study addresses Benois’s immersive vision and spatial aesthetics, up against the clichés of the late nineteenth-century colonial and Orientalist exhibition landscape.
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Loew, Katharina. "Imagining Technological Art: Early German Film Theory." In Special Effects and German Silent Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725231_ch01.

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As a form of popular mass entertainment and an apparatus for the automatic reproduction of material reality, cinema’s artistic aspirations seemed futile. Some early commentators nonetheless asserted that the new medium could be a legitimate object of aesthetic scrutiny. In an attempt to fathom cinema’s immaterial values, early film theorists including Herbert Tannenbaum and Georg Lukács explored cinema’s kinship with folk art, mental processes and the fantastic. They argued that film technology, specifically special effects, could articulate ideas in a sensual form and thus provide a pathway to a spiritual dimension. As this chapter shows, their techno-romantic lines of argument conceptualized the medium within established aesthetics and set the stage for the recognition of cinema as the first technological art.
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Bolden, Tony. "Intro." In Groove Theory, 3–10. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.003.0001.

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Groove Theory traces the concept of funk from the beginning of the blues era around 1890 to its manifestation as a full-fledged genre in the 1970s. This chapter provides an introduction. In the chapters, Bolden examines the development of blue funk in a multidimensional discussion that engages songs, fiction, memoirs, interviews, scholarship, and more. The discussion proceeds in two parts. Side A presents a conceptual introduction to funk aesthetics, an historical overview of funk during the blues era, and a chapter on Sly Stone that examines his foundational role as an architect of funk. Side B includes chapters on Chaka Khan, Gil Scott-Heron, and Betty Davis, whose recordings and aesthetics exemplify distinct variations of blue funk and the black fantastic.
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Ramadan, Yasmine. "Cairo: Urban Space, Surveillance and the State." In Space in Modern Egyptian Fiction, 31–72. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474427647.003.0002.

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This chapter focuses on the representation of the urban space of Cairo. It examines Sonallah Ibrahim’s Tilka-l-raʾiha (The Smell of it, 1966), Gamal al-Ghitani’s Waqaʾiʿ harat al-Zaʿfarani (The Zafarani Files, 1976), Ibrahim Aslan’s Malik al-hazin (The Heron, 1981), and Radwa Ashour’s, Faraj (Blue Lorries, 2008) reading the novels in opposition to the realist narratives of earlier decades. The shift away from the realist depictions of the urban metropolis as the site of national struggle, or of the alley as the cross-section of Egyptian society, is accompanied by a new representational aesthetics. Through the presentation of the city as the space of incarceration, the reimagination of the alley as a fantastic space, and the turn towards the previously ignored neighborhood of Imbaba, these writers showcase new literary techniques; aspects of magical realism; elements of the fantastic; a turn to hyper-realism, in order to represent the transformation of the urban space of Cairo into one of surveillance and control.
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Moland, Lydia L. "Symbolic Art." In Hegel's Aesthetics, 55–77. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847326.003.0003.

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Symbolic art is the first of Hegel’s particular art forms. Unlike many of his contemporaries, Hegel conceptualized symbolic art as its own aesthetic sphere, distinct from classical and romantic art. This emphasis built on new research on “Oriental” cultures among several of his contemporaries such as Friedrich Creuzer, August Wilhelm Schlegel, and Wilhelm von Humboldt. Hegel distinguishes early, incomplete phases of symbolic art, such as unconscious and fantastical symbolism, from Egyptian art as the symbolic “as such.” He then traces the dissolution of symbolic art through the sublime and “conscious symbolism” such as fables, analogies, and parables. He concludes by indicating symbolic art’s prosaic ends in descriptive and didactic poetry.
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Mikkola, Mari. "The Aesthetics of Pornography." In Pornography, 160–96. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190640064.003.0006.

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The chapter aims to bring debates in feminist philosophy and philosophy of art closer together, and to discuss central topics of contention in the aesthetics of pornography. It considers three themes: the fictionality of pornography, whether pornography and art are mutually exclusive, and what (if anything) is morally objectionable about digitally generated imagery. In so doing, the chapter offers support for two broad views. First, that fantasies and pornographic fictions are not beyond moral reproach in virtue of being fantastical and fictitious. Second, to hold that pornography is centrally or necessarily about sexual arousal (as philosophers of art typically do) yields misguided analyses of the phenomenon. This chapter, then, tells us something important not only about issues relevant for philosophy of art debates pertaining to pornography; it also instructs us about the nature and morality of pornography.
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"4. The Exceptional Dialectic of the Fantastic and the Mundane (The Incredibles)." In Pixar and the Aesthetic Imagination, 123–57. University of California Press, 2019. http://dx.doi.org/10.1525/9780520966055-007.

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Evangelista, Stefano. "Lafcadio Hearn and Global Aestheticism." In Literary Cosmopolitanism in the English Fin de Siècle, 72–116. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198864240.003.0003.

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Lafcadio Hearn’s writings provide a radically different understanding of literary cosmopolitanism from Wilde’s. This chapter studies Hearn’s attempts to translate and transpose aestheticism onto a global stage. It argues that Hearn’s works compound a commitment to preserving cultural differences with essentialism, exoticism, and even, paradoxically, elements of cultural nationalism. Hearn’s early translations of Théophile Gautier’s fantastic stories created a dialogue between metropolitan European aestheticism and the cosmopolitan culture of nineteenth-century New Orleans. In his writings on Japan, Hearn employed literary impressionism and ghost narratives (some of which look back to Gautier) to interrogate his own authority as Western essayist and to capture the peculiar temporality of turn-of-the-century Japan, a country caught between traditional culture and modernization, nationalist and cosmopolitan tendencies. In Japan, Hearn also lectured extensively on British aestheticism, encouraging his students to draw inspiration from it for the creation of a cosmopolitan Japanese literature of the future.
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