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Books on the topic 'Fantastic, The (Aesthetics)'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

L' artista sapiente: Per una storia della fantasia. Napoli: Liguori, 1985.

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12

Lo specchio della fantasia: Retorica, magia e scrittura in Giordano Bruno. Lucca: M. Pacini Fazzi, 2005.

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13

Williams, Gareth. Telling tales: Fantasy and fear in contemporary design. London: V&A Pub., 2009.

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14

Museum, Victoria and Albert, ed. Telling tales: Fantasy and fear in contemporary design. London: V&A Pub., 2009.

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15

Adorno, Theodor W. Quasi una fantasia: Essays on modern music. London: Verso, 1992.

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16

Yi, Chae-gil. Hwan: Yi Chae-gil sajinjip = Fantasia / by Jae-Kil Lee. [Korea]: Tʻaim-Sŭpʻeisŭ, 1987.

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17

Accademia ligustica di belle arti. Museo., ed. Joan Miró: L'armonia del fantastico. Genova: Erga, 2001.

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18

White Buffalo Fantastic Suite. Liberty Pub. House, 2005.

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19

Shen, Zhi. Fantastic Journeys (Xin xue ke zhi shi xiao cong shu). Ramboro Books PLC, 1997.

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20

Die andere Seite der Wirklichkeit: Ein Symposium zu Aspekten des Unheimlichen, Phantastischen und Fiktionalen. [Linz]: Residenz Verlag, 1995.

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21

Head, Matthew. Fantasia and Sensibility. Edited by Danuta Mirka. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.001.

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Fantasia and sensibility are not like other topics. Composed and improvised in all shapes and sizes, fantasias are not reducible to a single type of material. The fantasia was a host genre, a context of topical play, incorporating a range of stylistic and generic references. The frequent use of passages inspired by accompanied recitative and aria reveals an affinity with opera seria. The idea that the fantasia influences other genres is prominent in music criticism only after 1800 and represents an idealist trope foreign to much of the eighteenth century. Sensibility, though thematized in scenes of musical pathos and tenderness which display stylistic commonalities through a range of conventional materials, was not a musical style but a capacity for refined emotional response and sympathetic identification broadly relevant to the project of aesthetics and the fine arts.

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22

The Fantastical Style. Ashgate, 2007.

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23

Adorno, Theodor W. Quasi Una Fantasia: Essays on Modern Music. W W Norton & Co Inc, 1994.

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24

Adorno, Theodor W. Quasi Una Fantasia: Essays on Modern Music (The Verso Classics Series). Verso, 1998.

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25

Joan Miró: L'armonia del fantastico. Genova: Erga, 2001.

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26

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

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

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27

Husserl, Edmund. Phantasy, Image Consciousness, and Memory (1898-1925) (Edmund Husserl Collected Works). Springer, 2006.

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28

Husserl, Edmund. Phantasy, Image Consciousness, and Memory, 1898-1925 (Edmund Husserl Collected Works). Springer, 2005.

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