To see the other types of publications on this topic, follow the link: Idealism in art.
Journal articles on the topic 'Idealism in art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Idealism in art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Silva Jr, Almir Ferreira da. "Arte e Verdade: da imitação à apresentação da verdade em Platão e Hegel/Art and Truth: from mimesis to presentation of truth in Plato and Hegel." Pensando - Revista de Filosofia 3, no. 6 (March 15, 2013): 16. http://dx.doi.org/10.26694/pensando.v3i6.986.
Full textAbstract:
A comunicação tem como propósito uma análise comparativa sobre o problema filosófico da arte como expressão de verdade, tendo em vista o idealismo platônico e o idealismo estético moderno de G.W.Hegel. Parte-se da hipótese que a presente análise sustenta uma relação paradoxal entre ambas propostas idealistas, na medida em que se em Platão é afirmada a tese da arte como distanciamento da verdade, considerando o seu caráter essencialmente mimético, em Hegel , a arte ao constituir-se como momento de realização efetiva (Wirklichkeit) do Espírito só pode ser assim compreendida a partir do paradigma da ideia, de inspiração platônica. Ressalta-se a compreensão da arte oriunda da teoria metafísica platônica e de sua concepção idealista de aisthesis, bem como o caráter científico da estética, segundo Hegel, cuja fundamentação filosófica reivindica a compreensão da ideia, enquanto razão absoluta que se autodesdobra historicamente e se efetiva nos limites da finitude sensível. Pretende-se mostrar que a pretensa superação hegeliana da concepção idealista platônica acerca da arte não pode prescindir do fundamento do platonismo - a idéia universal, o infinito. Abstract: The Communication aims a comparative analysis on the philosophical problem of the art as an expression of truth, considering the Platonic idealism and the modern esthetic idealism from Hegel. The starting point is the assumption that this analysis holds a paradoxical relationship between both idealistic proposals, Insofar as Plato affirms the art thesis as detachment from the truth, considering his character essentially mimetic, Hegel says that the art to establish itself as a moment of effective realization from the Spirit (Wirklichkeit) can only be understood from the paradigm of the idea, of Platonic inspiration. We emphasize the art understanding coming from the Platonic metaphysics theory and his idealistic conception of aisthesis, as well as the scientific character of aesthetics, according to Hegel, whose philosophical foundation claims the understanding of the idea, as absolute reason that self unfolds historically carries up within the limits of finitude sensitive. It is intended to show that the Hegelian overcoming supposed from Platonic idealist conception about the art can not prescind from foundation of Platonism - the universal idea, the infinity. Keywords: Plato, Hegel, Idea, art, truth,idealism
2
Bonds, Mark Evan. "Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century." Journal of the American Musicological Society 50, no. 2-3 (1997): 387–420. http://dx.doi.org/10.2307/831839.
Full textAbstract:
The growing aesthetic prestige of instrumental music in the last decades of the eighteenth century was driven not so much by changes in the musical repertory as by the resurgence of idealism as an aesthetic principle applicable to all the arts. This new outlook, as articulated by such writers as Winckelmann, Moritz, Kant, Schiller, Herder, Fichte, and Schelling, posited the work of art as a reflection of an abstract ideal, rather than as a means by which a beholder could be moved. Through idealism, the work of art became a vehicle by which to sense the realm of the spiritual and the infinite, and the inherently abstract nature of instrumental music allowed this art to offer a particularly powerful glimpse of that realm. Idealism thus provided the essential framework for the revaluation of instrumental music in the writings of Wackenroder, Tieck, E. T. A. Hoffmann, and others around the turn of the century. While this new approach to instrumental music has certain points of similarity with the later concept of "absolute" music, it is significant that Eduard Hanslick expunged several key passages advocating idealist thought when he revised both the first and second editions of his treatise Vom Musikalisch-Schönen. The concept of "absolute" music, although real enough in the mid-nineteenth century, is fundamentally anachronistic when applied to the musical thought and works of the decades around 1800.
3
Cole, Brendan. "Jean Delville's La Mission de l'Art: Hegelian Echoes in fin-de-siècle Idealism." Religion and the Arts 11, no. 3-4 (2007): 330–72. http://dx.doi.org/10.1163/156852907x244557.
Full textAbstract:
AbstractJean Delville was not only a gifted painter, but also a prolific author, poet and polemicist. He is unique amongst his artistic contemporaries for having written extensively on the subject of Idealism in art. Idealist philosophy, as an intellectual influence, was fairly pervasive amongst contemporary non-realist authors, poets and painters; the core nineteenth-century influence in this regard was the writings of Arthur Schopenhauer. Delville, however, took a different path, particularly in his seminal book, La Mission de l'Art, and his various polemical essays on the subject, which reflect, rather, key ideas derived from the writings of the German Idealist, G.W.F. Hegel. Hegel's influence on late-nineteenth century non-realist art is understated in the literature. This paper analyses the main ideas of Delville's La Mission de l'Art in the context of Hegelian Idealism. It focuses on key areas of this tradition, specifically with regard to the nature of the Idea and the Ideal, the relation of the Ideal to the natural world, the relation between the Idea and the notion of Beauty and the special role of the artist in revealing the Idea in physical form.
4
Preston, John. "Art-Rap, German Idealism and Therapy." Philosophers' Magazine, no. 74 (2016): 66–69. http://dx.doi.org/10.5840/tpm201674101.
Full text
5
Verzosa, Noel. "Realism, Idealism and the French Reception of Hanslick." Nineteenth-Century Music Review 14, no. 1 (November 28, 2016): 51–64. http://dx.doi.org/10.1017/s1479409816000288.
Full textAbstract:
When Charles Bannelier’s French translation of Hanslick’s Vom Musikalisch-Schönen was published in 1877, it elicited discussions among French musicians and critics that can seem puzzling from our twenty-first century vantage point. The French were almost entirely ambivalent to the issue of descriptive versus non-programmatic music and were perfectly comfortable disregarding this seemingly central point of contention in Hanslick’s treatise. French critics focused instead on issues that seem tangential to the main thrust of Vom Musikalisch-Schönen: German music education, the merits of philosophy versus philology, and so forth.The French reception of Hanslick becomes less puzzling, however, when we consider the conceptual framework within which French musical discourse operated in the late nineteenth century. By 1877, musical aesthetics and criticism in France were an extension of broader trends in French intellectual culture, in which a materialist, realist view of the world vied with a metaphysical, idealist conception of the divine. Between these two ideological poles lay a rich spectrum of ideas that had profound ramifications for music and art criticism. The degree to which works of art could be understood as products of historical circumstances, for example, or whether art embodied ineffable meanings resisting explanation, were questions whose answers depended on one’s position along this realist–idealist spectrum.In this article, I show how this tension between realism and idealism formed the conceptual framework for French critics’ readings of Hanslick’s Vom Musikalisch-Schönen. I survey writings by Théodule Ribot, Jules Combarieu, Camille Bellaigue and others to show how this network of texts, when placed alongside each other, was effectively a manifestation of the realist–idealist spectrum. By putting these writings in conversation with each other, this article brings to light the intellectual premises of French writings on music in the nineteenth century. Only by understanding these premises, I argue, can we make sense of the French reception of Hanslick.
6
Burford, Mark. "Hanslick's Idealist Materialism." 19th-Century Music 30, no. 2 (2006): 166–81. http://dx.doi.org/10.1525/ncm.2006.30.2.166.
Full textAbstract:
In the mid-nineteenth century, materialist and empiricist modes of thought characteristic of natural science increasingly called into question the speculation of German idealist philosophy. Music historians have commonly associated Eduard Hanslick's Vom Musikalisch-Schšnen (On the Musically Beautiful, 1854) with this tendency toward positivism, interpreting the treatise as an argument for musical formalism. His treatise indeed sought to revise idealist musical aesthetics, but in a far less straightforward way. Hanslick devotes considerable attention to the "material" that makes up music and the musical work. The nature of music's materiality is in fact a central pillar of Hanslick's argument, which draws on the abundant literature of the 1840s and 50s promoting scientific materialism and on what might be described as an Aristotelian conception of matter. Hanslick's goal, however, was not to deny idealism, but rather to negotiate a middle ground between idealism and materialism, thereby reconciling a prevailing conception of music's metaphysical status with the physical properties of matter. This is most clearly observed in his carefully crafted conception of the musical "tone," which unites the inner world of thought and the external world of nature. Hanslick's somewhat ironic use of a materialist framework to demonstrate music's inherent ideality betrayed a desire not only to attune musical aesthetics with the latest materialist theories, but also to preserve art music's exclusivity. On the Musically Beautiful is perhaps best understood not as an unequivocal case for formalism but as evidence of the complex ways in which mid-century tensions between idealism and materialism informed German musical discourse.
7
Dönmez, Damla. "Collingwood and ‘Art Proper’: From Idealism to Consistency." Estetika: The European Journal of Aesthetics 52, no. 2 (November 25, 2015): 152. http://dx.doi.org/10.33134/eeja.137.
Full text
8
Weir, Simon, and Jason Anthony Dibbs. "The Ontographic Turn: From Cubism to the Surrealist Object." Open Philosophy 2, no. 1 (September 18, 2019): 384–98. http://dx.doi.org/10.1515/opphil-2019-0026.
Full textAbstract:
AbstractThe practice of Ontography deployed by OOO, clarified and expanded in this essay, produces a highly productive framework for analyzing Salvador Dalí’s ontological project between 1928 and 1935. Through the careful analysis of paintings and original texts from this period, we establish the antecedents for Dalí’s theorization of Surrealist objects in Cubism and Italian Metaphysical art, which we collectively refer to as ‘Ontographic art,’ drawing parallels with the tenets of Graham Harman’s and Ian Bogost’s object-oriented philosophical programmes. We respond to the question raised by Roger Rothman concerning Object-Oriented Idealism in Dalí’s work by showing pivotal changes to Dalí’s ontological outlook, from Idealism to Realism, across the aforementioned period, positing the Ontographic intentionality of Dalí’s ontological project in Surrealist art.
9
Assumpção, Gabriel Almeida. "Filosofia sincrítica e poesia em Friedrich Von Hardenberg [Novalis]; Syncritic philosophy and poetry in Friedrich Von Hardenberg [Novalis]." Sofia 11, no. 1 (July 8, 2022): 37–49. http://dx.doi.org/10.47456/sofia.v11i1.31891.
Full textAbstract:
Investigamos, no pensamento de Friedrich von Hardenberg (Novalis), como a poesia e filosofia se nutrem uma da outra, sendo a filosofia fonte de conceitos que permitem investigar o dinamismo do mundo natural e integrar os diversos saberes na enciclopédia e a poesia, a capacidade de atingir saberes intuitivos, superando os limites da filosofia. A poesia como capacidade de superar a oposição sujeito-objeto se desdobra na possibilidade de uma concepção não-dualista, neoplatônica de Deus, e na integração entre idealismo e realismo, via filosofia sincrítica, isto é, uma filosofia que aprendeu com a poesia. Também essa forma de arte se nutre da filosofia, para ser completa. Destacamos como Novalis já apresenta muitas intuições que serão encontradas no idealismo alemão: a importância da filosofia da natureza; a identidade entre sujeito e objeto; Deus como razão, ou absoluto; a superioridade da arte em relação à filosofia (como faz Schelling no Sistema do idealismo transcendental); a crítica à filosofia como sistema do Schelling tardio. Abstract We investigate, in Friedrich von Hardenberg’s thought, how Philosophy and poetry nourish one another. Philosophy is a source of concepts that enable the investigation of the natural world and its dynamic character, integrating many sources of knowledge in the encyclopedia. Poetry, on the other hand, reaches intuitive forms of knowledge, inaccessible to Philosophy alone. Poetry as a capacity of overcoming the subject-object opposition unfolds in the possibility of a nondualistic, Neoplatonic conception of God, and also in the integration between idealism and realism, by means of the syncritic Philosophy, i.e., a philosophy that has learnt from poetry. Poetry, on the other hand, can only become complete by means of philosophy. We emphasize how Novalis presents many insights that will be met in German Idealism: the importance of the philosophy of nature; the identity between subject and object; God as reason; art conceived as superior to philosophy (Schelling in the System of Transcendental Idealism); late Schelling’ criticism of philosophy as a system.
10
Markov, Alexander V. "FROM IDEALISM TO NEW MARXISM. PART 3. BORIS ASAFIEV." Articult, no. 4 (2021): 110–17. http://dx.doi.org/10.28995/2227-6165-2021-4-110-117.
Full textAbstract:
Although the merits of the major Soviet musicologist Boris Asafiev to the sociology of art are obvious, usually his system of studying melody and intonation as social phenomena is seen as a problematization of musical art rather than as a stimulus for his own thought. Using the example of Asafiev’s opera criticism from 1914 to 1947, I prove that his sociology of art was a constructivist system that focused on the permanence of implicit aesthetic notions such as manner and style, while allowing for variability in the explicit reference concepts of criticism. The ideological pressure to construct national character and the historical unity of popular life allowed him to reinterpret studio opera as a way of isolating its supra-personal principles, and by asserting the historical and transitory nature of opera art, to protect its sustained rhetorical potential. The unity of the rhetorical and melodic elements of opera, declared by Asafiev to support the work of Prokofiev and Shostakovich, was the dynamic formula that led to the development of a new sociology of art, which can be compared with the current actor-network models.
11
Son, Sehoon. ""Comparison of Art Philosophy Between Luhmann and German Idealism"." Journal of Humanities and Social sciences 21 13, no. 4 (August 30, 2022): 2653–66. http://dx.doi.org/10.22143/hss21.13.4.184.
Full text
12
Clarke, Jay A. "Neo-Idealism, Expressionism, and the Writing of Art History." Art Institute of Chicago Museum Studies 28, no. 1 (2002): 24. http://dx.doi.org/10.2307/4113049.
Full text
13
Hagberg, Garry. "Art as Thought: The Inner Conflicts of Aesthetic Idealism." Philosophical Investigations 9, no. 4 (October 1986): 257–73. http://dx.doi.org/10.1111/j.1467-9205.1986.tb00426.x.
Full text
14
Markov, Alexander V. "FROM IDEALISM TO NEW MARXISM. PART 2. BORIS VIPPER." Articult, no. 3 (2021): 115–24. http://dx.doi.org/10.28995/2227-6165-2021-3-115-124.
Full textAbstract:
Boris Vipper’s project, which authoritatively substantiated the order of operations of the art historian when dealing with various material, was part of an intellectual quest to overcome the contradictions between the formalist understanding of the visual and the neo-Kantian variation of the Ding an sich. These searches in the GAKhN art criticism uncovered two other contradictions: between individual interest in an aesthetic fact and collective experience as the basis of empathy, and between interpretation as a principle of isolation and thematization of social experience and art’s own dynamics as a manifestation of its autonomy. Wipper's early works deal with these contradictions, but unlike the GAKhN colleagues, he asserted the autonomy of artistic worlds, bringing sign and character together. The rejection of the recognition of the autonomy of the social in his later works did not go beyond this convergence, but allowed him to defend the autonomy of art, not directly, but in some terminological caveats. The way of reasoning of the late Vipper is based on a different concept of style than that of the formalists, which allows him to accept Marxism without accepting the ideology of genius, and in his discussion of the causes of art evolution to approach the neo-Marxist understanding of practices and institutionalization not through a change of theoretical optics, but through a reduction of terminology and overcoming the inertia of common turns of phrase.
15
Abazari, Arash. "Hegel's Aesthetics: The Art of Idealism by Lydia L. Moland." Journal of the History of Philosophy 59, no. 4 (2021): 694–96. http://dx.doi.org/10.1353/hph.2021.0074.
Full text
16
Vidler, Anthony. "Architecture, Poetry, and Everyday Life." October, no. 187 (2024): 65–74. http://dx.doi.org/10.1162/octo_a_00509.
Full textAbstract:
Abstract There is an exhibition currently hanging in the penthouse of the Museum of Modern Art in New York: Far removed from the clamor of the street and the jostling of the crowd, a selection of delicately conceived and exquisitely executed drawings remind us that, even in the age of pragmatism, ideal architecture still preoccupies creative minds. From the recent past and the lived present, these studies speak of impossible futures, irresistible impulses, and inconsequential fantasies. Hoary technotopia from Archigram; satyrical dreamscapes from Superstudio; metalinguistics from Argentina's nouvelle vague; eclecticism, superrationalism, and painterly metaphor from New York's (and Princeton's) Five add up to form a picture of the whole tangled web of idealism and counter-idealism that has constituted today's attempt at visionary architecture. This exhibition raises, as do all such manifestations of the realm of utopia, questions as to the relation between art and daily life.
17
Weir, Simon. "Art and Ontography." Open Philosophy 3, no. 1 (August 20, 2020): 400–412. http://dx.doi.org/10.1515/opphil-2020-0116.
Full textAbstract:
AbstractGraham Harman describes the allure of art as the tension and fusion of a real object to sensual qualities so that it makes it seem that the inwardness of reality is opened to us. Yet real objects are withdrawn; how are we aware of their fusion? Since Harman’s ontology mandates that contact between real objects occurs only through sensual objects, this essay explores the idea that art’s allure must be a tension between sensual objects that draw the experiencer to believe, or alieve, they are in contact with the withdrawn real. By looking at the examples in representational painting and sleight of hand magic, we see that ontographic art objects use at least four, carefully separated sensual objects to produce their aesthetic effect. The conclusion summarises allure as a sensual object process, speculates on art’s dialetheic confusion of sensual and real objects giving an enduring allure to idealism, and notes potential motifs of an infra-realist resistance.
18
ZAMMITO, JOHN. "RECONSTRUCTING GERMAN IDEALISM AND ROMANTICISM: HISTORICISM AND PRESENTISM." Modern Intellectual History 1, no. 3 (October 21, 2004): 427–38. http://dx.doi.org/10.1017/s1479244304000241.
Full textAbstract:
Frederick Beiser, German Idealism: The Struggle Against Subjectivism, 1781–1801 (Cambridge, MA/London: Harvard University Press, 2002)Robert Richards, The Romantic Conception of Life: Science and Philosophy in the Age of Goethe (Chicago/London: University of Chicago Press, 2002)All art should become science and all science art; poetry and philosophy should be made one.Friedrich Schlegel, Kritische FragmenteWhen two major studies on the same thematic appear roughly simultaneously, integrating not only their authors' respective careers but the revisions of a whole generation of scholarship, the moment cries out for stock-taking, both substantively and methodologically. At a minimum, we need to recognize the key theses of our two protagonists and the frameworks they erect to uphold them. But we need even more to step back from that endeavor to wider considerations. I advance two claims in that light. First, something has been unearthed in these studies which speaks to urgent philosophical concerns of our day, namely the rise of naturalized epistemology and the need for a more encompassing naturalism. Indeed, I suspect this current interest may have incited (if only subliminally) discernment of just those aspects of the earlier age. That signals something essential about the point and practice of intellectual history, namely (my second claim) the mutuality, not opposition, of historicism and presentism.
19
Domenichelli, Mario. "Lukács and the Marxist ›Living Art‹." Zagreber germanistische Beiträge 29 (2020): 125–43. http://dx.doi.org/10.17234/zgb.29.7.
Full textAbstract:
This essay draws a line of continuity linking Lukács’ early work to his later ›official‹ role as a communist intellectual. "Soul and Form" ("Die Seele und die Formen") is not read as an expression of Lukács’ early idealism. Rather, the book bears witness to a much more complex vision. "Soul and Form" may be read as the first surprising movement in Lukács’ impending conversion to his peculiar materialism. Literature and art ceaselessly struggle for freedom and autonomy from any, either religious or political, function. Yet at the same time, there is a philosophical awareness that forms can be created, and indeed used, as cultural tools to shape both individual and collective lives.
20
Mudana, I. Wayan, and I. Nengah Wirakesuma. "Phyticism of the Painting of Wayang Kamasan: the Struggle of Distribution Structure and Order Idealism in Fulfilling Needs Tourism Industry." Journal of Social Research 2, no. 3 (February 3, 2023): 661–70. http://dx.doi.org/10.55324/josr.v2i3.714.
Full textAbstract:
Phytism is an expression of the thoughts of capitalist society to produce duplicating ideas so that producing similar merchandise can generate economic benefits in the form of money. The timeless symbols of the great and noble tradition of wayang Kamasan painting are commodified into physical art, resulting in a struggle between the idealism of a structure that is binding and standard with the idealism of an order that deifies money. Commodification is a feature of capitalism which is able to transform objects, qualities and signs into commodities to be distributed to the market. Commodities that are distributed to the market are the consumption idealism of the tourism industry. The order practice of capitalist society that works in the realm of habitus and the capital and networks that have been built is very broad. Capital relates to the ability to duplicate, while the network seeks to distribute consumer needs with producers. The physical product of the tourism industry which is distributed to the market is in the form of market paintings, handicrafts and souvenirs. To analyze physical aesthetics, the struggle for order structure, and the production of physicalism, theories and methods are used, namely: commodification theory, cultural-industry physicalism theory, and social practice theory. Discussion: The distribution of ethical ethics discusses; capital (money power), habitus (capital society's desire), image and media. Conclusion: Kamasan wayang painting has been made into a physical art alienated from capital society to get money from the tourism industry. The form of fististic art is obscured into a similar new creativity, interchanging the structure of struggle for order and mass production. Findings: Phitism of wayang Kamasan painting is barter oriented to make money.
21
Chen, Qiuhong. "Research on The Similarities and Differences Between Graduation Exhibition and Art Exhibition." International Journal of Education and Humanities 4, no. 1 (August 23, 2022): 106–9. http://dx.doi.org/10.54097/ijeh.v4i1.1391.
Full textAbstract:
A complete work of art is composed of three parts: the artist's conception, the work and the viewer's perception. The absence of either side will make it impossible for the author and the audience to empathize and communicate. Graduation exhibition is a sacrifice of self and pursuit of idealism. Art exhibition is an internal exploration and social criticism. What both have in common is that they both give art educational and social significance. The difference is that the graduation exhibition is a formal, highly targeted exhibition of achievements that paves the way for future choices. The art exhibition is an open, crystallization of an art period, and a summary made by artists for themselves.
22
Franklin, Peter. "Audiences, Critics and the Depurification of Music: Reflections on a 1920s Controversy." Journal of the Royal Musical Association 114, no. 1 (1989): 80–91. http://dx.doi.org/10.1093/jrma/114.1.80.
Full textAbstract:
The tendency to accept that music has a social context while resisting its definition as a social commodity is not particular to the conservative wing of British musicology (albeit influenced by Carl Dahlhaus). The aesthetics of European musical idealism have consistently, and since well before Hanslick, opposed any suggestion that ‘serious’ music should be seen or heard to engage with the market-place, let alone that it might, willy-nilly, be in one. The cherishers of musical purity, however, are to be found not only amongst reactionary critics, with their specific culturally inherited involvement with the Classical style. Pre-1914 modernists and decadents saw the market-place as the creation and province of a philistine bourgeoisie and expressed an often uncompromising, anti-popular idealism of their own. Debussy in 1901 stated:The enthusiasm of society spoils an artist for me, such is my fear that, as a result, he will become merely an expression of society- a fear that would have been comprehended by the Viennese Schoenberg, who later formulated the belief thatno musician whose thinking occurs in the highest sphere would degenerate into vulgarity in order to comply with a slogan such as ‘Art for all'… . If it is art it is not for all, and if it is for all it is not art … .
23
Hagberg, Garry. "Music and Imagination." Philosophy 61, no. 238 (October 1986): 513–17. http://dx.doi.org/10.1017/s0031819100061271.
Full textAbstract:
When we inquire into the nature of works of art we can see at a glance that there is a good deal of evidence against aesthetic idealism, the view that artworks are, in the final analysis, imaginary objects in the minds of their creators. We believe, for instance, that the National Gallery not only contingently but in some sense necessarily weighs more than merely the sum of the empty building, the people in it, and the assorted fixtures. This sum must also include the weight of canvases, the oils on them, carved stone and marble, and so on, all of which add up to substantially more than nothing, which is at least the approximate weight of imaginary things. We know that it takes considerably more than a verbal utterance or acoustical blast to transport an artwork, and we also know that a visit to the gallery is not going to amount to an afternoon spent with wax figures of unicorns, flying horses, present and bald kings of France or, for that matter, talking teapots. In short, intuition protests against the idealist theory that if works of art are imaginary objects, they cannot be the things we go to see in the gallery; and if they are imaginary objects then, like a waxen Peter Pan, they are surely not art. Mellon and Meinong simply have different kinds of collections.
24
Comay, Rebecca. "Defaced Statues: Idealism and Iconoclasm in Hegel's Aesthetics." October 149 (July 2014): 123–42. http://dx.doi.org/10.1162/octo_a_00186.
Full textAbstract:
There is a wild iconoclasm that smashes statues, gouges out eyes, and uses the debris to build new, better, bigger monuments. There is a gentler iconoclasm that sees beauty in rubble, and finds in the spectacle of dereliction the consoling reassurance that life carries on. There is a more muted kind of iconoclasm that embalms and catalogues the pieces. In the museum, the things can be divested of their magic and put out of circulation while still being appreciated as fine art. A yet more furtive iconoclasm breaks the spell of this enjoyment by turning this pleasure to subtle profit. The museum becomes a warehouse of examples that can be scrutinized as a vehicle of philosophical truth.
25
Winfree, Jason Kemp. "Nietzsche and the Self-Overcoming of Historical Consciousness." Research in Phenomenology 52, no. 3 (September 26, 2022): 333–51. http://dx.doi.org/10.1163/15691640-12341504.
Full textAbstract:
Abstract This paper addresses the self-overcoming of historical consciousness in Nietzsche’s “The Uses and Disadvantages of History for Life” and contemporaneous texts. I argue that Nietzsche’s particular historical awareness, which conditions his treatment of historiography [Historie], is indebted to the lineage of German Idealism it also overtly contests. That contestation reaches its apex in Nietzsche’s valorization of appearance and the redirection of poietic power, which enables him to affirm an art of history rather than a science thereof, indeed, an art aligned with justice.
26
Harris, Wendell V. "Ruskin's Theoretic Practicality and the Royal Academy's Aesthetic Idealism." Nineteenth-Century Literature 52, no. 1 (June 1, 1997): 80–102. http://dx.doi.org/10.2307/2934030.
Full textAbstract:
While Ruskin's personal eccentricities and intellectual foibles are well known, the influence exerted by Modern Painters, The Seven Lamps of Architecture, and The Stones of Venice was in no small part a result of a kind of practicality and reasonableness not generally associated with Ruskin. He began writing at a fortunate time-seventy years of effort by the Royal Academy, seconded by the formation of other societies of British artists and the founding of the Dulwich Gallery and the National Gallery, had prepared a public eager for instruction about the values of art. This kind of instruction had not been available: Ruskin spoke to a public happy to be shown both the links between aesthetic, moral, and religious values and how to judge merit in painting and architecture. Although Ruskin could be acerbic about Royal Academicians, the volumes that appeared in the first two decades of his writing career were effective in no small part because they were modifications rather than repudiations of the principles that, thanks to the Royal Academy, had become cultural commonplaces. He was thus able to alter accepted perspectives sufficiently to justify art as a mode of expressing appreciation for God's creation, to shift the concept of the grand style away from an exclusive dedication to historical painting, to focus serious attention on landscape painting (in which British artists were more successful than in historical painting and which the British public more fully appreciated), and to give both moral and practical reasons for the Gothic architecture that was already returning to favor.
27
Jia, Ruo. "Cloud as an Alternative Architecture." Representations 166, no. 1 (2024): 118–42. http://dx.doi.org/10.1525/rep.2024.166.5.118.
Full textAbstract:
This paper argues for the absenting presence of an embodied theoretical architecture of materialist harmonious dialectic in Hubert Damisch’s engagement with Chinese art and architecture around the cloud. This connects with recent media studies discourse where environment both conditions and is being with an alternative architecture that is different from a centralized elevated arche. At the same time, the essay positively explores the decolonizing structural potential for displacing Eurocentrism and idealism in the making of theory and art and architecture history by opening up to global collaborative knowledge formation and reconnecting theory with practice.
28
Markov, Alexander V., and Svetlana A. Martianova. "DECAY OF LIFE AS ART RULE IN THE MIDDLE-LEVEL RUSSIAN IDEALISM." Articult, no. 3 (2017): 123–33. http://dx.doi.org/10.28995/2227-6165-2017-3-123-133.
Full text
29
Firaza, Joanna. "Beethoven and His Music in the Plays of Gert Jonke." Tekstualia 3, no. 42 (July 1, 2019): 63–72. http://dx.doi.org/10.5604/01.3001.0013.4417.
Full textAbstract:
Gert Jonke’s concern with music can be seen as a continuation of the modernist critique of language and concomitant exploration of its possibilities. Musical inspirations, from the biographies of composers to specifi c musical forms and structures, broaden the scope of literary art. A common theme of Jonke’s works under discussion is the life and achievement of Ludwig van Beethoven. Jonke’s plays Gentle Rage (1990) and Choir Phantasy (2003) explore the dissonance between idea, metaphorized as striving for absolute art, and matter, as it emanates from the mundane reality. Jonke combines romantic idealism and modernist melancholy with postmodern irony and parody to highlight the moments of transgression when art is liberated from the artist’s influence.
30
Wu, Jinglin. "The Influence of Contemporary Art Thought on Modernist Design." Highlights in Art and Design 1, no. 1 (September 13, 2022): 25–28. http://dx.doi.org/10.54097/hiaad.v1i1.1567.
Full textAbstract:
The development of modern graphic design was influenced by the Dutch "style school", "style school"? The "Stylists"? As a result, graphic design began to shift from cubism to total abstraction. Mondrian, the founder of the school, absorbed the philosophical ideas of idealism and used rigorous design and romantic brushstrokes to blend the best of the modern and the classical. Using straight lines, only the three primary colours of geometry and black, white and grey to create his designs, this paper examines the use of 'stylistic' design thinking and methods in graphic design, the inspiration of 'stylistic' applications to graphic design, and finally explores the future of graphic design. Finally, it explores the future development of the application of "Stylistics" in graphic design.
31
Ni, Nan. "The Dynamics and Dialectics in Kandinskys Non-representational Art." Communications in Humanities Research 3, no. 1 (May 17, 2023): 1075–86. http://dx.doi.org/10.54254/2753-7064/3/2022851.
Full textAbstract:
Wassily Kandinsky (1866-1944) has been regarded as one of the pioneers and founders of abstract art. Kandinsky held inspiring and progressive thoughts and largely influenced the artistic movements over the 20th Century. Still, his aesthetics were not delivered clearly, such that it caused criticisms of his intentions and debates over different interpretations. While Kandinsky seems to present a series of dualistic distinctions of concepts, this paper argues that he is ultimately pursuing a dialectical unity and artistic creation of another world through a dynamic relationship and movement between the artist, the artwork, and the spectator. The paper analyzes primarily Kandinsky's published collected writings and letters and relates them to theories of German Idealism to demonstrate how the dilemma of dichotomies could be solved from Kandinskys standpoint.
32
James, David. "The Transition from Art to Religion in Hegel's Theory of Absolute Spirit." Dialogue 46, no. 2 (2007): 265–86. http://dx.doi.org/10.1017/s0012217300001748.
Full textAbstract:
ABSTRACTI relate the aesthetic mediation of reason and the identity of religion and mythology found in the Earliest System-Programme of German Idealism to Hegel's account of the transition from the ancient Greek religion of art to the revealed religion (Christianity) in his theory of absolute spirit. While this transition turns on the idea that the revealed religion mediates reason more adequately in virtue of its form (i.e., representational thought), I argue that Hegel's account of the limitations of religious representational thought, when taken in conjunction with some of his ideas concerning Romantic art, suggests that he fails to demonstrate the necessity of the transition in question, thus undermining the triadic structure (i.e., art, religion, philosophy) of his theory of absolute spirit.
33
Zepke, Stephen. "The Sublime Conditions of Contemporary Art." Deleuze Studies 5, no. 1 (March 2011): 73–83. http://dx.doi.org/10.3366/dls.2011.0008.
Full textAbstract:
Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, sensation in both its wider and more specifically artistic senses (senses that become increasingly entwined in Deleuze's work) will explode the clichés of human perception, and continually reinvent the history of art without recourse to representation. In tracing Deleuze's ‘aesthetics’ from Kant we are therefore returned to the viciously anti-human (and Nietzschean) trajectory of Deleuze's work, while simultaneously being forced to address the extent of its remaining Idealism. Both of these elements play an important part in relation to Deleuze's ‘modernism’, and to the discussion of his possible relevance to contemporary artistic practices.
34
Frank, Mitchell B. "New Romanticisms in Wilhelmine Germany." Romantik: Journal for the Study of Romanticisms 3, no. 1 (March 4, 2016): 9. http://dx.doi.org/10.7146/rom.v3i1.23251.
Full textAbstract:
This essay examines and connects two related issues in the literature on the history of art of the Wilhelmine Period: the canonical shift in German romantic painting from the Nazarenes to Phillip Otto Runge and Caspar David Friedrich; and the attempt to position the work of contemporary German artists (often called new idealists) as a new romanticism. At this time, art historians like Richard Muther and Cornelius Gurlitt take on a romantic sensibility in their attempts to position contemporary German art on the international scene. With the development of new idealism in German artwriting, two new romanticisms were thus founded. Modern German art (the work of Anselm Feuerbach, Hans von Marées, Arnold Böcklin, Max Klinger, and others) was claimed within a romantic tradition. And romantic painting was conceptualized anew with the focus increasingly on Friedrich and Runge, and less on the Nazarenes.
35
Harris, Mark. "Thomas Crow, The Artist in the Counterculture: Bruce Conner to Mike Kelley and Other Tales from the Edge (2023)." Aesthetic Investigations 6, no. 2 (December 31, 2023): 221–26. http://dx.doi.org/10.58519/aesthinv.v6i2.18527.
Full textAbstract:
Thomas Crow’s book The Artist in the Counterculture: Bruce Conner to Mike Kelley and Other Tales from the Edge reappraises West Coast art as enmeshed in the counterculture. The first five of its twelve chapters discuss Bruce Conner’s development as a multimedia artist in San Franscisco and Los Angeles producing assemblages, films, drawings, magazine illustrations, and light shows for rock concerts. The next five chapters expand Crow’s argument by appraising anti-war manifestations, Black and Latino protest work, Land Art, and West Coast conceptual practices as aspects of the counterculture. Moving forward to the late 1970s, the final two chapters review first Conner’s reemergence as a photographer documenting California punk bands and then Mike Kelley’s transplanting of Detroit’s alternative rock idealism to fuel the development of his own radical art practices.
36
Josifovic, Sasa. "Die systematische und inhaltliche Bestimmung der „vollkommenen Selbstanschauung“ in Schellings Genieästhetik von 1800." Philosophisches Jahrbuch 119, no. 1 (2012): 47–68. http://dx.doi.org/10.5771/0031-8183-2012-1-47.
Full textAbstract:
Abstract. In this text the author argues that the major achievement of Schelling’s aesthetics in his System of Transcendental Idealism consists in its contribution to the theory of self-consciousness. He emphasizes that a detailed interpretation of the underlying concepts of intellectual and ideal (vollkommen) intuition provides an adequate approach to the understanding of the systematic function of the philosophy of art within the system of knowledge including the unconscious sphere of self knowledge and self realization.
37
Filipović, Andrija. "From transcendental idealism to transcendental empiricism and beyond: Kant, Deleuze and flat ontology of the art." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 147–56. http://dx.doi.org/10.5937/saj1502147f.
Full textAbstract:
In this paper I will show that the movement from Kant's transcendental idealism to Gilles Deleuze's transcendental empiricism and then to new materialisms and speculative realisms is what enables us to talk about the direct and non-mediated access to the thing in itself (or its dissolution). In other words, it's the change from the conditions of possible experience to the conditions of real experience that made possible current philosophical and theoretical discourses of materialisms and realisms. What is of particular interest for the purposes of this paper is how the change from conditions of possible to real experience relates to the current conceptualizations of art practices. More precisely, I will show how the ontology of art changed, or at least that there perhaps appears paradigm-shifting possibility of different aesthetics and ontologies of art, flat ontology being one of them, with the appearance of new materialisms and speculative realisms that were made possible by the change to the conditions of real experience.
38
Olasolo, Héctor, Mario Iván Urueña-Sánchez, and Walter Arévalo-Ramírez. "Theoretical Foundations and Techniques for Conducting International Law Research from Critical Approaches." Díkaion 32, no. 1 (June 16, 2023): 1–35. http://dx.doi.org/10.5294/dika.2023.32.1.16.
Full textAbstract:
This article aims to construct a state-of-the-art resource regarding the theoretical foundations and methodological options for any researcher interested in working with critical international law perspectives. The four views chosen for this exercise (TWAIL, CILS, feminist theories, and social idealism) will be dissected regarding their theoretical foundations and relevant research methods and techniques. It establishes the framing of critical research in international law through monodisciplinary, multidisciplinarity, and interdisciplinarity, depending upon the interaction between legal-international concepts and methods.
39
Huaijie, Wang. "Visual Subversion: The Purism Strategy of Western Modern Art." Communications in Humanities Research 16, no. 1 (November 28, 2023): 89–95. http://dx.doi.org/10.54254/2753-7064/16/20230465.
Full textAbstract:
In the early 20th century, the modernist revolution in the Western world had reached its peak, along with twice world-war, the world capital of art has been moved from Europe to America. In such a complex and unpredictable period, many artistic strategies were taken up, the purism strategy is one of the most radical and influential strategies, it marked the impeccable achievement of Western idealism. The practice of such a strategy initially happened in Europe and later was developed in the United States. However, in these two places, the strategy was practiced with different approaches, within the construction of Panofskys mechanism of vision, one focuses on visual identification and another focuses on visual perception. The two approaches not only mean different ways of seeing art but also imply different sensible orders, which need to be reflected and reexamined in a political dimension that has been settled between the United States and Europe after the 20th century.
40
Divakov, S. V., and S. M. Gandlevsky. "‘Without rules and restrictions, there is no art’." Voprosy literatury, no. 5 (October 30, 2022): 37–43. http://dx.doi.org/10.31425/0042-8795-2022-5-37-43.
Full textAbstract:
In this interview, the renowned writer and poet Sergey Gandlevsky talks about his view of poetry as essentially an outcome of a ‘lucky error,’ which the author then tweaks to perfection. A lot of his works result from the author’s desire to stress self-reflection, causing the poet to separate himself from the lyrical hero instead of identifying with him, as if the author is looking at a bystander’s image of himself. According to Gandlevsky, true art thrives on rules and restriction and it is for that reason that he personally prefers accentualsyllabic verse to vers libre. As for prose writing, this task is easier for a poet than writing poetry is for a prose writer. A poet normally draws on their own experience, so locations visited and books read are of particular significance. Gandlevsky believes poetry to be a sensory rather than intellectual phenomenon, one which translates reading into physical pleasure. He also insists that poetry plays the role of a ‘gold standard,’ essential for maintaining ‘supreme examples of feelings and emergency supplies of idealism.’
41
Mikki, Said. "Aesthetic Theory and the Philosophy of Nature." Philosophies 6, no. 3 (July 6, 2021): 56. http://dx.doi.org/10.3390/philosophies6030056.
Full textAbstract:
We investigate the fundamental relationship between philosophical aesthetics and the philosophy of nature, arguing for a position in which the latter encompasses the former. Two traditions are set against each other, one is natural aesthetics, whose covering philosophy is Idealism, and the other is the aesthetics of nature, the position defended in this article, with the general program of a comprehensive philosophy of nature as its covering theory. Our approach is philosophical, operating within the framework of the ontology of the process of the production of art, inspired especially by the views of Antonin Artaud, Nietzsche, Heidegger, Bakhtin, Deleuze, and Guattari. We interrogate Dilthey and Worringer while outlining an ontology of art based on the production of nonhuman images and a nonpersonal experiential field of nature.
42
Markov, Alexander V. "FROM IDEALISM TO NEW MARXISM. PART 1. LEV PUMPYANSKY." Articult, no. 2 (2021): 83–90. http://dx.doi.org/10.28995/2227-6165-2021-2-83-90.
Full textAbstract:
Lev Pumpyansky's turn at the end of the 1920s from criticism of Marxism to the full acceptance of Marxist sociology as the main working tool of the literary historian can be viewed as a capitulation, but it could also be a disclosure of the potential of previous criticism. I prove that the criticism of Marxism by Pumpyansky fully fit into the dispute of neo-Kantianism against Hegelianism, while his sociology of literature was based on neo-Kantian foundations and the acceptance of Hegel's dialectics, but not Hegelian philosophy. I reconstruct a common source for Pumpyansky and Bakhtin’s view from the outside to both the neo-Kantian and neo-Hegelian traditionsm, an episode from Plato's Phaedo. The difference in the understanding of the novel genre led Pumpyansky and Bakhtin to opposite conclusions. Pumpyansky's interpretation of the difference between the novel and the novella allowed him to accept Marxism as a metacritic of Neo-Hegelianism and Neo-Kantianism, preserving the position of the hero, which was unacceptable for Bakhtin. For Pumpyansky, Marxist sociology just realizes the intentions of neo-Kantianism as soon as it is applied not to the field of science, but to the field of literature and art. Disagreeing with the convergence of ethics and creativity, promoted by Bakhtin, Pumpyansky coined a consistent Marxist sociology of literature, claiming to be philosophical and relevant for today.
43
Yee, Michelle. "On Tehching Hsieh’s Disappearance: Interrupting the Prevailing Narratives of the Artworld." Asian Diasporic Visual Cultures and the Americas 8, no. 1-2 (May 22, 2023): 43–60. http://dx.doi.org/10.1163/23523085-08010003.
Full textAbstract:
Abstract In the Clinton Hill neighbourhood of Brooklyn, New York, sits a nondescript eatery called The Market. The restaurant, like many small New York City restaurants, is unremarkable. Little evidence exists to capitalize on the reputation of its owner, famed performance artist Tehching Hsieh. This article examines Tehching Hsieh’s The Market as a continuation of the artist’s renowned oeuvre to consider how the restaurant might represent Hsieh’s lifelong negotiation of the boundary between art and life. By examining the restaurant as a continuation of Hsieh’s work, I consider how understandings of Hsieh’s life and work are constructed upon binaries of immigrant idealism and art world genius, which exemplify the tension between artistry and livelihoods. In arguing that The Market represents a full collapse of art and life, I consider how the restaurant both refuses such binaries and continues the interrogations of labour, withdrawal, and repetition that are present in Hsieh’s lifeworks.
44
Apostol, Ioana, and Eduard Andrei. "Pragmatism and Idealism, the Local and the Universal in Henri Focillon’s and George Oprescu’s Museum Practice and Conception." Hiperboreea 11, no. 1 (May 2024): 67–89. http://dx.doi.org/10.5325/hiperboreea.11.1.0067.
Full textAbstract:
Abstract Henri Focillon and George Oprescu are both acknowledged as significant art historians and critics. Despite the importance and scope of their roles as museum curators and directors, research into their work, especially that of Oprescu, is still underdeveloped. Focillon served as the head of the Lyon Museums in France for eleven years (1913–1924), while Oprescu directed the Toma Stelian Art Museum in Bucharest for eighteen years (1931–1949). Rooted in their lesser-known personal and professional relationship, primarily discussed in Romanian historiography, this article undertakes a comparative analysis of their respective work in the sphere of museology. The focus is on highlighting Focillon’s discernible influence on Oprescu’s conception as a museum director and, by extension, on the art museum practice in Romania. The analysis is situated within the broader context of the cultural diplomacy and cooperation fostered by the League of Nations during the interwar period.
45
Botnari, Larisa. "Le premier moment de l’art dans À la recherche du temps perdu de Marcel Proust – une « leçon d’idéalisme » ?" Revista Cercurilor studenţeşti ale Departamentului de Limba şi Literatura Franceză, no. 9 (November 2020): 25–40. http://dx.doi.org/10.31178/rcsdllf.9.3.
Full textAbstract:
Although very famous, some key moments of the novel In Search of Lost Time, such as those of the madeleine or the uneven pavement, often remain enigmatic for the reader. Our article attempts to formulate a possible philosophical interpretation of the narrator's experiences during these scenes, through a confrontation of the Proustian text with the ideas found in the System of Transcendental Idealism (1800) of the German philosopher F. W. J. Schelling. We thus try to highlight the essential role of the self in Marcel Proust's aesthetic thinking, by showing that the mysterious happiness felt by the narrator, and from which the project of creating a work of art is ultimately born, is similar to the experiences of pure self-consciousness evoked and analyzed by Schellingian philosophy of art.
46
Mankovskaya, Nadezhda B. "Maurice Maeterlinck’s Philosophy of Art." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 76–90. http://dx.doi.org/10.17816/vgik10176-90.
Full textAbstract:
In the article the key ideas of Maurice Maeterlincks philosophy of art, inspired by the spirit of German idealism, European Romanticism and also mysticism and occultism are considered. On this basis his own original philosophical-aesthetic and artistic views which have laid down in a basis of philosophy of art of symbolism crystallize. The main problems interesting for Maeterlinck in this sphere are metaphysics of art and its philosophical-aesthetic aspects: silence, hidden, destiny, external and internal, madness, mystical ecstasy; essence of artistic image and symbol in art; aesthetic categories of beauty, sublime, tragical, comic; aesthetic ideal; nature of art novelty; relations between aesthetics and ethics. Artisticity, symbolization in art, suggestion, idealization, spirituality as the main attributes of authentic art, stylized poetic generalizations, laconism of a plot - these are the basis of Maeterlincks poetic world and his art-aesthetic principles which have become the art base for symbolist philosophy. Maeterlinck paid special attention to the art-aesthetic aspects of the art of theatre connected with creative credo of the playwright, his skill. He was also deeply engaged into exploration of the art influencing power as well as questions of aesthetic perception, empathies, and art hermeneutics. The major thrust of his philosophical-aesthetic research was that of an expectance of the approaching era of great spirituality and supreme mission of the artist-theurgist in it - in this respect Maeterlinck going his way, had a lot of common with the ideas of Paul Claudel, let alone representatives of Russian theourgistic aesthetics. In his poeticized meditations over the future of artistic culture Maeterlinck quite often acts as a teacher of life and, like described by him bees, collecting honey of hopes.
47
Parmadie, Bambang, A. A. Ngurah Anom Kumbara, A. A. Bagus Wirawan, and I. Gede Arya Sugiartha. "Pengaruh Globalisasi Dan Hegemoni Pada Transformasi Musik Dol Di Kota Bengkulu." Mudra Jurnal Seni Budaya 33, no. 1 (February 6, 2018): 67. http://dx.doi.org/10.31091/mudra.v33i1.240.
Full textAbstract:
Transformasi memiliki arti perubahan bentuk dan secara lengkap merupakan perubahan fisik maupun nonfisik (bentuk, rupa, sifat, fungsi, dan lain-lain). Transformasi dimaksudkan baik perubahan yang masih menunjukkan benda asalnya maupun perubahan yang sudah tidak memperlihatkan kesamaan dengan benda asalnya. Arus globalisasi dan hegemoni yang terjadi pada perubahan musik Dol sebagai musikalitas ritual Tabot digunakan secara sengaja untuk hiburan, kreativitas seniman, pencitraan, pendidikan, dan pariwisata. Fenomena yang terjadi dalam waktu yang panjang dan bertahap-tahap, bersifat linier dan hierarkis, dari sakral ke sekuler atau profan (komodifikasi), dari idealisme tradisi ke idealisme industri dan pencitraan (ekonomi), dan dari tujuan ke pesanan (kreativitas). Metode yang digunakan dalam penelitian ini adalah metode kualitatif. Teori yang digunakan untuk menganalisis permasalahan yaitu teori hegemoni, teori budaya populer dan teori praktik sosial. Hasil penelitian pengaruh globalisasi dan hegemoni pada perubahan musik Dol dari sakral ke sekuler atau profan maupun sebaliknya yang terjadi dalam masyarakat Bengkulu menyebabkan perubahan (motivasi dan stimulasi) ini dapat diterima oleh masyarakat dan bisa menyatu dalam kehidupan bermasyarakat. Pengaruh globalisasi dan hegemoni pada perubahan musik Dol menjadikan kesenian ini sebagai industri budaya, materi kreatifitas seniman, pariwisata, pencitraan dan inovasi pada pendidikan. Musik Dol tumbuh menjadi kebudayaan seni pertunjukan baru yang menggeser keberadaan pesta rakyat ritual Tabot pada saat ini. Hal ini tampak jelas dalam perkembangan musik Dol semakin meluas secara kuantitas dan kreatifitas.Transformation signifies meaningful change in form and is a complete physical and nonphysical reconfiguration (form, likeness, nature, function, etc.). Transformation is representative of both intended change that is still indicative of the origins of an object and the changes that are not indicative of showing any similarity with the object in its original form. The dynamics of globalization and hegemony that have affected change in Dol music as Tabot ritual musicality is used deliberately for entertainment, artist's creativity, imaging, education, and tourism. Long-term and gradual phenomena are linear and hierarchical, from sacred to secular or profane (commodification), from idealism to industrial idealism and imaging (economy), and from purpose to order (creativity). The method used in this research is qualitative method. The theory used to analyze the problems of hegemony theory, popular culture theory and social practice theory. The result of the research of the influence of globalization and hegemony on the musical change of Dol from sacred to secular or profane and vice versa that happened in Bengkulu society caused change (motivation and stimulation) that is accepted by society and can be instrumental in united society life. The influence of globalization and hegemony on the change of Dol music makes this art take form as cultural industry, artistic creativity, tourism, imaging and innovation in education. So Dol music becomes an icon of Bengkulu Province and flourishes into a new performance art culture that shifts the existence of Tabot ritual folk feast. This is evident as the development of Dol music is widespread in quantity and creativity.
48
Schulenberg, Ulf. "Pragmatist Aesthetics and Nietzsche." Transactions of the Charles S. Peirce Society: A Quarterly Journal in American Philosophy 59, no. 2 (March 2023): 167–89. http://dx.doi.org/10.2979/trancharpeirsoc.59.2.02.
Full textAbstract:
Abstract: It is difficult to approach a phenomenon as complex as the renaissance of pragmatism without considering the contemporary significance of pragmatist aesthetics. At the same time, however, one ought to note that pragmatist aesthetics has not yet reached its full potential. This is primarily due to the legacy of John Dewey's aesthetics. In pragmatist studies, the problematic consequences of Dewey's idealism in aesthetics have been insufficiently criticized. In order to confront this desideratum, pragmatist aesthetics ought to establish a dialogue with continental aesthetics. This essay advances the argument that pragmatist aesthetics will profit from considering Nietzsche's radical insights and far-reaching suggestions. Concentrating on a comparison between Dewey and Nietzsche, the essay discusses three aspects: the relation between art and life; the question of art's noncognitivism; and the question of aesthetic form and its significance for modern art.
49
Schulenberg, Ulf. "Pragmatist Aesthetics and Nietzsche." Transactions of the Charles S. Peirce Society: A Quarterly Journal in American Philosophy 59, no. 2 (March 2023): 167–89. http://dx.doi.org/10.2979/csp.2023.a906860.
Full textAbstract:
Abstract: It is difficult to approach a phenomenon as complex as the renaissance of pragmatism without considering the contemporary significance of pragmatist aesthetics. At the same time, however, one ought to note that pragmatist aesthetics has not yet reached its full potential. This is primarily due to the legacy of John Dewey's aesthetics. In pragmatist studies, the problematic consequences of Dewey's idealism in aesthetics have been insufficiently criticized. In order to confront this desideratum, pragmatist aesthetics ought to establish a dialogue with continental aesthetics. This essay advances the argument that pragmatist aesthetics will profit from considering Nietzsche's radical insights and far-reaching suggestions. Concentrating on a comparison between Dewey and Nietzsche, the essay discusses three aspects: the relation between art and life; the question of art's noncognitivism; and the question of aesthetic form and its significance for modern art.
50
Suther, Jensen. "Novel, Organism, Form." Representations 164, no. 1 (2023): 80–114. http://dx.doi.org/10.1525/rep.2023.164.4.80.
Full textAbstract:
This essay intervenes in the contemporary debate surrounding the Bildungsroman and its roots in German Idealism through a new reading of the idea of “life” in two major modern texts: G. W. F. Hegel’s Lectures on Fine Art and the famous “Research” chapter of Thomas Mann’s The Magic Mountain. I establish three key points: 1) Hegel pioneers a bio-aesthetics that grasps the work of art as a distinctly social and historical, reflective manifestation of organic life; 2) Mann’s novel achieves a kind of self-conscious knowledge of the Bildungsroman in particular as such a manifestation; and 3) Karl Marx’s analysis of the alienation of humanity from its “species-being” under capitalism accounts for the opposition between nature and culture, animality and rationality, that drives Mann’s modernist experiment with genre: his innovation of what I call “the novel of deformation.”