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Journal articles on the topic 'Idealism in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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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 (2013): 16. http://dx.doi.org/10.26694/pensando.v3i6.986.

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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

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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.

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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,

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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.

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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 ref

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Preston, John. "Art-Rap, German Idealism and Therapy." Philosophers' Magazine, no. 74 (2016): 66–69. http://dx.doi.org/10.5840/tpm201674101.

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5

Verzosa, Noel. "Realism, Idealism and the French Reception of Hanslick." Nineteenth-Century Music Review 14, no. 1 (2016): 51–64. http://dx.doi.org/10.1017/s1479409816000288.

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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 philosoph

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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.

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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-Sch&#x9a;nen (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 mus

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Dönmez, Damla. "Collingwood and ‘Art Proper’: From Idealism to Consistency." Estetika: The European Journal of Aesthetics 52, no. 2 (2015): 152. http://dx.doi.org/10.33134/eeja.137.

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8

Weir, Simon, and Jason Anthony Dibbs. "The Ontographic Turn: From Cubism to the Surrealist Object." Open Philosophy 2, no. 1 (2019): 384–98. http://dx.doi.org/10.1515/opphil-2019-0026.

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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 Ro

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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 (2022): 37–49. http://dx.doi.org/10.47456/sofia.v11i1.31891.

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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

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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.

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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 construc

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Son, Sehoon. ""Comparison of Art Philosophy Between Luhmann and German Idealism"." Journal of Humanities and Social sciences 21 13, no. 4 (2022): 2653–66. http://dx.doi.org/10.22143/hss21.13.4.184.

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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.

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13

Hagberg, Garry. "Art as Thought: The Inner Conflicts of Aesthetic Idealism." Philosophical Investigations 9, no. 4 (1986): 257–73. http://dx.doi.org/10.1111/j.1467-9205.1986.tb00426.x.

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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.

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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 dynamic

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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.

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Vidler, Anthony. "Architecture, Poetry, and Everyday Life." October, no. 187 (2024): 65–74. http://dx.doi.org/10.1162/octo_a_00509.

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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 n

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Weir, Simon. "Art and Ontography." Open Philosophy 3, no. 1 (2020): 400–412. http://dx.doi.org/10.1515/opphil-2020-0116.

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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

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ZAMMITO, JOHN. "RECONSTRUCTING GERMAN IDEALISM AND ROMANTICISM: HISTORICISM AND PRESENTISM." Modern Intellectual History 1, no. 3 (2004): 427–38. http://dx.doi.org/10.1017/s1479244304000241.

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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

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Domenichelli, Mario. "Lukács and the Marxist ›Living Art‹." Zagreber germanistische Beiträge 29 (2020): 125–43. http://dx.doi.org/10.17234/zgb.29.7.

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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 c

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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 (2023): 661–70. http://dx.doi.org/10.55324/josr.v2i3.714.

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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 t

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21

Chen, Qiuhong. "Research on The Similarities and Differences Between Graduation Exhibition and Art Exhibition." International Journal of Education and Humanities 4, no. 1 (2022): 106–9. http://dx.doi.org/10.54097/ijeh.v4i1.1391.

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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 ar

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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.

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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 involv

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23

Hagberg, Garry. "Music and Imagination." Philosophy 61, no. 238 (1986): 513–17. http://dx.doi.org/10.1017/s0031819100061271.

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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 nothin

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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.

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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

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Winfree, Jason Kemp. "Nietzsche and the Self-Overcoming of Historical Consciousness." Research in Phenomenology 52, no. 3 (2022): 333–51. http://dx.doi.org/10.1163/15691640-12341504.

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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.

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Harris, Wendell V. "Ruskin's Theoretic Practicality and the Royal Academy's Aesthetic Idealism." Nineteenth-Century Literature 52, no. 1 (1997): 80–102. http://dx.doi.org/10.2307/2934030.

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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

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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.

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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 colla

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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.

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Firaza, Joanna. "Beethoven and His Music in the Plays of Gert Jonke." Tekstualia 3, no. 42 (2019): 63–72. http://dx.doi.org/10.5604/01.3001.0013.4417.

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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 romanti

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Wu, Jinglin. "The Influence of Contemporary Art Thought on Modernist Design." Highlights in Art and Design 1, no. 1 (2022): 25–28. http://dx.doi.org/10.54097/hiaad.v1i1.1567.

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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

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Ni, Nan. "The Dynamics and Dialectics in Kandinskys Non-representational Art." Communications in Humanities Research 3, no. 1 (2023): 1075–86. http://dx.doi.org/10.54254/2753-7064/3/2022851.

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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 betw

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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.

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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 concern

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Zepke, Stephen. "The Sublime Conditions of Contemporary Art." Deleuze Studies 5, no. 1 (2011): 73–83. http://dx.doi.org/10.3366/dls.2011.0008.

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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 in

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Frank, Mitchell B. "New Romanticisms in Wilhelmine Germany." Romantik: Journal for the Study of Romanticisms 3, no. 1 (2016): 9. http://dx.doi.org/10.7146/rom.v3i1.23251.

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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

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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 (2023): 221–26. http://dx.doi.org/10.58519/aesthinv.v6i2.18527.

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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. Mo

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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.

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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.

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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.

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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 o

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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 (2023): 1–35. http://dx.doi.org/10.5294/dika.2023.32.1.16.

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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-inter

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Huaijie, Wang. "Visual Subversion: The Purism Strategy of Western Modern Art." Communications in Humanities Research 16, no. 1 (2023): 89–95. http://dx.doi.org/10.54254/2753-7064/16/20230465.

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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, withi

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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.

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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,

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Mikki, Said. "Aesthetic Theory and the Philosophy of Nature." Philosophies 6, no. 3 (2021): 56. http://dx.doi.org/10.3390/philosophies6030056.

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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

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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.

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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 fr

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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 (2023): 43–60. http://dx.doi.org/10.1163/23523085-08010003.

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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 understandi

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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 (2024): 67–89. http://dx.doi.org/10.5325/hiperboreea.11.1.0067.

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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 comp

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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.

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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

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Mankovskaya, Nadezhda B. "Maurice Maeterlinck’s Philosophy of Art." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 76–90. http://dx.doi.org/10.17816/vgik10176-90.

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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 catego

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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 (2018): 67. http://dx.doi.org/10.31091/mudra.v33i1.240.

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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 hie

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Schulenberg, Ulf. "Pragmatist Aesthetics and Nietzsche." Transactions of the Charles S. Peirce Society: A Quarterly Journal in American Philosophy 59, no. 2 (2023): 167–89. http://dx.doi.org/10.2979/trancharpeirsoc.59.2.02.

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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

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Schulenberg, Ulf. "Pragmatist Aesthetics and Nietzsche." Transactions of the Charles S. Peirce Society: A Quarterly Journal in American Philosophy 59, no. 2 (2023): 167–89. http://dx.doi.org/10.2979/csp.2023.a906860.

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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

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Suther, Jensen. "Novel, Organism, Form." Representations 164, no. 1 (2023): 80–114. http://dx.doi.org/10.1525/rep.2023.164.4.80.

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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 Ma

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