Log in

Relevant bibliographies by topics / Philosophy of Art and Aesthetics / Journal articles

To see the other types of publications on this topic, follow the link: Philosophy of Art and Aesthetics.

Journal articles on the topic 'Philosophy of Art and Aesthetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Philosophy of Art and Aesthetics.'

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

Erjavec, Aleš. "Art and aesthetics: Three recent perspectives." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 142–59. http://dx.doi.org/10.5937/saj1202142e.

Full text

Abstract:

The author sketches the development of the relationship between art and aesthetics in the recent past. As his starting point, he takes the position that artists established in the sixties in relation to philosophical aesthetics. In his view 1980 represented a historical threshold as concerns transformations both in art and its philosophy. He then discusses three theories of art and aesthetics - Nicolas Bourriaud's "relational aesthetics" from the nineties, Jacques Rancière's aesthetic project from the following decade, and the very recent "theory of contemporary art" developed by Terry Smith. In author's opinion, these three aesthetic or art theories not only disprove the pervasive opinion that contemporary aesthetics understood as philosophy of art is once more separated from contemporary art and the art world, but also manifest their factual import and impact in contemporary discussions on art.

APA, Harvard, Vancouver, ISO, and other styles

2

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 text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

3

Torsen, Ingvild. "Philosophy of Art after Aesthetics." Heidegger Circle Proceedings 42 (2008): 46–54. http://dx.doi.org/10.5840/heideggercircle2008426.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Rejimon, P. K. "EXPLORING PHILOSOPHY OF ART IN INDIAN APPROACH." International Journal of Research -GRANTHAALAYAH 5, no. 9 (September 30, 2017): 217–23. http://dx.doi.org/10.29121/granthaalayah.v5.i9.2017.2234.

Full text

Abstract:

Art is one of the cultural activities of man through which he reaches his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetics, the branch of philosophy devoted to conceptual and theoretical enquiry into art. Philosophy of Indian art is concerned with the nature of art and the concepts in terms of which individual work of art interpreted and evaluated. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning of philosophy both in the East and West and it continues to the present. In India, philosophy of art is designated as saundaryasastra, which is evolved with an emphasis on inducing special spiritual or philosophical states in the audience or with representing them symbolically. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning. The rich tradition of Indian aesthetics can be traced back to the second century BC with Bharata’s Natyasastra, the foundation text on Saundaryasastra. Indian aesthetics is evolved with an emphasis on inducing special spiritual or philosophical states in the audience.

APA, Harvard, Vancouver, ISO, and other styles

5

Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.

Full text

Abstract:

  This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.  

APA, Harvard, Vancouver, ISO, and other styles

6

Zangwill, Nick. "AESTHETICS AND ART." British Journal of Aesthetics 26, no. 3 (1986): 257–69. http://dx.doi.org/10.1093/bjaesthetics/26.3.257.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Slater, H. "ART AND AESTHETICS." British Journal of Aesthetics 37, no. 3 (July 1, 1997): 226–31. http://dx.doi.org/10.1093/bjaesthetics/37.3.226.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Shapshay, Sandra. "Schopenhauer’s Aesthetics and Philosophy of Art." Philosophy Compass 7, no. 1 (January 2012): 11–22. http://dx.doi.org/10.1111/j.1747-9991.2011.00453.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Ibrahim Al asqha, Shatha. "Islamic Art Aesthetics and modern philosophy." المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 7, no. 26 (April 1, 2021): 1318–87. http://dx.doi.org/10.21608/amesea.2021.178608.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Wilkoszewska, Krystyna. "Aesthetic experience in the nature-culture continuum: The biological dimension of pragmatist aesthetics." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 47–56. http://dx.doi.org/10.5937/saj1501047w.

Full text

Abstract:

In 1930 American pragmatist philosopher John Dewey introduced into aesthetics a relatively new idea of experience. Living in modern time Dewey offered non-modernist way of thinking which especially in the field of aesthetics seems to be more adequate to our time than the modern ideas of aesthetic experience and autonomy of art. After short presentation of Dewey's philosophy of aesthetics I would like to show its inner dimensions that are fully developed today: ecological, evolutionary and transhuman tendencies, experience as interaction, soma and sensuous perspective.

APA, Harvard, Vancouver, ISO, and other styles

11

MARTIN, PATRICK. "BEING STRUCK: GADAMER ON THE CONTEMPORANEITY OF ART." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 10, no. 1 (2021): 286–304. http://dx.doi.org/10.21638/2226-5260-2021-10-1-286-304.

Full text

Abstract:

With this article I offer a close reading of Gadamer’s Aesthetics and Hermeneutics. The reason I draw attention to this essay is as a response to criticism aimed at Gadamer’s hermeneutic account of art. In its reception, it has occasionally been viewed as too hermeneutical, too focused on understanding. I maintain that Aesthetics and Hermeneutics can be considered exempt from this critique. Here, Gadamer offers us the hermeneutic experience in its most aesthetic guise: in being struck by the significance of the artwork. The main purpose of this article is to clarify this experience. This task I undertake in two steps. First, I emphasize the aesthetic nature of this experience of “being struck” by the artwork in an answer to Figal’s critique. As a supplement to Gadamer’s theoretical remarks in Aesthetics and Hermeneutics, I consider the performance piece Faust by Anne Imhof. The second step of my argument intends to show that Gadamer does not “reduce” the aesthetic experience to a hermeneutic experience of meaning but grounds the experience of art hermeneutically. I will argue for my thesis by closely reconstructing Gadamer’s argument in Aesthetics and Hermeneutics. The guiding question is, what is the significance of this aesthetic experience for Gadamer’s hermeneutics? Gadamer conceptually clarifies the experience of “being struck” in terms of the notion of contemporaneity. In my interpretation, the experience of art shakes us with a sense of self-implication.

APA, Harvard, Vancouver, ISO, and other styles

12

McMahon, Jennifer A. "Aesthetics and Rock Art." British Journal of Aesthetics 46, no. 2 (April 1, 2006): 208–10. http://dx.doi.org/10.1093/aesthj/ayj025.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Rush, Fred. "Art, Aesthetics and Subjectivity." European Journal of Philosophy 15, no. 2 (August 2007): 283–96. http://dx.doi.org/10.1111/j.1468-0378.2007.00262.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Ajíbóyè, Olusegun, Stephen Fọlárànmí, and Nanashaitu Umoru-Ọkẹ. "Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy." Mediterranean Journal of Social Sciences 9, no. 4 (July 1, 2018): 59–70. http://dx.doi.org/10.2478/mjss-2018-0115.

Full text

Abstract:

Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.

APA, Harvard, Vancouver, ISO, and other styles

15

Viazinkin, Aleksei, and Irina Vladimirovna Dvukhzhilova. "Conservative approach towards aesthetics of architecture: Roger Scruton's philosophy." Архитектура и дизайн, no. 2 (February 2019): 1–6. http://dx.doi.org/10.7256/2585-7789.2019.2.32686.

Full text

Abstract:

The subject of this research is the conservative approach towards aesthetics of architecture in the philosophy of British thinker, aesthetician and theorist of conservatism Roger Scruton. The cultural situation of postindustrial society – consumerism and commodification of culture – requires new approaches in art history, which are capable of establishing protective trends in the social life. Scruton offers an alternative approach towards art, which represents not so much a return to the traditional values, as revival of cultural situation. Such situation implies the existence of art as a translator of traditional values that strengthen social ties. This article is the first within the Russian scientific literature to examine the aesthetics of Scruton’s architecture in the context of his conservative philosophy, which defines the scientific novelty and outlines new horizons for research in the fields of aesthetics of architecture and philosophy of modern British conservatism. The conclusion is made that Scruton's appeal to the topic of aesthetic experience expands the problematic from pure aesthetics to the unity of ethics, theory of solidarity, and axiology of traditional culture.

APA, Harvard, Vancouver, ISO, and other styles

16

Cooper, W. E. "Aesthetics in Canada: The State of the Art." Dialogue 26, no. 1 (1987): 123–34. http://dx.doi.org/10.1017/s0012217300042347.

Full text

Abstract:

Opuscula Aesthetica Nostra is a pioneering publishing effort, blazing a trail which specialists in other philosophical fields should consider following. It purports to represent what is happening in aesthetics throughout English-speaking and French-speaking Canada today, and in consequence it is an intriguing exercise in Canadian bilingualism. It purports also to show, as co-editor Calvin Seerveld says in the Preface, that “aesthetics deserves its own bona fide place in the national market place of ideas”; so the editors have reprinted strong previously published papers, in addition to soliciting new material on the occasion of the Tenth International Congress of Aesthetics held in Montreal in 1984. The result is a satisfying pot-pourri of ideas.

APA, Harvard, Vancouver, ISO, and other styles

17

Nikitina, Irina P. "The Philosophy of Art, Aesthetics and Art History as Scientific Disciplines." Journal of Flm Arts and Film Studies 10, no. 4 (December 15, 2018): 103–14. http://dx.doi.org/10.17816/vgik104103-114.

Full text

Abstract:

The article defines the specificity of aesthetics, philosophy of art and cultural studies. It describes and analyses both the difference between these disciplines and similarity due to the common subject of research. The author argues that the level of academic activity of philosophy and aesthetics is higher than that of cultural studies as the latter is less free of value judgments and therefore more subjective.

APA, Harvard, Vancouver, ISO, and other styles

18

Carter, Curtis L. "Philosophy and Art: Changing Landscapes for Aesthetics." Diogenes 59, no. 1-2 (February 2012): 84–100. http://dx.doi.org/10.1177/0392192112469322.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Gamba, Ezio. "The Problem of Individuality in Hermann Cohen’s Aesthetics." RUDN Journal of Philosophy 23, no. 4 (December 15, 2019): 413–19. http://dx.doi.org/10.22363/2313-2302-2019-23-4-413-419.

Full text

Abstract:

Franz Rosenzweig devoted particular attention to the problem of individuality in Hermann Cohen’s philosophy. He writes that, in comparison with the individuality of the man of religion, “the human being about which aesthetics knew [...] fades now in all its aesthetic individuality to a ‘mere type’”. This statement is actually based on Cohen’s writings: in Ästhetik des reinen Gefühls (1912), Cohen explicitly maintains that the human being that is the object of artistic representation is not a type, but rather an individual. Just three years later, however, in his first book about philosophy of religion, Der Begriff der Religion im System der Philosophie (1915), Cohen states that the human being that is represented by art is not really an individual; only the man of religion is really individual; the human being represented by art is merely a type. In this paper my aim is to argue for the thesis that these opposite statements belong to different points of view. From an aesthetic point of view the human being represented by art has to be considered as truly individual, but the systematic overview adopted in Der Begriff der Religion can teach us that the individuality of the human being represented by art can’t be maintained from a different point of view than the aesthetic one.

APA, Harvard, Vancouver, ISO, and other styles

20

Hepburn, Ronald. "Data and Theory in Aesthetics: Philosophical Understanding and Misunderstanding." Royal Institute of Philosophy Supplement 41 (September 1996): 235–52. http://dx.doi.org/10.1017/s1358246100006147.

Full text

Abstract:

This paper has a twofold structure: both parts concern philosophy's understanding (or misunderstanding) of its data—in the area of aesthetics. The first part (I) considers aesthetics as philosophy of art: the second part (II) considers aesthetics as concerned also with the appreciation of nature.

APA, Harvard, Vancouver, ISO, and other styles

21

Matravers, D. "Contemplating Art: Essays in Aesthetics." British Journal of Aesthetics 47, no. 4 (October 1, 2007): 441–42. http://dx.doi.org/10.1093/aesthj/aym027.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Shniger, D. O. "LEGAL AESTHETICS, OR THE ART OF THE LAW." Courier of Kutafin Moscow State Law University (MSAL)), no. 7 (September 16, 2020): 113–20. http://dx.doi.org/10.17803/2311-5998.2020.71.7.113-120.

Full text

Abstract:

The author focuses on the legal aesthetics dilemma, which appears in the dominant sense that the legal content prevails over the legal form. Some possible reasons and consequences of the aesthetical crisis are considered. The article offers the way to overcome that crisis. To this end the author outlines the new interdisciplinary field of legal studies called legal aesthetics. According to the author’s opinion the aesthetical criteria shall be applied primarily to the legal text and also to all the tools, such as visualisations, which make it more comprehensible. The key issues of the new discipline are scrutinized, such as objectives, subject, method and relations with other legal studies, such as legal technique. The author shows the connection between the legal aesthetics and legal design, arising within philosophy of design-thinking.

APA, Harvard, Vancouver, ISO, and other styles

23

Richmond, Sheldon. "Is “Aesthetics” Art Studies?" Philosophy of the Social Sciences 44, no. 2 (March 2014): 223–32. http://dx.doi.org/10.1177/0048393112442630.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Conio, Andrew. "Deleuze, Bacon and the Challenge of the Contemporary." Deleuze Studies 3, no. 2 (December 2009): 233–46. http://dx.doi.org/10.3366/e1750224109000610.

Full text

Abstract:

This paper tests the aesthetic theory presented in Francis Bacon: The Logic of Sensation against the Foucauldian Turn in art in the 1980s and Damien Hirst's early artworks, in order to ask if the concepts taken from the more general aesthetics to be found in A Thousand Plateaus and What is Philosophy? are better suited to an understanding of contemporary art, before returning to the question of whether there is something truly significant at work in this folie à deux between painter and philosopher.

APA, Harvard, Vancouver, ISO, and other styles

25

Kreft, Lev. "How to defend aesthetics?" SAJ - Serbian Architectural Journal 7, no. 2 (2015): 27–36. http://dx.doi.org/10.5937/saj1501027k.

Full text

Abstract:

Milan Damnjanović (1924-1994) published his aesthetic opus in the context of (Yugoslav) Marxist "overcoming" (Aufhebung) of aesthetics and of aesthetics' self-criticism expressed as the "crisis of aesthetics". To oppose both of these critical positions and at the same time reform aesthetics' ability to treat all aesthetic phenomena, but still keep art in special focus, he introduced the problem of immediacy of experience of the world by a human being. In his article "The Problem of Immediacy and Mediation in Marx's Thought" (1970) Damnjanović wanted to demonstrate the primacy of aesthetic dimension in immediacy and immediate mediation/reflection which can support philosophy's legitimate claim to organize it as an open system, and aesthetics' solidity as a discipline of such system. To achieve this purpose, he introduced an intertwined argumentation which combines his reading of Marx's philosophy of labour from Paris Manuscripts and from Capital with Helmut Plessner's esthesiology and Paul Valery's esthésique. To revisit Damnjanović's defence of the Whole, of philosophical systematicity, and of aesthetics' autonomous position as a discipline is an opportunity to argue that he pointed into the right direction, be it in taking Plessner and Valéry for support, or, in taking fundamental philosophical problem of immediacy/mediation as a foundation stone of the status of aesthetics.

APA, Harvard, Vancouver, ISO, and other styles

26

Worthington, Glenn. "The Voice of Poetry in Oakeshott's Moral Philosophy." Review of Politics 64, no. 2 (2002): 285–310. http://dx.doi.org/10.1017/s0034670500038109.

Full text

Abstract:

Despite recent interest in Michael Oakeshott's work, his aesthetics have yet to receive an extended consideration. The paper surveys Oakeshott's writings on the character of art and provides a critical account of how his aesthetics complements his moral philosophy. Through his aesthetics Oakeshott provides his moral philosophy with an idea of authenticity. Societies and individuals that have failed to recognize the poetic dimension in the moral life suffer a corruption of consciousness. Far from the poetic dimension of the moral life being responsible for nihilism and aestheticism as some critics have argued, its recognition saves the moral life from becoming a pursuit of arbitrary preferences.

APA, Harvard, Vancouver, ISO, and other styles

27

Selk, Eugene E., and Anne Sheppard. "Aesthetics: An Introduction to the Philosophy of Art." Journal of Aesthetics and Art Criticism 47, no. 1 (1989): 93. http://dx.doi.org/10.2307/432002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Disilvestro, Russell. "Aesthetics and the Philosophy of Art: An Introduction." British Journal of Aesthetics 46, no. 1 (January 1, 2006): 96–97. http://dx.doi.org/10.1093/aesthj/ayj007.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Ramírez, Mario-Teodoro. "Aesthetical Ontology, Ontological Aesthetics: Rethinking Art and Beauty through Speculative Realism." Rivista di estetica, no. 74 (August 1, 2020): 201–16. http://dx.doi.org/10.4000/estetica.7115.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Saito, Yuriko. "Everyday aesthetics and world-making." Contrastes. Revista Internacional de Filosofía 25, no. 3 (January 19, 2021): 35–54. http://dx.doi.org/10.24310/contrastescontrastes.v25i3.11567.

Full text

Abstract:

The project of world-making is carried out not only by professional world-makers, such as designers, architects, and manufacturers. We are all participants in this project through various decisions and judgments we make in our everyday life. Aesthetics has a surprisingly significant role to play in this regard, though not sufficiently recognized by ourselves or aestheticians. This paper first illustrates how our seemingly innocuous and trivial everyday aesthetic considerations have serious consequences which determine the quality of life and the state of the world, for better or worse. This power of the aesthetic should be harnessed to direct our cumulative and collective enterprise toward better world-making. Against objections to introducing a normative dimension to everyday aesthetics, I argue for the necessity of doing so and draw an analogy between everyday aesthetics and art-centered aesthetics which has dominated modern Western aesthetics discourse.

APA, Harvard, Vancouver, ISO, and other styles

31

Satie, Luis. "Law and aesthetics: critical note." Revista Direito GV 6, no. 2 (December 2010): 631–40. http://dx.doi.org/10.1590/s1808-24322010000200013.

Full text

Abstract:

It is thought in the theory and philosophy of law, aimed at discussing the conditions of possibility of rapprochement between the art form and legal form. The text investigates, dialectically, the implications for the legal philosophy of the impossibility of such approximation, and the problems in a conservative approximation. It follows that: 1) would be a loss for a reason and therefore to legal philosophy, not to communicate between art and law; 2) the relationship between legal and aesthetic standards should be guided by the critical, especially in terms of Adorno's thought. It is by overcoming the dichotomy between possibility and impossibility, opening on the idea of constellation of methodological categorical fields of law and aesthetics in their current forms, paving the way for understanding the legal form as a tragic way.

APA, Harvard, Vancouver, ISO, and other styles

32

Engler, Gideon. "AESTHETICS IN SCIENCE AND IN ART." British Journal of Aesthetics 30, no. 1 (1990): 24–34. http://dx.doi.org/10.1093/bjaesthetics/30.1.24.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Diffey, T. J. "Tolstoy on Aesthetics: What Is Art?" British Journal of Aesthetics 43, no. 3 (July 1, 2003): 324–26. http://dx.doi.org/10.1093/bjaesthetics/43.3.324.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Geuss, Raymond. "Art and Criticism in Adorno's Aesthetics." European Journal of Philosophy 6, no. 3 (December 1998): 297–317. http://dx.doi.org/10.1111/1468-0378.00063.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Bychkov, Victor V. "Schelling As a Forerunner of Symbolist Aesthetics." Voprosy Filosofii, no. 3 (2021): 174–84. http://dx.doi.org/10.21146/0042-8744-2021-3-174-184.

Full text

Abstract:

The aesthetics of early Schelling constitutes the philosophical foundation of the poetic consciousness of German Romantics and becomes one of the theoretical sources for symbolist aesthetics. The article accentuates proto-symbolist elements in Schelling’s aesthetics. It shows that the spiritual cosmos in Schelling – which is a world of ideas and gods that connects to the material world, in particular, through art – develops out of the Absolute. The universe itself is manifested in God as an absolute work of art. At the same time, art in its formation is based on mythology and realises itself as the unity of the “infinite and finite in the finite”, as an identity of the conscious and the unconscious, as a lack of distinction between the ideal and the real, as a depiction of the absolute in a particular. This accounts for a polysemantic understanding of a work of art. Schelling focuses attention on the aesthetic essence of art, which is founded on the principles of the beautiful and the sublime. He values beauty in art – as something that ascends from visible forms to prototypes – higher than natural beauty. He associates the sublime with size, “formlessness”, and chaos, and he classifies its expression in art (“the finite”) as symbolic. Schelling is interested in chaos as a potential for every kind of form, because the contemplation of the infinite – i.e., the Absolute as the highest “form in formlessness”, which can only be manifested to the world symbolically – is rooted in chaos. The notion of symbol occupies one of the central places in Schelling’s aesthetics, because it deals with the expression of the infinite in the finite, of the ideal in the real, and of the universal in the particular. The symbol marks and manifests an idea, and this is why the main point of artisticity lies within the symbol. Schelling understands language (speech) as a work of art, and for this reason he sees more symbolic potential in verbal than in pictorial arts. All these ideas in many ways form the foundation of symbolist aesthetics.

APA, Harvard, Vancouver, ISO, and other styles

36

Lamb, Rebekah. "Michael O’Brien’s Theological Aesthetics." Religions 12, no. 6 (June 18, 2021): 451. http://dx.doi.org/10.3390/rel12060451.

Full text

Abstract:

This essay introduces and examines aspects of the theological aesthetics of contemporary Canadian artist, Michael D. O’Brien (1948–). It also considers how his philosophy of the arts informs understandings of the Catholic imagination. In so doing, it focuses on his view that prayer is the primary source of imaginative expression, allowing the artist to operate from a position of humble receptivity to the transcendent. O’Brien studies is a nascent field, owing much of its development in recent years to the pioneering work of Clemens Cavallin. Apart from Cavallin, few scholars have focused on O’Brien’s extensive collection of paintings (principally because the first catalogue of his art was only published in 2019). Instead, they have worked on his prodigious output of novels and essays. In prioritising O’Brien’s paintings, this study will assess the relationship between his theological reflections on the Catholic imagination and art practice. By focusing on the interface between theory and practice in O’Brien’s art, this article shows that conversations about the philosophy of the Catholic imagination benefit from attending to the inner standing points of contemporary artists who see in the arts a place where faith and praxis meet. In certain instances, I will include images of O’Brien’s devotional art to further illustrate his contemplative, Christ-centred approach to aesthetics. Overall, this study offers new directions in O’Brien studies and scholarship on the philosophy of the Catholic imagination.

APA, Harvard, Vancouver, ISO, and other styles

37

Kodalak, Gökhan. "Affective Aesthetics beneath Art and Architecture: Deleuze, Francis Bacon and Vogelkop Bowerbirds." Deleuze and Guattari Studies 12, no. 3 (August 2018): 402–27. http://dx.doi.org/10.3366/dlgs.2018.0318.

Full text

Abstract:

There is an aesthetic undercurrent traversing Deleuze's philosophy along confluent trajectories of Baruch Spinoza and Friedrich Nietzsche, which harbours untapped potentials and far-reaching consequences for contemporary discussions of art and architecture. According to this subterranean stream, aesthetic experience is generated, neither in ready-made mental faculties of a subject, nor in essential qualities of an object, but through affective interactions of a relational field. A cartographic inquiry of affective aesthetics constitutes the subject matter of this paper, beginning with a philosophical elaboration that connects aesthetic theories of Spinoza, Nietzsche and Deleuze, evolving via a comparative analysis of aesthetic processes specific to Francis Bacon's artistic assemblages and Vogelkop bowerbirds' architectural constructs, and concluding with the possibility of a non-anthropocentric aesthetics.

APA, Harvard, Vancouver, ISO, and other styles

38

Ruin, Hans. "Nietzsche and the Aesthetics of Philosophy." Nietzsche-Studien 50, no. 1 (August 18, 2021): 320–28. http://dx.doi.org/10.1515/nietzstu-2021-0016.

Full text

Abstract:

Abstract The review discusses four recent books and collections that approach in different ways the role of aesthetics in Nietzsche’s work, both as a question of poetic expression and as the shaping of sensibility. They testify to a deepening interest in the processes through which he forged his unique style. This involves micro-analyses of the composition of Nietzsche’s writings from the raw material of his notebooks. It also involves biographical and material contexts, as in Tobias Brücker’s monograph on the composition of The Wanderer and His Shadow. Instead of accepting the dichotomy between a Dichterphilosoph and a philosopher for whom style was merely an instrument for formulating truths, these books display in different ways how in the case of Nietzsche this dichotomy breaks down and gives way to a widened concept of philosophical writing that includes many different genres. Other works by Nietzsche discussed are Zarathustra and The Gay Science, and also Ecce Homo. Nietzsche seduced with his art, but he also saw through the art of seduction as practiced by the artist, opting for a position beyond the conventional split between poetics and philosophy.

APA, Harvard, Vancouver, ISO, and other styles

39

Ruin, Hans. "Nietzsche and the Aesthetics of Philosophy." Nietzsche-Studien 50, no. 1 (September 8, 2021): 320–28. http://dx.doi.org/10.1515/nietzstu-2021-500118.

Full text

Abstract:

Abstract The review discusses four recent books and collections that approach in different ways the role of aesthetics in Nietzsche’s work, both as a question of poetic expression and as the shaping of sensibility. They testify to a deepening interest in the processes through which he forged his unique style. This involves micro-analyses of the composition of Nietzsche’s writings from the raw material of his notebooks. It also involves biographical and material contexts, as in Tobias Brucker’s monograph on the composition of The Wanderer and His Shadow. Instead of accepting the dichotomy between a Dichterphilosoph and a philosopher for whom style was merely an instrument for formulating truths, these books display in different ways how in the case of Nietzsche this dichotomy breaks down and gives way to a widened concept of philosophical writing that includes many different genres. Other works by Nietzsche discussed are Zarathustra and The Gay Science, and also Ecce Homo. Nietzsche seduced with his art, but he also saw through the art of seduction as practiced by the artist, opting for a position beyond the conventional split between poetics and philosophy.

APA, Harvard, Vancouver, ISO, and other styles

40

Dreon, Roberta. "Dewey After the End of Art." Contemporary Pragmatism 17, no. 2-3 (July 31, 2020): 146–69. http://dx.doi.org/10.1163/18758185-01701154.

Full text

Abstract:

This article explores the significance of Hegel’s aesthetic lectures for Dewey’s approach to the arts. Although over the last two decades some brilliant studies have been published on the “permanent deposit” of Hegel in Dewey’s mature thought, the aesthetic dimension of Dewey’s engagement with Hegel’s heritage has not yet been investigated. This inquiry will be developed on a theoretical level as well as on the basis of a recent discovery: in Dewey’s Correspondence traces have been found of a lecture on Hegel’s Aesthetics delivered in 1891 within a summer school run by a scholar close to the so-called St. Louis Hegelians. Dewey’s deep and long-standing acquaintance with Hegel’s Aesthetics supports the claim that in his mature book, Art as Experience, he originally appropriated some Hegelian insights. First, Dewey shared Hegel’s strong anti-dualistic and anti-autonomistic conception of the arts, resisting post-Kantian sirens that favored instead an interpretation of art as a separate realm from ordinary reality. Second, they basically converged on an idea of the arts as inherently social activities as well as crucial contributions to the shaping of cultures and civilizations, based on the proximity of the arts to the sensitive nature of man. Third, this article argues that an original re-consideration of Hegel’s thesis of the so-called “end of art” played a crucial role in the formulation of Dewey’s criticism of the arts and of the role of aesthetic experience in contemporary society. The author suggests that we read Dewey’s criticism of the removal of fine art “from the scope of the common or community life” (lw 10, 12) in light of Hegel’s insight that the experience of the arts as something with which believers or citizens can immediately identify belongs to an irretrievable past.

APA, Harvard, Vancouver, ISO, and other styles

41

Trochimska-Kubacka, Beata. "Koncepcja sztuki w filozofii kultury Ernsta Cassirera." Studia Philosophica Wratislaviensia 14, no. 3 (August 27, 2019): 81–99. http://dx.doi.org/10.19195/1895-8001.14.3.6.

Full text

Abstract:

The Concept of Art in Ernst Cassirer’s Philosophy of CultureThe presentation is dedicated to the discussion of the concept of art and aesthetics within Ernst Cassirer’s philosophy of culture. The considerations are connected with an attempt to answer the question about the meaning of art in the system of symbolic forms and the position of aesthetics in Cassirer’s thought. It includes a reconstruction of his position on the tradition of aesthetic thought, including the theory of mimesis and theory of expression, the notion of beauty and imagination. It shows the dialogical, dynamic and communicative nature of culture as viewed by Cassirer. In the context of his intuition of culture art as a “bridge,” the following is discussed: mediation between the “I” and “You,” subjectivity and objectivity, mimesis and creativity, rationality and emotionality. References are made to the positions adopted by Michaela Hinsch, Marion Lauschke, Birgit Recki.

APA, Harvard, Vancouver, ISO, and other styles

42

HEYNICKX, RAJESH. "BRIDGING THE ABYSS: VICTOR BASCH'S POLITICAL AND AESTHETIC MINDSET." Modern Intellectual History 10, no. 1 (April 2013): 87–107. http://dx.doi.org/10.1017/s1479244312000352.

Full text

Abstract:

This essay cross-examines both the correlation and the disjunction between art philosophy and political reason in the thinking of the French Jewish art philosopher, Kant specialist and socialist politician Victor Basch (1863–1944). Two interwoven lines of questioning will be in play. One considers the extent to which Basch's theory of beauty, which was primarily grounded in a psychological theory of Einfühlung, was a corollary to his political ideas and practices. The other line of inquiry raises questions about how Basch's political position, namely his anti-facist defending of republican values, became influenced by his work on aesthetics. By answering both questions, this article challenges the traditional historiography of interwar aesthetics. The esaay shows how conceptual debates of aesthetics were not just sterile theoretical products, but to a large extent offered an apparatus to diagnose and orientate a rapidly changing world. Therefore this essay develops a reflection about the gaze needed to take in the complex historical situations from which aesthetic reflections grew, and which in turn they addressed.

APA, Harvard, Vancouver, ISO, and other styles

43

Holgate, John. "Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?" Proceedings 47, no. 1 (May 15, 2020): 54. http://dx.doi.org/10.3390/proceedings47010054.

Full text

Abstract:

The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.

APA, Harvard, Vancouver, ISO, and other styles

44

Holgate, John. "Informational Aesthetics—What Is the Relationship between Art Intelligence and Information?" Proceedings 47, no. 1 (May 15, 2020): 54. http://dx.doi.org/10.3390/proceedings2020047054.

Full text

Abstract:

The author examines the notion of informational aesthetics. The origin of aesthetics lies in Epicurus’s notion of aesthesis and the integration of artistic activity within ethics and the ‘good life’—as in the aesthetic theory and practice of the East. The debasement of the word ‘aesthetic’ reflects the increasing alienation of beauty from imagination. The fragmentation of art now packaged as media objects in our digital world is the legacy of this alienation. The author retraces the history of the concept of information aesthetics developed in the 1960s by Birkhoff, Bense and Mole and which sought to marry mathematics, computation and semiotics with artistic activity, based on Birkhoff’s aesthetic measure, and to bridge the gap between science and the humanistic imagination. The failure of the cognitive school is attributed to the limitations of its data-driven view of art itself as an affordance of perception (Arnheim). The roles of algorithmically generated art and of Computational Aesthetic Evaluation (CAE) are assessed. An appeal is made to the more fertile conceptual ground of information civilization—an idea developed by Professor Kun Wu. The author introduces the concept of digital iconography and applies it to Renaissance masterpieces such as Raphael’s School of Athens and Leonardo’s Mona Lisa. In conclusion, Informational Aesthetics is identified as a future discipline for the Philosophy of Information.

APA, Harvard, Vancouver, ISO, and other styles

45

Clark, Samantha. "Contemporary Art and Environmental Aesthetics." Environmental Values 19, no. 3 (August 1, 2010): 351–71. http://dx.doi.org/10.3197/096327110x519871.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Di Summa-Knoop, Laura T. "Art Today and Philosophical Aesthetics." Culture and Dialogue 4, no. 2 (October 26, 2016): 246–62. http://dx.doi.org/10.1163/24683949-12340014.

Full text

Abstract:

The demise of grand narratives of art, and the emergence of “post-historical art,” have produced a chasm between the tradition of philosophical aesthetics and the production and reception of contemporary art, a divide that has deprived philosophy of the fundamental role it had played, arguably, until the end of the Modern period. The goal of this paper, which focuses primarily on art after 2000, is to investigate possible venues and directions in the current production and reception of art that might lead to a reconciliation of these two poles and to the advancement of new philosophical strategies for the analysis of art. Specifically, I will concentrate on three aspects of the experience of art today: first, the emphasis, in the production and reception of artworks, on enactive accounts of artistic experience; secondly, the importance given to the ethical content of artworks and to their ability to trigger ethical, social, and political reflection; and, lastly, the growing role of the art market and its structures in the overall appreciation of the arts.

APA, Harvard, Vancouver, ISO, and other styles

47

Dubois, James M., and Peter J. McCormick. "Modernity, Aesthetics, and the Bounds of Art." Philosophical Quarterly 41, no. 165 (October 1991): 506. http://dx.doi.org/10.2307/2220089.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Thomson, K. "Review: Tolstoy on Aesthetics: What is Art?" Mind 112, no. 445 (January 1, 2003): 162–66. http://dx.doi.org/10.1093/mind/112.445.162.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Jones, L. "Contemporary Debates in Aesthetics and the Philosophy of Art." British Journal of Aesthetics 46, no. 3 (July 1, 2006): 313–15. http://dx.doi.org/10.1093/aesthj/ayl009.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Soucek, Brian. "Aesthetics and the Philosophy of Art—The Analytic Tradition." Teaching Philosophy 28, no. 3 (2005): 287–90. http://dx.doi.org/10.5840/teachphil200528337.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!