Ambiguity in Contemporary Art and Theory
Ambiguity in Contemporary Art and Theory

Author: Frauke Berndt

Publisher: Felix Meiner Verlag

Published: 2018-04-06

Total Pages: 225

ISBN-13: 3787334262

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It has become commonplace to associate art and aesthetic experience with the category of ambiguity. Indeed, when we talk about art, we cannot do without the dynamic force of ambiguity just as the aesthetic itself cannot do without it. The great efforts to disambiguate aesthetic practices and their associated theories and contexts would eliminate art's unique ability to reshape our knowledge of the world, our sensory encounters with it, and our moral or political positions in it. The essays collected in this volume present different perspectives on this central category and develop interdisciplinary connections. Contributors include Frauke Berndt, Joy H. Calico, Stephan Kammer, Lutz Koepnick, Verena Krieger, Richard Langston, Rachel Mader, Lily Tonger-Erk, Gabriel Trop, and Thomas Wortmann.

Central concepts of aesthetics - a proposal for their application
Central concepts of aesthetics - a proposal for their application

Author: Wolfgang Ruttkowski

Publisher: GRIN Verlag

Published: 2002-10-18

Total Pages: 13

ISBN-13: 3638148416

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Scientific Essay from the year 1999 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), grade: none, , language: English, abstract: I. Prior attempts at sub-dividing aesthetic concepts II. Some preliminary questions: 1. How do we use the term “Art”? 2. What is the difference between “Art Object” and “Aesthetic Object”? 3. If the “aesthetic” and “artistic” value of an artifact are not the same, what is their relevancy for original works OF of art and their perfect copies? 4. Can Art in spite of its dependency on the “Art World” and on its recipients, contain generally valid meaning? III. The central concepts “aesthetic - artistic - beautiful” IV. Intersections of the central concepts V. The nomenclature of Aesthetic Qualities, Experiences, and Objects VI. Summary in the form of suggestions (In: Acta Humanistica, Humanities S. No. 26, March 1999, 203-222)

A Critical History of Modern Aesthetics
A Critical History of Modern Aesthetics

Author: Earl of Listowel

Publisher: Routledge

Published: 2016-05-05

Total Pages: 291

ISBN-13: 1317210875

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First published in 1933. The purpose of this work was to bridge a gap in English philosophical literature by completing the elaborate history of Bosanquet and to stimulate and enrich the whole study of aesthetics by means of his personal destructive and constructive criticism. This title will be of interest to students of philosophy.

Our concept of art in light of the strata theory
Our concept of art in light of the strata theory

Author: Wolfgang Ruttkowski

Publisher: GRIN Verlag

Published: 2008-01-09

Total Pages: 14

ISBN-13: 3638889068

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Essay from the year 1996 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), grade: keine, , language: English, abstract: Dieser Aufsatz ist eine Fortsetzung der schichtenästhetischen Arbeiten des Autors, die in deutscher Sprache erschienen sind. Es wird versucht, ein "synthetisches Modell" der stratologischen Kunstkonzepte von Nicolai Hartmann und Roman Ingarden für einen ontologischen Vergleich von vier ganz verschiedenen Gegenständen zu nutzen: einen Gebrauchsgegenstand, ein kunstgewerbliches Objekt, sowie für je ein Kunstwerk der Literatur und der Musik. Die dabei gewonnenen Einsichten über die besondere Daseinsstruktur von Kunst lassen überraschende und in ihrer philosophischen Begründung neue Aufschlüsse über Grenzen der Wirkungsmöglichkeit "moderner" Kunstarten zu. Der Aufsatz beginnt und endet mit Reflexionen über die zeitliche Begrenztheit und eingeschränkte Gültigkeit unserer Kunstkonzepte überhaupt.

German Art History and Scientific Thought
German Art History and Scientific Thought

Author: MitchellB. Frank

Publisher: Routledge

Published: 2017-07-05

Total Pages: 209

ISBN-13: 1351565729

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A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich W?lfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.

Adorno’s Aesthetics as a Literary Theory of Art
Adorno’s Aesthetics as a Literary Theory of Art

Author: Mario Farina

Publisher: Springer Nature

Published: 2020-06-23

Total Pages: 252

ISBN-13: 3030452816

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This book re-examines Adorno’s aesthetics, developing a new literary approach that aims to unveil hidden elements of Adorno’s thought. Farina proposes to read Adorno’s aesthetics as a literary theory of art, showing its efficacy in its comprehension of the most advanced trends of contemporary literature. As a result, this book provides an image of Adorno’s aesthetics as a complete, satisfying and consistent philosophy of literature, a robust theory which is able to stand its ground in contemporary aesthetic debate. Challenging the prevalent prejudice that defines Adorno’s thought, and especially his aesthetics, as ‘modernist’, Farina argues that Adorno's philosophy of literature shows its value precisely in its application to and comprehension of postmodern literature, such as the works of Thomas Pynchon, Don DeLillo and David Foster Wallace. Precise and compelling, this book provides a new paradigm for understanding Adorno’s theory of artwork, serving as an essential reference for researches investigating the relation between classical critical theory and contemporary art.