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Yulia Karpova

2 Technical aesthetics against the disorder of things In March 1964 Dekorativnoe Iskusstvo SSSR published an overview of modern modular furniture. It opened with a description of modern objects’ rapid intervention in the home: The TV set required rearrangement. Turning its back to the light, it oriented the recreation zone around itself. This attracted soft chairs, a collapsible sofa, a coffee table and decorative objects, whereas a dining table, which used to occupy an honourable central place in the room, had to move closer to the wall. Doing so, it did not

in Comradely objects
James Uden

Scholars of eighteenth-century literature have long seen the development of the Gothic as a break from neoclassical aesthetics, but this article posits a more complex engagement with classical imitation at the origins of the genre. In Horace Walpole’s formative Gothic novel The Castle of Otranto, his Gothic drama The Mysterious Mother, and in the curiosities in his villa, classical elements are detached from their contexts and placed in startling and strange juxtapositions. His tendency towards the fragmentation of ancient culture, frequently expressed through the imagery of dismemberment, suggests an aesthetic not of imitation, but of collection. Moreover, rather than abandoning or ignoring the classical, Walpole reconfigures literary history to demonstrate elements of monstrosity and hybridity already present in Greek and Roman texts.

Gothic Studies
From Kant to Nietzsche
Author: Andrew Bowie

In 1796 a German politico-philosophical manifesto proclaims the 'highest act of reason' as an 'aesthetic act'. The ways in which this transformation relates to the development of some of the major directions in modern philosophy is the focus of this book. The book focuses on the main accounts of the human subject and on the conceptions of art and language which emerge within the Kantian and post-Kantian history of aesthetics. Immanuel Kant's main work on aesthetics, the 'third Critique', the Critique of Judgement, forms part of his response to unresolved questions which emerge from his Critique of Pure Reason and Critique of Practical Reason. The early Romantics, who, after all, themselves established the term, can be characterized in a way which distinguishes them from later German Romanticism. The 'Oldest System Programme of German Idealism', is a manifesto for a new philosophy and exemplifies the spirit of early Idealism, not least with regard to mythology. The crucial question posed by the Friedrich Wilhelm Joseph Schelling of the System of Transcendental Idealism (STI) is how art relates to philosophy, a question which has recently reappeared in post-structuralism and in aspects of pragmatism. Despite his undoubted insights, Georg Wilhelm Friedrich Hegel's insufficiency in relation to music is part of his more general problem with adequately theorising self-consciousness, and thus with his aesthetic theory. Friedrich Schleiermacher argues in the hermeneutics that interpretation of the meaning of Kunst is itself also an 'art'. The book concludes with a discussion on music, language, and Romantic thought.

John McAleer

in mediating new lands, people and places to European travellers and their readers in Britain. But what was the picturesque; what impact did it have and did this stretch beyond the realm of aesthetics and art into those of politics and society? 5 One thing that was generally agreed upon was the pre-eminence of viewing, visualisation and the visual in the construction and mediation of the

in Representing Africa
Carl Lavery

, in my view, calls out for further clarification: his commitment to a utopian view of revolution, characterised by anti-Statism, aesthetics and radical equality. Unlike other critics such as Jérème Neutre ( 2002 ), Eric Marty ( 2003 ) and Bharucha who, with very different agendas in mind, have stressed how Genet politics are conditioned by a hatred of the West, I want to emphasise, instead, his commitment to inclusivity. For me, Genet’s rejection of the West has less do with an attraction to the idea of the global South, as Neutre implies, than it does with

in The politics of Jean Genet’s late theatre
Alan Warde, Jessica Paddock, and Jennifer Whillans

. Not that aesthetics are the sole criterion for their recommendations; consistency, price and accessibility are also grounds for competition between commercial organisations. Promotion of commodities in terms of aesthetic merit has accelerated since the 1980s ( Haug, 1986 ). Encouragement of knowing and talking about style and taste is a second factor. Many people, explicitly or tacitly, recognise that taste is an expression of self-identity. Consumer choice is assumed to be a domain where personal judgement is freely exercised and where the tastes revealed will be

in The social significance of dining out
¿Qué he hecho yo para merecer esto?
Ana María Sánchez-Arce

feísmo (ugly aesthetics) of the real apartment blocks in the Concepción. Almodóvar’s attention to the detail of social reality makes this one of his most difficult films to place. It is not realist, or overtly postmodern, or pop like his early films. Nevertheless, there is still humour and splashes of surrealism, including the presence of a pet lizard and the abrupt shifts to television programmes. The film’s black comedy also makes it difficult to classify. As Almodóvar comments: What Have I Done to Deserve This? is a film where again one finds several

in The cinema of Pedro Almodóvar
Clive Cazeaux

9 Aesthetics as ecology, or the question of the form of eco-art Clive Cazeaux Although the origins of ecological art or eco-art (I shall use the latter name from here on) are relatively easy to identify, the full meaning and scope of the name are not so easy to determine. The emergence of eco-art as a visual art form is arguably the result of a number of interrelated factors in the 1960s: American and United Kingdom countercultures, including disillusionment with government and material wealth; conceptual art’s reaction against traditional aesthetic values

in Extending ecocriticism
Daniel Orrells

10 •• Decadent aesthetics and Richard Marsh’s The Mystery of Philip Bennion’s Death Daniel Orrells Richard Marsh was writing at a particular moment in the history of the commodity and mass consumption.1 The fin de siècle witnessed a specific interest in objects – curios – the subject of much of Marsh’s writing. The fascination with the curio reflected changes in habits and cultures of collecting. In France in post-revolutionary fervour, as Janell Watson outlines, ‘many precious decorative art objects, luxurious household goods, and religious cult objects f

in Richard Marsh, popular fiction and literary culture, 1890–1915
María Pilar Rodríguez

with no focus on cinematic productions. This chapter aims to address this imbalance by exploring the presence of punk aesthetics (or the lack thereof) in Salto al vacío and Historias del Kronen in the theoretical context of New Punk Cinema. Nicholas Rombes states that from the beginning of the 1990s a series of films emerged in different parts of the world, which became highly popular among mainstream audiences – films that

in Screening songs in Hispanic and Lusophone cinema