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This book examines the incorporation of newly accessible mass media into practices of religious mediation in a variety of settings including the Pentecostal Church and Islamic movements, as well as the use of religious forms and image in the sphere of radio and cinema.
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Augustine's dominant image for the human life is peregrinatio, which signifies at once a journey to the homeland (a pilgrimage) and the condition of exile from the homeland. For Augustine, all human beings are, in the earthly life, exiles from their true homeland: heaven. Some, but not all, become pilgrims seeking a way back to the heavenly homeland, a return mediated by the incarnate Christ. Becoming a pilgrim begins with attraction to beauty. The return journey therefore involves formation, both moral and aesthetic, in loving rightly. This image has occasioned a lot of angst in ethical thought in the last century. Augustine's vision of Christian life as a pilgrimage, his critics allege, casts a pall of groaning and longing over this life in favor of happiness in the next. Augustine's eschatological orientation robs the world of beauty and ethics of urgency. In Pilgrimage as Moral and Aesthetic Formation in Augustine's Thought, Sarah Stewart-Kroeker responds to Augustine's critics by elaborating the Christological continuity between the earthly journey and the eschatological home. Through this cohesive account of pilgrimage as a journey toward the right ordering of the desire for beauty and love for God and neighbour, Stewart-Kroeker reveals the integrity of Augustine's vision of moral and aesthetic vision. From the human desire for beauty to the embodied practice of Christian sacraments, Stewart-Kroeker develops an account of the relationship between beauty and morality as the linchpin of an Augustinian moral theology.
Discussion of John Stuart Mill's ethics has been dominated by concern with right and wrong action as determined by the principle of utility. Colin Heydt's book unearths the rich context of moral and socio-political debate that Mill did not have to make explicit to his Victorian readers, in order to enrich the philosophical analysis of his ethics and to show a famous and misunderstood moralist in a new light.
This volume is the first English language presentation of the innovative approaches developed in the aesthetics of religion. The chapters present diverse material and detailed analysis on descriptive, methodological and theoretical concepts that together explore the potential of an aesthetic approach for investigating religion as a sensory and mediated practice. In dialogue with, yet different from, other major movements in the field (material culture, anthropology of the senses, for instance), it is the specific intent of this approach to create a framework for understanding the interplay between sensory, cognitive and socio-cultural aspects of world-construction. The volume demonstrates that aesthetics, as a theory of sensory knowledge, offers an elaborate repertoire of concepts that can help to understand religious traditions. These approaches take into account contemporary developments in scientific theories of perception, neuro-aesthetics and cultural studies, highlighting the socio-cultural and political context informing how humans perceive themselves and the world around them. Developing since the 1990s, the aesthetic approach has responded to debates in the study of religion, in particular striving to overcome biased categories that confined religion either to texts and abstract beliefs, or to an indisputable sui generis mode of experience. This volume documents what has been achieved to date, its significance for the study of religion and for interdisciplinary scholarship.
Part treatise, part critique, part call to action, Reclaiming Art in the Age of Artifice is a journey into the uncanny realities revealed to us in the great works of art of the past and present. Received opinion holds that art is culturally-determined and relative. We are told that whether a picture, a movement, a text, or sound qualifies as a "work of art" largely depends on social attitudes and convention. Drawing on examples ranging from Paleolithic cave paintings to modern pop music and building on the ideas of James Joyce, Oscar Wilde, Gilles Deleuze, Carl Jung, and others, J.F. Martel argues that art is an inborn human phenomenon that precedes the formation of culture and even society. Art is free of politics and ideology. Paradoxically, that is what makes it a force of liberation wherever it breaks through the trance of humdrum existence. Like the act of dreaming, artistic creation is fundamentally mysterious. It is a gift from beyond the field of the human, and it connects us with realities that, though normally unseen, are crucial components of a living world. While holding this to be true of authentic art, the author acknowledges the presence—overwhelming in our media-saturated age—of a false art that seeks not to liberate but to manipulate and control. Against this anti-artistic aesthetic force, which finds some of its most virulent manifestations in modern advertising, propaganda, and pornography, true art represents an effective line of defense. Martel argues that preserving artistic expression in the face of our contemporary hyper-aestheticism is essential to our own survival. Art is more than mere ornament or entertainment; it is a way, one leading to what is most profound in us. Reclaiming Art in the Age of Artifice places art alongside languages and the biosphere as a thing endangered by the onslaught of predatory capitalism, spectacle culture, and myopic technological progress. The book is essential reading for visual artists, musicians, writers, actors, dancers, filmmakers, and poets. It will also interest anyone who has ever been deeply moved by a work of art, and for all who seek a way out of the web of deception and vampiric diversion that the current world order has woven around us.
Aesthetic practices shape and are shaped by spatial formations. The essays in this volume survey configurations of spaces as macro, micro and meso, and study from a transregional perspective the ways they are created, described, negotiated, and appropriated across cultures. The interdisciplinary studies range from art history to anthropology and literary studies, and investigate the interdependence between material forms and environmental contexts. They explore the periodic reinvention of spaces through architectural, pictorial, and discursive practices. This includes the geographical migration of images, objects, and practices from one space to another, across a variety of constellations and spatial scales, and the accretion of cultural values around such migration. Case studies range from a religious temple under construction in today's Sao Paolo, the place of African art in the museum collections of the former GDR, 18th-century religious architecture in Beirut, the historicization of modernist architecture in Iraq, the pictorial evocations of sacred rivers in 16th-century India, literary descriptions of the Mughal capital Fatpur Sikri, to cosmological arrangements in Buddhist caves of the 6th century, among other topics.
Bridging the gap between cognition and culture, this handbook explores both social scientific and humanities approaches to understanding the physical processes of religious life, tradition, practice, and belief. It reflects the cultural turn within the study of religion and puts theory to the fore, moving beyond traditional theological, philosophical, and ethnographic understandings of the aesthetics of religion. Editors Anne Koch and Katharina Wilkens bring together research in cultural studies, cognitive studies, material religion, religion and the arts, and epistemology. Questions of identity, gender, ethnicity, and postcolonialism are discussed throughout. Key topics include materiality, embodiment, performance, popular/vernacular art and space to move beyond a sensory understanding of aesthetics. Emerging areas of research are covered, including secular aesthetics and the aesthetic of spirits. This is an important contribution to theory and method in the study of religion, and is grounded in research that has been taking place in Europe over the past 20 years. Case studies are drawn from around the world with contributions from scholars based in Europe, the USA, and Australia. The book is illustrated with over 40 color images and features a foreword from Birgit Meyer.
These diverse essays recast the place of aesthetics in production & consumption of American literature. Contributors showcase the interpretive possibilities available to those who bring politics, culture, ideology, & conceptions of identity into their critiques, combining close readings of individual works & authors with theoretical discussions.
This volume presents a historical-textual study about transformations of the aesthetics of the sublime—the literary and aesthetic quality of greatness under duress —from early English Romanticism to the New Poetry Movement in twentieth-century China. Zheng sets up the former and the latter as distinct but historically analogous moments and argues that both the European Romantic reinvention of the sublime and its later Chinese transformation represent cultural movements built on the excessive and capacious nature of the sublime to counter their shared sense of historical crisis. The author further postulates through a critical analysis of Edmund Burke's Inquiry into the Origins of Our Ideas of the Sublime and Beautiful, William Wordsworth's Prelude, and Guo Moruo's experimental poem "Fenghuang Niepan" ("Nirvana of the Phoenix") and verse drama Qu Yuan that these aesthetic practices of modernity suggest a deliberate historical hyperbolization of literary agency. Such an agency is in turn constructed imaginatively and affectively as a means to redress different cultures' traumatic encounter with modernity. The volume will be of interest to scholars including graduate students of Romanticism, philosophy, history, English literature, Chinese literature, comparative literature, and (comparative) cultural studies.