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This is an analytical survey of the thought about painting and sculpture as it unfolded from the early eighteenth to the mid-nineteenth centuries. This was the period during which theories of the visual arts, particularly of painting and sculpture, underwent a radical transformation, as a result of which the intellectual foundations of our modern views on the arts were formed. Because this transformation can only be understood when seen in a broad context of cultural, aesthetic, and philosophical developments of the period, Moshe Barasch surveys the opinions of the artists, and also treats in some detail the doctrines of philosophers, poets, and critics. Barasch thus traces for the reader the entire development of modernism in art and art theory.
Since the 1990s, following the end of postmodernism, literary theory has lost much of its dynamics. This book aims at revitalising literary theory exploring two of its historical bases: German poetics and aesthetics. Beginning in the 1770s and ending in the 1950s, the book examines nearly 200 years of this history, thereby providing the reader with a first history of poetics as well as with bibliographies of the subject. Particular attention is paid to the aesthetics and poetics of popular philosophy, of the Hegel-school, empirical and psychological tendencies in the field since the 1860s, the first steps towards a plurality of methods (1890-1930), theoretical confrontations during the Nazi-period as well as the rise of formalist and anthropological approaches from the 1930s onwards. All approaches are evaluated regarding their relevance for academia as well as for the general history of education. If possible, international references and contexts of the relevant theories are taken into account. In sum, the analysis not only shows how differentiated historical accounts in the field were but also reflects how current literary theory could move forward through the rediscovery of sunken ideas.
This second book in Moshe Barasch's series on art theory surveys the development of the field from the early eighteenth to the mid-nineteenth centuries. During this period theories of the visual arts, particularly of painting and sculpture, underwent a radical transformation, as a result of which the intellectual foundations of our modern views on the arts were formed. Because this transformation can only be understood within the context of cultural, aesthetic, and philosophical developments of the period, Barasch surveys the opinions of the artists, as well as the doctrines of philosophers, poets and critics. He thus traces for the reader the entire development of modernism in art and art theory.
First published in 1927, this translation of Kulpe’s ‘Einleitung in die Philosophie’, 1895, covered psychology, logic, ethics, esthetics and general philosophy. The author adopted a uniform approach of positivity, interest and impartiality, aiming his work at a wider public than students of philosophy. The volume was intended as an elementary but complete guide to philosophy, past and present and included facts and arguments previously confined to philosophical encyclopaedias.
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.