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The practices of beauty -- A market for beauty -- Advertising beauty -- Maligning beauty -- Domesticating beauty -- Selling natural artifice -- Selling the orient -- Selling masculinity.
Peripheral cultures have been largely absent from the European canon of historiography. Seeking to redress the balance, Monika Baár discusses the achievements of five East-Central European historians in the nineteenth century: Joachim Lelewel (Polish); Simonas Daukantas (Lithuanian); Frantisek Palacký (Czech); Mihály Horváth (Hungarian) and Mihail Kogalniceanu (Romanian). Comparing their efforts to promote a unified vision of national culture in their respective countries, Baár illuminates the complexities of historical writing in the region in the nineteenth century. Drawing on previously untranslated documents, Baár reconstructs the scholars' shared intellectual background and their nationalistic aims, arguing that historians on the European periphery made significant contributions to historical writing, and had far more in common with their Western and Central European contemporaries than has been previously assumed.
The global beauty business permeates our lives, influencing how we perceive ourselves and what it is to be beautiful. The brands and firms which have shaped this industry, such as Avon, Coty, Estée Lauder, L'Oréal, and Shiseido, have imagined beauty for us. This book provides the first authoritative history of the global beauty industry from its emergence in the nineteenth century to the present day, exploring how today's global giants grew. It shows how successive generations of entrepreneurs built brands which shaped perceptions of beauty, and the business organizations needed to market them. They democratized access to beauty products, once the privilege of elites, but they also defined the gender and ethnic borders of beauty, and its association with a handful of cities, notably Paris and later New York. The result was a homogenization of beauty ideals throughout the world. Today globalization is changing the beauty industry again; its impact can be seen in a range of competing strategies. Global brands have swept into China, Russia, and India, but at the same time, these brands are having to respond to a far greater diversity of cultures and lifestyles as new markets are opened up worldwide. In the twenty first century, beauty is again being re-imagined anew.
Seven lectures detailing the author’s thoughts on motivations in the pursuit of science and patterns of scientific creativity. “What a splendid book! Reading it is a joy, and for me, at least, continuing reading it became compulsive…. Chandrasekhar is a distinguished astrophysicist and every one of the lectures bears the hallmark of all his work: precision, thoroughness, lucidity.” —Sir Hermann Bondi, Nature Does aesthetics play a role in science? Can it be that science is given impetus by a search for beauty? What relation exists between the beauty of an idea and its power to account for some aspect of the natural world? Throughout his distinguished career, S. Chandrasekhar has given time and thought to these questions and to their implications for his work and the work of others. Truth and Beauty gathers the fruits of his meditations. Heisenberg, observes Chandrasekhar, spoke eloquently of the sheer force of his aesthetic experience when he discovered the key to the quantum theory. Weyl characterized the process of working out his gauge theory as a choice of the beautiful over the true, a choice strongly supported by subsequent research. Einstein also felt the aesthetic power underlying his discoveries. While most of the seven essays in Truth and Beauty deal generally with the nature of science and the process of research, two essays explore the work of individuals. —Edward Arthur Milne and Arthur Stanley Eddington The late S. Chandrasekhar was best known for his discovery of the upper limit to the mass of a white dwarf star, for which he received the Nobel Prize in Physics in 1983. He was the author of many books, including The Mathematical Theory of Black Holes and, most recently, Newton's Principia for the Common Reader.
Though underexplored in contemporary scholarship, the Victorian attempts to turn aesthetics into a science remain one of the most fascinating aspects of that era. In The Outward Mind, Benjamin Morgan approaches this period of innovation as an important origin point for current attempts to understand art or beauty using the tools of the sciences. Moving chronologically from natural theology in the early nineteenth century to laboratory psychology in the early twentieth, Morgan draws on little-known archives of Victorian intellectuals such as William Morris, Walter Pater, John Ruskin, and others to argue that scientific studies of mind and emotion transformed the way writers and artists understood the experience of beauty and effectively redescribed aesthetic judgment as a biological adaptation. Looking beyond the Victorian period to humanistic critical theory today, he also shows how the historical relationship between science and aesthetics could be a vital resource for rethinking key concepts in contemporary literary and cultural criticism, such as materialism, empathy, practice, and form. At a moment when the tumultuous relationship between the sciences and the humanities is the subject of ongoing debate, Morgan argues for the importance of understanding the arts and sciences as incontrovertibly intertwined.
Showing how the aesthetic delights of thought, analysis, research, and discovery are leading components of the scientific mind and process, he examines everything from snowflakes to the overall makeup of the space-time continuum. He explores these concepts and others including the golden mean, evolution, symmetry in nature, as well as imaginary numbers and irrationality as proof of beauty in science. He presents truth as a state of beauty - and beauty as the embodiment of truth. This book will appeal to lay people and scientists alike.