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In Zhu Guangqian and Benedetto Croce on Aesthetic Thought, Mario Sabattini analyses Croce’s influence on the aesthetic thought of Zhu Guangqian. Zhu Guangqian is one of the most representative figures of contemporary Chinese aesthetics. Since the '30s, he had an active role in China both on the literary and philosophical scenes, and, through his writings, he exerted an important influence in the moulding of numerous generations of intellectuals. Some of his works have been widely read, and they still provoke considerable interest in China, on the mainland as well as in Taiwan and Hong Kong. The volume also presents a revised translation of Zhu Guangqian’s Wenyi xinlixue (Psychology of Art and Literature).
The Routledge Companion to Death and Literature seeks to understand the ways in which literature has engaged deeply with the ever-evolving relationship humanity has with its ultimate demise. It is the most comprehensive collection in this growing field of study and includes essays by Brian McHale, Catherine Belling, Ronald Schleifer, Helen Swift, and Ira Nadel, as well as the work of a generation of younger scholars from around the globe, who bring valuable transnational insights. Encompassing a diverse range of mediums and genres – including biography and autobiography, documentary, drama, elegy, film, the novel and graphic novel, opera, picturebooks, poetry, television, and more – the contributors offer a dynamic mix of approaches that range from expansive perspectives on particular periods and genres to extended analyses of select case studies. Essays are included from every major Western period, including Classical, Middle Ages, Renaissance, and so on, right up to the contemporary. This collection provides a telling demonstration of the myriad ways that humanity has learned to live with the inevitability of death, where “live with” itself might mean any number of things: from consoling, to memorializing, to rationalizing, to fending off, to evading, and, perhaps most compellingly of all, to escaping. Engagingly written and drawing on examples from around the world, this volume is indispensable to both students and scholars working in the fields of medical humanities, thanatography (death studies), life writing, Victorian studies, modernist studies, narrative, contemporary fiction, popular culture, and more.
This 1913 volume explores the philosophical significance of the concepts of beauty and aesthetic preference.
A revised second edition of the bestselling anthology on the major figures and themes in aesthetics and philosophy of art, the ideal resource for a comprehensive introduction to the study of aesthetics Aesthetics: A Comprehensive Anthology offers a well-rounded and thorough introduction to the evolution of modern thought on aesthetics. In a collection of over 60 readings, focused primarily on the Western tradition, this text includes works from key figures such as Plato, Hume, Kant, Nietzsche, Danto, and others. Broad in scope, this volume also contains contemporary works on the value of art, frequently-discussed continental texts, modern perspectives on feminist philosophy of art, and essays by authors outside of the community of academic philosophy, thereby immersing readers in an inclusive and balanced survey of aesthetics. The new second edition has been updated with contemporary essays, expanding the volume’s coverage to include the value of art, artistic worth and personal taste, questions of aesthetic experience, and contemporary debates on and new theories of art. This edition also incorporates new and more standard translations of Kant's Critique of the Power of Judgment and Schopenhauer's The World as Will and Representation, as well as texts by Rousseau, Hegel, DuBois, Alain Locke, Budd, Robinson, Saito, Eaton and Levinson. Presents a comprehensive selection of introductory readings on aesthetics and philosophy of art Helps readers gain a deep historical understanding and clear perspective on contemporary questions in the field Offers new essays specifically selected to promote inclusivity and to highlight contemporary discussions Introduces new essays on topics such as environmental and everyday aesthetics, evolutionary aesthetics, and the connections between aesthetics and ethics Appropriate for both beginning and advanced students of philosophical aesthetics, this selection of texts initiates readers into the study of the foundations of and central developments in aesthetic thought.
The Oxford Handbook of German Philosophy in the Nineteenth Century is the first collective critical study of this important period in intellectual history. The volume is divided into four parts. The first part explores individual philosophers, including Fichte, Hegel, Schopenhauer, Marx, and Nietzsche, amongst other great thinkers of the period. The second addresses key philosophical movements: Idealism, Romanticism, Neo-Kantianism, and Existentialism. The essays in the third part engage with different areas of philosophy that received particular attention at this time, including philosophy of nature, philosophy of mind, philosophy of language, philosophy of history, and hermeneutics. Finally, the contributors turn to discuss central philosophical topics, from skepticism to mat-erialism, from dialectics to ideas of historical and cultural Otherness, and from the reception of antiquity to atheism. Written by a team of leading experts, this Handbook will be an essential resource for anyone working in the area and will lead the direction of future research.
Adrian Stokes (1902-72) - aesthete, critic, painter and poet - is among the most original and creative writers on art of the twentieth century. He was the author of over twenty critical books and numerous papers: for example, the remarkable series of books published in the 1930s; The Quattro Cento (1932), Stones of Rimini (1934), and Colour and Form (1937) that embraced Mediterranean culture and modernity. His criticism extends the evocative English aesthetic tradition of Walter Pater and John Ruskin into the present, endowed by a stern sensibility to the consolations offered by art and architecture, and the insights that psychoanalysis affords. Indeed, for Stokes architecture provides the entree into art, and this book is the first study to comprehensively examine Stokess theory of art from a specifically architectonic perspective. The volume explores the crucial experiences through which this architectonic awareness evolved; traces the influence upon Stokes of places, texts and personalities, and examines how his theory of art developed and matured. The argument is supported by appropriate illustrations to confirm the evidence that Stokess claim for architecture as mother of the arts carries the deepest experiential and psychological import.
The psychology of aesthetics and the arts is dedicated to the study of our experiences of the visual arts, music, literature, film, performances, architecture and design; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world. The Cambridge Handbook of the Psychology of Aesthetics and the Arts is a foundational volume presenting an overview of the key concepts and theories of the discipline where readers can learn about the questions that are being asked and become acquainted with the perspectives and methodologies used to address them. The psychology of aesthetics and the arts is one of the oldest areas of psychology but it is also one of the fastest growing and most exciting areas. This is a comprehensive and authoritative handbook featuring essays from some of the most respected scholars in the field.
This book investigates the wide-ranging connections between sculpture, sexuality, and history in Western culture from the eighteenth century to the present. Sculpture has offered a privileged site for the articulation of sexual experience and the formation of sexual knowledge. As historical objects, sculptures also draw attention to the different ways in which knowledge about sexuality is facilitated through an engagement with the past. Bringing together contributors from across disciplines, including art history, classics, film studies, gender studies, history, literary studies, museum studies, queer theory and reception studies, the volume presents original readings of sculptural art in relation to antiquarianism, aesthetics, collecting cultures, censorship and obscenity, psychoanalysis, sexology, and the experience and regulation of museum spaces. It examines how sculptural encounters were imagined and articulated in literature, painting, film and science. As a whole, the book opens up a new understanding of the ways in which sculptures, as real or imagined objects, have fundamentally shaped approaches to and receptions of the past in relation to sex, gender and sexuality. Chapters 8 and 10 of this book are available open access under a CC BY 4.0 license at link.springer.com.