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Volume I: The development of aesthetics was one of the great accomplishments of eighteenth-century philosophy, as the classical conception of aesthetic experience as a form of knowledge came under pressure from increasing recognition of the emotional impact of art and from increasing emphasis on the value of freedom in the moral and political thought of the century. This opening volume of A History of Modern Aesthetics recounts how philosophers in Britain, France, and Germany developed these new approaches and searched for ways to combine them with the cognitivism of traditional aesthetics. A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely what Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This book tells how these ideas have been synthesized or separated by both the best-known and lesser-known aestheticians of modern times, focusing on Britain, France, and Germany in the eighteenth century; Germany and Britain in the nineteenth; and Germany, Britain, and the United States in the twentieth.
Written by one of Italy's leading contemporary thinkers and available in English for the first time, this book surveys the key themes in Continental aesthetics.
'The Oxford Handbook of Aesthetics' has assembled 48 brand-new essays, making this a comprehensive guide available to the theory, application, history, and future of the field.
Early Modern Aesthetics is a concise and accessible guide to the history of aesthetics in the early modern period. J. Colin McQuillan shows how philosophers concerned with art and beauty positioned themselves with respect to the ancients and the moderns, how they thought the arts were to be distinguished and classified, the principles they proposed for art and literary criticism, and how they made aesthetics a part of philosophy in the eighteenth century. The book explores the controversies that arose among philosophers with different views on these issues, their relation to the philosophy, science, and art, and their legacy for contemporary aesthetics.
Kant’s Critique of Judgment represents one of the most important texts in modern philosophy. However, while its importance for 19th-century philosophy has been widely acknowledged, scholars have often overlooked its far-reaching influence on 20th-century thought. This book aims to account for the various interpretations of Kant’s notion of aesthetic judgment formulated in the last century. The book approaches the subject matter from both a historical and a theoretical point of view and in relation to different cultural contexts, also exploring in an unprecedented way its influence on some very up-to-date philosophical developments and trends. It represents the first choral and comprehensive study on this missing piece in the history of modern and contemporary philosophy, capable of cutting in a unique way across different traditions, movements and geographical areas. All main themes of Kant’s aesthetics are investigated in this book, while at the same time showing how they have been interpreted in very different ways in the 20th century. With contributions by Alessandro Bertinetto, Patrice Canivez, Dario Cecchi, Diarmuid Costello, Nicola Emery, Serena Feloj, Günter Figal, Tom Huhn, Hans-Peter Krüger, Thomas W. Leddy, Stefano Marino, Claudio Paolucci, Anne Sauvagnargues, Dennis J. Schmidt, Arno Schubbach, Scott R. Stroud, Thomas Teufel, and Pietro Terzi.
Contemporary Novelists and the Aesthetics of Twenty-First Century American Life gives us a new way to view contemporary art novels, asking the key question: How do contemporary writers imagine aesthetic experience? Examining the works of some of the most popular names in contemporary fiction and art criticism, including Zadie Smith, Teju Cole, Siri Hustvedt, Ben Lerner, Rachel Kushner, and others, Alexandra Kingston-Reese finds that contemporary art novels are seeking to reconcile the negative feelings of contemporary life through a concerted critical realignment in understanding artistic sensibility, literary form, and the function of the aesthetic. Kingston-Reese reveals how contemporary writers refract and problematize aesthetic experience, illuminating an uneasiness with failure: firstly, about the failure of aesthetic experiences to solve and save; and secondly, the literary inability to articulate the emotional dissonance caused by aesthetic experiences now.
This volume aims to advance our understanding of beauty's role in modern consumer societies by bringing together fresh scholarship that addresses a common set of questions from a variety of disciplinary perspectives, including especially history, but also black studies, women's studies, German studies, sociology, and anthropology.
Values of Beauty discusses major ideas and figures in the history of aesthetics from the beginning of the eighteenth century to the end of the twentieth century. The core of the book features Paul Guyer's essays on the epochal contribution of Immauel Kant, and sets Kant's work in the context of predecessors, contemporaries, and successors including David Hume, Alexander Gerard, Archibald Alison, Arthur Schopenhauer, and John Stuart Mill All of the essays emphasize the complexity rather than isolation of our aesthetic experience of both nature and art; and the interconnection of aesthetic values such as beauty and sublimity on the one hand, and prudential and moral values on the other. Guyer emphasizes that the idea of the freedom of the imagination as the key to both artistic creation and aesthetic experience has been a common thread throughout the modern history of aesthetics, although the freedom of the imagination has been understood and connected to other forms of freedom in a variety of ways.
This collection of essays constitutes the first history of modern Japanese aesthetics in any language. It introduces readers through lucid and readable translations to works on the philosophy of art written by major Japanese thinkers from the late nineteenth century to the present. Selected from a variety of sources (monographs, journals, catalogues), the essays cover topics related to the study of beauty in art and nature. The translations are organized into four parts. The first, "The Introduction of Aesthetics," traces the formation of notions of "beauty," "culture," and "art" in Japan. It includes discussion of the creation of the museum in Japan and the frenetic efforts of Nishi Amane, Okakura Tenshin, Ernest Fenollosa, and Mori Ogai to introduce German, British, and French aesthetic thought to the Japanese. This is followed by three sections that examine the transformation of the aesthetic field into an academic discipline that flourished at three major Japanese universities. "Aesthetics at Waseda University" begins with an essay on the spiritualism and idealism of Onishi Hajime and continues with essays on the impact of German Lebensphilosophie ("philosophy of life") on Shimamura Hogetsu and Takayama Chogyu, and work by the major Waseda aesthetician of the twentieth century, Aizu Yaichi. Thinkers of the Tokyo School adopted a "scientific" method in the study of art theory. Part 3, "Aesthetics at the University of Tokyo," focuses on the ideas of Otsuka Yasuji (holder of the world’s first Chair of Aesthetics), Onishi Yoshinori, Watsuji Tetsuro, Abe Jiro, Takeuchi Toshio, and Imamichi Tomonobu. The section concludes with a look at the contemporary philosopher Sakabe Megumi. The last section, "Aesthetics at the University of Kyoto," includes essays on Nakagawa Shigeki and Fukada Yasukazu, pioneers in the field of aesthetics, and on the philosophy of art of the "Kyoto School," which was deeply inspired by the thought of Nishida Kitaro. Finally the work of Kuki Shuzo, an influential teacher of Western philosophy at the University of Kyoto, is examined. A History of Modern Japanese Aesthetics is a companion volume to Modern Japanese Aesthetics: A Reader (UH Press, 1999).
The history of aesthetics, like the histories of other sciences, may be treated in a two-fold manner: as the history of the men who created the field of study, or as the history of the questions that have been raised and resolved in the course of its pursuit. The earlier History of Aesthetics (3 volumes, 1960-68, English-language edition 1970-74) by the author of the present book was a history of men, of writers and artists who in centuries past have spoken up concerning beauty and art, form and crea tivity. The present book returns to the same subject, but treats it in a different way: as the history of aesthetic questions, concepts, theories. The matter of the two books, the previous and the present, is in part the same; but only in part: for the earlier book ended with the 17th century, while the present one brings the subject up to our own times. And from the 18th century to the 20th much happened in aesthetics; it was only in that period that aesthetics achieved recognition as a separate science, received a name of its own, and produced theories that early scholars and artists had never dreamed of.