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![Aesthetic Judgment as a Measure of Art Talent, etc. [With a plate.]. PDF](https://books.google.com/books/content/images/frontcover/0VjlvgEACAAJ?fife=w150-h200)
Author: Norman Charles Meier
Publisher:
ISBN:
Category :
Languages : en
Pages : 30
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![Aesthetic Judgment as a Measure of Art Talent, etc. [With a plate.]. PDF](https://books.google.com/books/content/images/frontcover/0VjlvgEACAAJ?fife=w80-h100)
Author: Norman Charles Meier
Publisher:
ISBN:
Category :
Languages : en
Pages : 30
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Book Description
Author: Norman Charles Meier
Publisher:
ISBN:
Category : Ability
Languages : en
Pages : 42
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Author: Norman Charles Meier
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author: Norman C. Meier
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author: Norman Charles Meier
Publisher:
ISBN:
Category : Ability
Languages : en
Pages :
Get Book Here
Book Description
Author: Norman Charles Meier
Publisher:
ISBN:
Category :
Languages : en
Pages : 30
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Book Description
Author: Normann Charles Meier
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author: Norman Charles Meier
Publisher:
ISBN:
Category : Ability
Languages : en
Pages : 126
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Author: Thierry de Duve
Publisher: University of Chicago Press
ISBN: 022654673X
Category : Art
Languages : en
Pages : 249
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Book Description
Immanuel Kant’s Critique of Judgment, Thierry de Duve argues in the first volume of Aesthetics at Large, is as relevant to the appreciation of art today as it was to the enjoyment of beautiful nature in 1790. Going against the grain of all aesthetic theories situated in the Hegelian tradition, this provocative thesis, which already guided de Duve’s groundbreaking book Kant After Duchamp (1996), is here pursued in order to demonstrate that far from confining aesthetics to a stifling formalism isolated from all worldly concerns, Kant’s guidance urgently opens the understanding of art onto ethics and politics. Central to de Duve’s re-reading of the Critique of Judgment is Kant’s idea of sensus communis, ultimately interpreted as the mere yet necessary idea that human beings are capable of living in peace with one another. De Duve pushes Kant’s skepticism to its limits by submitting the idea of sensus communis to various tests leading to questions such as: Do artists speak on behalf of all of us? Is art the transcendental ground of democracy? Or, Was Adorno right when he claimed that no poetry could be written after Auschwitz? Loaded with de Duve’s trademark blend of wit and erudition and written without jargon, these essays radically renew current approaches to some of the most burning issues raised by modern and contemporary art. They are indispensable reading for anyone with a deep interest in art, art history, or philosophical aesthetics.
Author: Arthur Pontynen
Publisher: Routledge
ISBN: 1351519638
Category : Art
Languages : en
Pages : 658
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For most of the last century the methodology of art history has followed a positivist approach, emphasizing form and style, fact and history as the means of studying works of art. By contrast the philosophical pursuit of truth, once central to the fine arts and humanities has largely been abandoned. In For The Love of Beauty, Arthur Pontynen offers a searching and ambitious critique of modern aesthetic practice that aims to restore the pursuit of the knowledge of reality--Being--to its rightful place.Pontynen begins by addressing the question of why the pursuit of truth (be it called Dao, Dharma, God, Logos, Ideal, etc.) is no longer acceptable in academic circles even though it has been intrinsic to the purpose of art at most times and in most cultures. Lacking the pursuit of truth, of some degree of knowledge of what is true and good, the humanities necessarily lack intellectual and cultural grounding and purpose. Fields of study such as philosophy, music, art, and history are therefore trivialized and brutalized. Pontynen's focus on the study of the visual arts details the how the denial of purpose and quality in modernist and postmodernist aesthetics has denied art any possibility of transcending entertainment, therapy, or propaganda.In place of the established narratives, Pontynen offers a counter-narrative based on a cross-cultural pursuit of the good, the true, and the beautiful. He recognizes that substantively different cultural traditions exist and that the truth claims of each may be valid in whole or in part. He shows how the history of art parallels the intellectual history of Western culture and how these parallels affect both aesthetics and ethics. Pontynen engages with those elements of modernist and postmodernist thought that might be true. His purpose is not simply to deny their validity but to engage a viewpoint that does not privilege the notion of a purposeless cosmos. For the Love of Beauty will be of interest
