Books on the topic 'Aesthetic attention'
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1
Cronin, Catherine Anne. Are contemporary visual artists exchanging aesthetic values and meaningful content for shock tactics and sensation to gain instant acclaim and public attention. London: LCP, 2001.
2
Sdegno, Emma, Martina Frank, Pierre-Henry Frangne, and Myriam Pilutti Namer. John Ruskin’s Europe. A Collection of Cross-Cultural Essays With an Introductory Lecture by Salvatore Settis. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-487-5.
Abstract:
Ruskin’s work is strongly inscribed in the great European context, marking an important moment in the movement for the establishment of a community culture and spirit. The essays collected here intend to place the theme of Ruskin’s fruitful and essential relationship with Europe at the centre of a critical reflection, presenting themselves as opportunities for an in-depth study and a discussion on issues related to aesthetics, the protection of material and immaterial heritage, cultural and literary memory. By bringing to the attention of the scientific community the multiple aspects – geographic, historical-artistic, critical-aesthetic, literary, socio-political – of Ruskin’s work from inter- and transcultural perspectives, the volume aims to (re)discover a deliberately European Ruskin and to stimulate new research routes.
3
Volodina, Elena. Materials science: Design, architecture: in 2 t. Volume 1. ru: INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1039908.
Abstract:
The first volume of the textbook describes the main groups of building and finishing materials and products, their structure and properties.
Special attention is paid to the actual finishing materials, as well as their ecological and aesthetic features, which are important for creating an expressive subject-spatial environment.
The well-thought-out structure of the book allows you to successfully master the discipline in different formats of vocational education: secondary vocational, bachelor's, master's, professional retraining. The volume of the studied material is determined by the teacher in accordance with the requirements of the Federal State Educational Standard of the latest generation and the work program.
It is intended for students in the areas of training "Design", "Environment Design", "Architectural environment Design", "Architecture", "Architectural design". It will also be useful as a reference for practicing designers, architects, restorers, builders, teachers of materials science and a wide range of people interested in this field of knowledge.
4
Volodina, Elena. Materials Science: Design, architecture. ru: INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1046078.
Abstract:
The second volume of the textbook contains information about finishing materials, products and engineering systems in relation to the interior design of a modern building. Special attention is paid to the actual finishing materials, as well as their ecological and aesthetic characteristics, which are important for creating an expressive subject-spatial environment.
The well-thought-out structure of the book allows you to successfully master the discipline in different formats of vocational education: secondary vocational, bachelor's, master's, professional retraining. The volume of the studied material is determined by the teacher in accordance with the work program.
The content meets the requirements of the federal state educational standards of higher education of the latest generation.
It is intended for students in the areas of training "Design", "Environment Design", "Architectural environment Design", "Architecture", "Architectural design". It will also be useful as a reference for practicing designers, architects, restorers, builders, teachers of materials science and a wide range of people interested in this field of knowledge.
5
Serafimova, Vera, Ivan Pankeev, and L. G. Tyurina. History of Russian literature of the XX-XXI centuries. ru: INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1866868.
Abstract:
The textbook consists of review and monographic chapters, presents a modern view of the literary process of the XX — early XXI century, examines the work of poets, novelists, playwrights who caused an extraordinary rise in spirituality and culture of the period under consideration. The analysis of the top works of Nobel Prize laureates is given: I. Bunin, B. Pasternak, M. Sholokhov, A. Solzhenitsyn, I. Brodsky, writers- front—line poets and prose writers. Attention is paid to the work of writers of Russian emigration. The section "Modern prose" includes materials on philosophical and aesthetic searches in the works of such writers as V. Rasputin, L. Borodin, Yu. Polyakov, B. Ekimov, A. Bitov, V. Makanin, A. Kabakov, V. Tokareva, etc.
It offers questions and tasks for independent work, topics of abstracts, term papers and theses, a list of bibliographic sources.
Meets the requirements of the federal state educational standards of higher education of the latest generation.
Designed for students of higher educational institutions.
6
Serafimova, Vera. History of Russian literature of XX-XXI centuries. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1138897.
Abstract:
The textbook consists of review and monographic chapters, presents a modern view of the literary process of the XX-beginning of the XXI century, examines the work of poets, prose writers, playwrights who caused an extraordinary rise in spirituality and culture of the period under consideration. The analysis of the top works of Nobel prize winners: I. Bunin, B. Pasternak, M. Sholokhov, A. Solzhenitsyn, V. Shalamov, I. Brodsky, writers-front — line poets and prose writers is given. Attention is paid to the work of writers of Russian emigration. The section "Modern prose" includes materials about philosophical and aesthetic searches in the works of such writers As V. Rasputin, L. Borodin, Yu. Polyakov, B. Ekimov, A. Bitov, V. Makanin, A. Kabakov, V. Tokareva, etc. It offers questions and tasks for independent work, topics of essays, term papers and theses, a list of bibliographic sources. Meets the requirements of the Federal state educational standards of higher education of the latest generation. It is intended for students of higher educational institutions.
7
Price, Lew Paxton. The oldest magic: The prehistory, ancient history, nature of, and early influence of music, with special attention to the role of the flute. Garden Valley, CA: L.P. Price, 1995.
8
Stewart, Garrett. Attention Spans. Edited by David LaRocca. Bloomsbury Publishing Inc, 2024. http://dx.doi.org/10.5040/9798765102268.
Abstract:
Attention Spans’ chronological review of Garrett Stewart’s critical approach tracks and maps the evolution of intersecting disciplines from late New Criticism through structuralism, deconstruction, narrative theory (by way of narratography), poetics, and media studies, in which Stewart’s has been so persistent and so eloquent a voice. Excerpts from his twenty books are framed by editorial retrospect, then linked by Stewart’s own commentary on the variety – and underlying vectors – of his interpretive career across aesthetic forms, from Victorian narrative to recent American fiction, classic celluloid cinema to postfilmic digital effects, inert book sculpture and literary wordplay to the soundscape of singing on screen. Accompanied by a glossary of his many influential coinages, this cornucopia of analyses is also a chronicle of evolving paradigms in the work of intensive reading.
9
Lanzendörfer, Anselma. Designated Attention. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.11.
Abstract:
During the nineteenth century, new ideas about how to listen to music were developed. This chapter analyzes concert programs from the Leipzig Gewandhaus from the late eighteenth century through the mid-nineteenth. It looks at one aspect that has been largely ignored: the actual form that the announcements of music in concert programs took. Designations of musical pieces began to provide more and more information, specifying details such as composers’ name, key, running number, tempo and mood markings, and programmatic titles. This development was asynchronous and uneven, encompassing some composers and genres much earlier and more thoroughly than others. This chapter argues that the designations of works of music in concert programs—for a long time the medium closest to the actual listening experience—can be studied as an important factor that shaped (and shapes) music perception (e.g., the prestige effect of “the Ninth” and aesthetic hierarchies).
10
Bender, John W. Aesthetic Realism 2. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0004.
Abstract:
Aesthetic property realism would seem to be committed to at least some version of the following two claims: (a) there is a distinctive category of predications or attributions used in describing art works and other objects of our aesthetic attention; and (b) it is correct to construe these attributions as asserting that certain aesthetic properties exist and are objectively true of art works and other objects. Although anti-realist challenges have focused mainly on deconstructing (b), there has also been considerable scepticism over (a), i.e. over the very concept of aesthetic properties. The distinction between the aesthetic and the non-aesthetic is one of those distinctions that has strong intuitive credibility but yields grudgingly to philosophical analysis.
11
Levine, George, ed. The Question of the Aesthetic. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192844859.001.0001.
Abstract:
Abstract This book provides a justification for the renewed study of the aesthetic in times during which the aesthetic is often regarded as mere diversion from our national and global crises. It offers a “defense” of aesthetic education in these times. Working within the philosophical tradition that dissociates the aesthetic from utility, it argues not only that uselessness has important utility, but that attention to the aesthetic is not incompatible with attention to politics, and might even be more powerful politically if politics were not the direct object of its working. Among the various theories and examples this book offers, the introduction adds one,by way of Darwin’s theory of sexual selection, that can be taken as an argument for the centrality of the aesthetic to human well being.
12
Andrew, Bowie. Aesthetic Dimensions of Modern Philosophy. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192847737.001.0001.
Abstract:
Much of contemporary philosophy, especially in the analytical tradition, regards aesthetics as of lesser significance than epistemology, ethics, metaphysics, and the philosophy of language. In Aesthetic Dimensions of Modern Philosophy Andrew Bowie, in contrast, explores the idea that art and aesthetics have crucial implications for those areas of philosophy. In the modern period, the growth of warranted scientific knowledge is accompanied both by heightened concern with epistemological scepticism and by a new philosophical attention to art and the beauty of nature. This suggests that modernity involves problems concerning how human beings make sense of the world that go beyond questions of knowledge, and are reflected in the arts. The relationship of art to philosophy is explored in Montaigne, Descartes, Hume, Kant, Schelling, the early German Romantics, and Hegel. The book then considers Cassirer’s and the hermeneutic tradition’s exploration of close links between meaning in language and in art. The work of Karl Polanyi, Marx, Nietzsche, Heidegger, Adorno, Dewey, and others is used to investigate how the modern sciences and the development of capitalism change both humankind’s relations to nature and the nature of value, and so affect the role of art in human self-understanding. The aesthetic dimensions of modern philosophy help to uncover often neglected historical shifts in how ‘subjective’ and ‘objective’ are conceived. Seeing art as a kind of philosophy, and philosophy as a kind of art reveals unresolved tensions between the different cultural domains of the modern world, and questions some of the orientation of contemporary philosophy.
13
Huschka, Sabine. Pina Bausch, Mary Wigman, and the Aesthetic of “Being Moved”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0012.
Abstract:
This chapter rethinks the relationship between Mary Wigman and Pina Bausch from a viewpoint informed by recent philosophical approaches to dance history. Dance research often draws a genealogy that connects Wigman's approach to that of Bausch, the central representative of German Tanztheater as it emerged in the 1970s. However, it is argued Bausch took a fundamentally different position compared to the one propagated by her predecessor: turning her attention away from absolute truth and toward the truthfulness of any given physical movement on stage, while retaining the appeal to feeling, she sought to develop emotionally determined forms of movement and to create a shared space of human experience beyond any essentialism. But what about the choreographed body in these theatrical spaces of experience? How do movements and gestures function to reveal a perspective on the human being? Which choreographic or theatrical means are used, at the discretion of the individual body, to produce an impression of unmediated immediacy? The radical difference between Wigman and Bausch can be detected in their aesthetics of representation, in the way in which they choreograph emotion.
14
Saito, Yuriko. The Aesthetics of Laundry. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.003.0005.
Abstract:
As one of the most mundane aspects of daily life, laundry rarely garners aesthetic attention. However, this practical chore turns out to contain numerous aesthetic considerations beyond ensuring hygiene and cleanliness. Furthermore, the aesthetics of laundry is not limited to the sensuous appearance of the laundered items. The activity of laundering also has aesthetic dimensions, including bodily engagement, imaginative camaraderie with women across cultural and historical boundaries, satisfaction with the tangible expression of love for the family, and appreciation of the outdoor environment when hanging laundry. Finally, the consequences of the aesthetics of laundry extend beyond personal experiences. Namely, the appearance of clothing is often regarded as a reflection of one’s moral character, and the ‘eyesore’ effect of outdoor laundry hanging leads to its prohibition in some communities in the United States.
15
Stecker, Robert. Intersections of Value. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198789956.001.0001.
Abstract:
This book is about the universal human need to aesthetically experience the world around us. To this end, it examines three appreciative contexts where aesthetic value plays a central role: art, nature, and the everyday. The book concludes by asking: what is the place of the aesthetic in a good life? An equally important theme explores the way the aesthetic interacts with other values—broadly moral, cognitive, and functional ones. No important appreciative practice is completely centered on a single value and such practices can only be fully understood in terms of a plurality of intersecting values. Complementing the study of aesthetic appreciation are: (1) An analysis of the cognitive and ethical value of art; (2) an attempt to answer fundamental questions in environmental aesthetics, and an investigation of the interface between environmental ethics and aesthetics; and (3) an examination of the extent to which the aesthetic value of everyday artifacts derives from their basic practical functions. The book devotes special attention to art as an appreciative context because it is an especially rich arena where different values interact. Artistic value is complex and pluralistic, a value composed of other values. Aesthetic value is among these, but so are ethical, cognitive, and art-historical values.
16
Parsons, Glenn. Aesthetics and Nature. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350121621.
Abstract:
The appreciation of nature and natural beauty demands our attention as the environmental movement becomes more urgent. In this timely introduction, Glenn Parsons provides a complete overview to the theories, conceptual questions and ethical ramifications of the aesthetics of nature, explaining precisely what is involved in when we appreciate natural beauty. Outlining five major approaches to understanding the aesthetic value of nature, the second edition explores the aesthetic appreciation of nature as it occurs in wilderness, in gardens, and in the context of appreciating environmental art. Now updated, it features: • Introductions to foundational aesthetic terms ‘nature,’ ‘beauty’ and ‘natural beauty’ • A new chapter on the sublime • Expanded discussion of empirical and evolutionary accounts of nature appreciation • Additional coverage of the aesthetic appreciation of animals, cinema and photography • Further consideration of how nature is appreciated in other cultures such as Chinese attitudes to the environment Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, Aesthetics and Nature addresses why conserving nature's beauty provides a compelling reason to preserve wilderness. This a must-read for anyone who cares about nature and the future of our environment.
17
Moore, Ronald, ed. Natural Beauty. Broadview Press, 2008. http://dx.doi.org/10.5040/9781350928534.
Abstract:
Natural Beauty was selected for the Choice Outstanding Academic Title list for 2008! Natural Beauty presents a bold new philosophical account of the principles involved in making aesthetic judgments about natural objects. It surveys historical and modern accounts of natural beauty and weaves elements derived from those accounts into a “syncretic theory” that centers on key features of aesthetic experience—specifically, features that sustain and reward attention. In this way, Moore’s theory sets itself apart from both the purely cognitive and the purely emotive approaches that have dominated natural aesthetics until now. Natural Beauty shows why aesthetic appreciation of works of art and aesthetic appreciation of nature can be mutually reinforcing; that is, how they are cooperative rather than rival enterprises. Moore also makes a compelling case for how and why the experience of natural beauty can contribute to the larger project of living a good life.
18
Tremblay, Jean-Thomas. Breathing Aesthetics. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023494.
Abstract:
In Breathing Aesthetics Jean-Thomas Tremblay argues that difficult breathing indexes the uneven distribution of risk in a contemporary era marked by the increasing contamination, weaponization, and monetization of air. Tremblay shows how biopolitical and necropolitical forces tied to the continuation of extractive capitalism, imperialism, and structural racism are embodied and experienced through respiration. They identify responses to the crisis in breathing in aesthetic practices ranging from the film work of Cuban American artist Ana Mendieta to the disability diaries of Bob Flanagan, to the Black queer speculative fiction of Renee Gladman. In readings of these and other minoritarian works of experimental film, endurance performance, ecopoetics, and cinema-vérité, Tremblay contends that articulations of survival now depend on the management and dispersal of respiratory hazards. In so doing, they reveal how an aesthetic attention to breathing generates historically, culturally, and environmentally situated tactics and strategies for living under precarity.
19
Saito, Yuriko. The Aesthetics of Emptiness. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199672103.003.0003.
Abstract:
Art is the most effective vehicle for unearthing and highlighting the aesthetic potentials of the everyday life that generally do not garner attention because of their ubiquitous presence and ordinary familiarity. Recent art projects, termed ‘sky art’ for the purpose of discussion in this chapter, illuminate the aesthetics of the sky and celestial phenomena. This chapter analyzes several examples of ‘sky art’ by utilizing the notion of ‘emptiness,’ deriving an inspiration from the identical Chinese character used for both ‘sky’ and ‘emptiness,’ as well as the Buddhist notion of ‘emptiness.’ Despite the connotation of ‘emptiness’ that is devoid of any content or substance, different ways in which sky art facilitates the act of ‘emptying’ enrich the aesthetic experience of the sky and sky art. Sky art thus illustrates how art helps turn the otherwise ordinary into the extraordinary and facilitates its aesthetic appreciation.
20
Lloyd, David. Under Representation. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282388.001.0001.
Abstract:
Under Representation argues that the relation between the concepts of universality, freedom and humanity, and the racial order of the modern world is grounded in the founding texts of aesthetic philosophy. It challenges the absence of sustained thought about race in postcolonial studies and the lack of attention to aesthetics in critical race theory. Late Enlightenment discourse on aesthetic experience proposes a decisive account of the conditions of possibility for universal human subjecthood. The aesthetic forges a powerful racial regime of representation whose genealogy runs from enlightenment thinkers like Kant and Schiller to late modernist critics like Adorno and Benjamin. For aesthetic philosophy, representation is an activity that articulates the various spheres of human practice and theory, from the most fundamental acts of perception and reflection to the relation of the subject to the political, the economic, and the social. Representation regulates the distribution of racial identifications along a developmental trajectory: the racialized remain “under representation,” on the threshold of humanity and not yet capable of freedom and civility as aesthetic thought defines those attributes. To ignore the aesthetic is thus to overlook its continuing force in the formation of the racial and political structures down to the present. In its five chapters, Under Representation investigates the aesthetic foundations of modern political subjectivity; race and the sublime; the logic of assimilation and the sterotype; the subaltern critique of representation; and the place of magic and the primitive in modernist concepts of art, aura, and representation.
21
Huhn, Tom, and Lambert Zuidervaart, eds. The Semblance of Subjectivity. The MIT Press, 1997. http://dx.doi.org/10.7551/mitpress/6172.001.0001.
Abstract:
Theodor W. Adorno died in 1969 and his last major work, Ästhetische Theorie, was published posthumously a year later. Few philosophers have been as well versed in contemporary art, especially music, as Adorno, and even fewer have written so much that is of interest to the social sciences. Yet only recently have his aesthetic writings begun to receive sustained attention in the English-speaking world. This collection of essays is an important contribution to the growing discussion of Adorno's aesthetics in Anglo-American scholarship. The essays in the volume, by many of the major Adorno scholars in the United States and Germany, are organized around the twin themes of semblance and subjectivity. Whereas the concept of semblance, or illusion, points to Adorno's links with Marx, Nietzsche, and Freud, the concept of subjectivity recalls his lifelong struggle with a philosophy of consciousness stemming from Kant, Hegel, and Lukács. Adorno's elaboration of the two concepts takes many dialecical twists. Art, despite the taint of illusion that it has carried since Plato's Republic, turns out in Adorno's account of modernism to have a sophisticated capacity to critique illusion, including its own. Adorno's aesthetics emphasizes the connection between aesthetic theory and many other aspects of social theory. The paradoxical genius of Aesthetic Theory is that it turns traditional concepts into a theoretical cutting edge. Studies in Contemporary German Social Thought
22
Fearn, David. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0006.
Abstract:
The conclusion rounds out this study, summing up the importance of the approaches taken in relation to previous more historicizing models of Pindaric scholarship. Particular emphasis is placed on aesthetics and the importance of contextualizability: how Pindar’s poetry consistently draws attention to its own aesthetic status and makes an issue of its relation to contexts, through gesturing towards material culture and visual experience; how the interstices between lyric voices and contexts matter for a considered appreciation of epinician lyric’s cultural value. Potential future avenues for research are considered, both within the Pindaric corpus and beyond it, including further work on fifth-century prose (Herodotus and sophistic rhetoric in particular).
23
Novitz, David. Aesthetics of Popular Art. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0044.
Abstract:
Questions about the aesthetic value and appreciation of popular art have only recently become an area of interest to Anglo-American aesthetics. This is curious, for the distinction between high and popular art — like that between high and popular culture, and between avant-garde art and mass art — is a familiar and longstanding one frequently drawn by critics, philosophers, and cultural theorists throughout the course of the twentieth century. It was extensively discussed by Marxist thinkers like Walter Benjamin, and was the stock-in-trade of the Critical Theorists Theodor Adorno and Max Horkheimer. Not just those two, but high-modernist philosophers and critics like R. G. Collingwood, Clement Greenberg, and Dwight MacDonald also made much of the distinction between ‘high’ and ‘low’ (or popular) art. Even so, it was a distinction that did not earn the serious attention of philosophical aesthetics until the penultimate decade of the twentieth century.
24
Bhushan, Nalini, and Jay L. Garfield. The Question of Subjectivity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190457594.003.0012.
Abstract:
This chapter examines the role of art, art criticism and aesthetic theory in philosophy, culture, and the nationalist movement. It devotes particular attention to the modernization of classical rasa theory and its deployment in art criticism, and to debates about that in which “authentic” Indian art consists. It considers the art of Ravi Varma, Abanindranath Tagore, and Amrita Sher-Gil and the aesthetic theory of A. K. Coomaraswamy, K. C. Bhattacharyya, M. Hiriyanna, and Mulk Raj Anand.
25
Jones, Sharon L. Rereading the Harlem Renaissance. Praeger, 2002. http://dx.doi.org/10.5040/9798216007784.
Abstract:
African American writers of the Harlem Renaissance generally fall into three aesthetic categories: the folk, which emphasizes oral traditions, African American English, rural settings, and characters from lower socioeconomic levels; the bourgeois, which privileges characters from middle class backgrounds; and the proletarian, which favors overt critiques of oppression by contending that art should be an instrument of propaganda. Depending on critical assumptions regarding what constitutes authentic African American literature, some writers have been valorized, others dismissed. This rereading of the Harlem Renaissance gives special attention to Fauset, Hurston, and West. Jones argues that all three aesthetics influence each of their works, that they have been historically mislabeled, and that they share a drive to challenge racial, class, and gender oppression. The introduction provides a detailed historical overview of the Harlem Renaissance and the prevailing aesthetics of the period. Individual chapters analyze the works of Hurston, West, and Fauset to demonstrate how the folk, bourgeois, and proletarian aesthetics figure into their writings. The volume concludes by discussing the writers in relation to contemporary African American women authors.
26
Klein, Gabriele. Urban Choreographies. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.48.
Abstract:
In recent years, above all in urban environments, new cultures of public protest and artistic interventions have established themselves. These artistic and aesthetic forms increasingly operate with physical, theatrical, and choreographic practices and tools, developing a politics of images in an effective and affective media environment. This chapter discusses, using the examples of LIGNA’s performances Radioballet and Dance of All, the aesthetic, political, and social dimensions of artistic interventions based on a concept of community that is defined by corporeal and aesthetic practices. The chapter highlights the political potential implied in the aesthetic and artistic forms of public cultural gatherings. It focuses on the production of attention by means of bodily practices (gestures, facial expressions, movement, dance), theatrical settings (stage, costumes, music), and choreographic tools (organization of bodies, rhythm, dramaturgy).
27
Dyer, Richard. Stars. British Film Institute, 1998. http://dx.doi.org/10.5040/9781838710934.
Abstract:
Through the intensive examination of films, magazines, advertising and critical texts, Dyer analyses the historical, ideological and aesthetic significance of stars, changing the way we understand screen icons. Paying particular attention to icons including Marlon Brando, Bette Davis, Marlene Dietrich, Marilyn Monroe and John Wayne.
28
Ubiquitous Listening Affect Attention And Distributed Subjectivity. University of California Press, 2013.
29
Maher, Ashley. Reconstructing Modernism. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198816485.001.0001.
Abstract:
Reconstructing Modernism establishes for the first time the centrality of modernist buildings and architectural periodicals to British mid-century literature. Drawing upon a wealth of previously unexplored architectural criticism by British authors, this book reveals how arguments about architecture led to innovations in literature, as well as to redesigns in the concept of modernism itself. While the city has long been a focus of literary modernist studies, architectural modernism has never had its due. Scholars usually characterize architectural modernism as a parallel modernism or even an incompatible modernism to literature. Giving special attention to dystopian classics Brave New World and Nineteen Eighty-Four, this study argues that sustained attention to modern architecture shaped mid-century authors’ political and aesthetic commitments. After many writers deemed modernist architects to be agents for communism and other collectivist movements, they squared themselves—and literary modernist detachment and aesthetic autonomy—against the seemingly tyrannical utopianism of modern architecture; literary aesthetic qualities were reclaimed as political qualities. In this way, Reconstructing Modernism redraws the boundaries of literary modernist studies: rather than simply adding to its canon, it argues that the responsibility for defining literary modernism for the mid-century public was shared by an incredible variety of authors—Edwardians, modernists, satirists, and even anti-modernists.
30
Shiner, Larry. Art Scents. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190089818.001.0001.
Abstract:
This book offers an overview of the aesthetic and ethical issues raised by the contemporary olfactory arts, which range from gallery and museum sculptures and installations, through the enhancement of theater, film, and music with scents, to the ambient scenting of stores and avant-garde chefs’ use of scents in cuisine. Special attention is given to the aesthetics of perfume and incense and the question of their art status, as well as to the role of scent in the appreciation of nature and gardens. Ethical issues are discussed regarding ambient scenting, perfume wearing, and the use of smells in fast-food marketing. Because of the traditional neglect and denigration of the sense of smell and its aesthetic potential by philosophers from Kant and Hegel to the present, and by Darwin’s and Freud’s view of the human sense of smell as a nearly useless evolutionary vestige, the first parts of the book counter that tradition with both philosophical arguments and evidence from current evolutionary theory, neuroscience, psychology, anthropology, history, linguistics, and literature. Although the focus is on Western olfactory arts, the book draws on non-Western examples throughout. The book is aimed at both philosophers and general readers interested in the arts, and develops positions that should stimulate further discussion.
31
Winner, Ellen. Can This Be Art? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190863357.003.0002.
Abstract:
While philosophers have tried to define art by necessary and sufficient features, this effort has failed. Art is a socially constructed, open concept that eludes formal definition. While art cannot be tightly defined, we can loosely define art by listing possible characteristics of works of art—recognizing that this list must remain an open one. We may not be able define art, but philosophers and psychologists together have revealed the difference between observing something with or without an aesthetic attitude. While any artifact may be used as a work of art, we respond differently to that artifact when we believe it is was created intentionally as a work of art rather than a non-art artifact. We adopt an aesthetic attitude, paying attention to the surface form and the expressive properties of the object. This conclusion is consistent with Kant’s idea of the aesthetic attitude being a form of disinterested contemplation.
32
DeFrantz, Thomas F. Switch. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.44.
Abstract:
Moving from the political margins toward a black mainstream, many African American social dances often emerge in queer communities of color. This chapter explores politically embodied consequences and affects of queer social dances that enjoy concentrated attention outside their originary communities. J-setting, voguing, and hand-dancing—a form of queer dance popular in the 1970s–1980s—offer sites to consider the materialization of queer black aesthetic gesture, in dances that redefine gender identities and confirm fluid political economies of social dance and motion. These queer dances simultaneously resist and reinscribe gender conformity in their aesthetic devices; they also suggest alternative histories of black social dance economies in which queer creativity might be valued as its own end. Ultimately, the chapter suggests a haunting presence of queers-of-color aesthetic imperatives within political mobilizations of black social dance, continually—and ironically—conceived as part and parcel of rhetorics of liberation and freedom of movement.
33
Ubiquitous Listening Affect Attention And Distributed Subjectivity. University of California Press, 2013.
34
Kassabian, Anahid. Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity. University of California Press, 2013.
35
Kassabian, Anahid. Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity. University of California Press, 2013.
36
Hedberg Olenina, Ana. Psychomotor Aesthetics. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051259.001.0001.
Abstract:
In the late 19th century, neurophysiology introduced techniques for detecting somatic signs of psychological processes. Scientific modes of recording, representing, and interpreting body movement as “expressive” soon found use in multiple cultural domains. Based on archival materials, this study charts the avenues by which physiological psychology reached the arts and evaluates institutional practices and political trends that promoted interdisciplinary engagements in the first quarter of the 20th century. In mapping the emergence of a paradigm it calls “psychomotor aesthetics,” this book uncovers little-known sources of Russian Futurism, Formalist poetics, avant-garde film theories of Lev Kuleshov and Sergei Eisenstein, and early Soviet programs for evaluating filmgoers’ reactions. Drawing attention to the intellectual exchange between Russian authors and their European and American counterparts, the book documents diverse cultural applications of laboratory methods for studying the psyche. Both a history and a critical project, the book attends to the ways in which artists and theorists dealt with the universalist fallacies inherited from biologically oriented psychology—at times, endorsing the positivist, deterministic outlook, and at times, resisting, reinterpreting, and defamiliarizing these scientific notions. In exposing the vastness of cross-disciplinary exchange at the juncture of neurophysiology and the arts at the turn of the 20th century, Psychomotor Aesthetics calls attention to the tremendous cultural resonance of theories foregrounding the somatic substrate of emotional and cognitive experience—theories, which anticipate the promises and limitations of today’s neuroaesthetics and neuromarketing.
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Egan, Ronald. The Relationship of Calligraphy and Painting to Literature. Edited by Wiebke Denecke, Wai-Yee Li, and Xiaofei Tian. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199356591.013.6.
Abstract:
Calligraphy and painting have a long and rich history of association with literary composition, especially poetry. These three “arts of the brush” share not just materials and tools of production but also a critical vocabulary and certain aesthetic ideals. The pronounced attention in the early history of each art to the world of nature as a source of verbal imagery, subject matter, and even graphic design bound these arts together in the formative stage of theoretical writings about each. As the practice of these arts matured in medieval times, it became common for them to appear together in a single, composite work: a painting inscribed with a poem, written as a calligraphic display. This composite form became a hallmark of Chinese visual and literary culture. Thus even when they were used separately, the aesthetic values of the others often remained in the minds of the poet-artist and reader or viewer.
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Lamarque, Peter. Belief, Thought, and Literature. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198805403.003.0006.
Abstract:
The starting point is the recognition that works of literature are works of art and to appreciate them as such is to appreciate their aesthetic (and, closely related, their ‘literary’) achievement. The chapter takes another look at the reading practices that are integral to literature so understood, giving particular attention to the kinds of psychological states involved. It argues that it is useful to think of normative responses to literary works (when read ‘from a literary point of view’) as kinds of ‘experience’, understood as encompassing a certain focus of attention (on ‘literary qualities’) and a certain kind of appreciation (the pleasures attached to ‘literary values’ when identified). It is not an empirical enquiry, drawing on studies of actual readers reacting to texts, but a normative enquiry, examining, as it were, the ‘rules of the game’ that constitute a familiar and ancient practice.
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Schlapbach, Karin. Elusive Dancers and the Limits of Art in Nonnus’ Dionysiaka. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.003.0007.
Abstract:
This chapter argues that the metamorphic dance scenes in Nonnus’ epic on Dionysus encapsulate the very nature of Nonnus’ poetry. It elucidates the metapoetic role of dance with a close reading of the proem of Book 1, which is dominated by the Homeric shape-shifter Proteus. It then turns to the dance contest in Book 19, which juxtaposes representational and acrobatic dances. The latter, nonrepresentational dance, which culminates in the dancer’s transformation into a river, is examined in detail, and the moral and aesthetic implications of this climax are discussed with particular attention to the internal audience’s interpretive response to the dancer’s metamorphosis.
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Auyoung, Elaine. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190845476.003.0007.
Abstract:
The conclusion of this book calls attention to the relationship between comprehending realist fiction and Aristotle’s claim that mimetic representation provides a form of aesthetic pleasure distinct from our response to what is represented. It also argues that, by demonstrating how much nineteenth-century novelists depend on the knowledge and abilities that readers bring to a text, cognitive research on reading helps us revisit long-standing theoretical assumptions in literary studies. Because the felt experience of reading is so distinct from the mental acts underlying it, knowing more about the basic architecture of reading can help literary critics refine their claims about what novels can and cannot do to their readers.
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Eldridge, Sarah V., and Allen Speight, eds. Goethe's Wilhelm Meister's Apprenticeship and Philosophy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190859268.001.0001.
Abstract:
Goethe’s Wilhelm Meisters Lehrjahre served as a touchstone for major philosophical and literary figures of his age (including, among many others, Schiller, Fichte, Hegel, Schlegel, Schleiermacher, and Novalis). But it has received far less attention in both disciplines (especially in English-language scholarship) than either Goethe’s Sorrows of Young Werther or Elective Affinities. This volume takes up the question of what Goethe’s long and rather complicated novel is doing and how it engages with problems and themes of human life more generally, including issues of individuality, development, and authority; aesthetic formation and narrative (and human) contingency; gender, sexuality, and marriage; and power, institutions, and control.
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Straus, Joseph N. Stravinsky’s Aesthetics of Disability. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190871208.003.0003.
Abstract:
The central features of Stravinsky’s musical style, including its formal splinteredness, its harmonic immobility, its stratification into contrasting textural layers, and its radical simplification of musical materials, can be understood as ways of representing and narrating disability, including deformity/disfigurement, mobility impairment, madness, and idiocy. These representations sometimes perpetuate pernicious eugenic-era stereotypes and sometimes are more accepting, even celebratory, of extraordinary bodies. This chapter offers a close look at three musical works from Stravinsky’s early “Russian” period, with particular attention to a few selected passages: the “Russian Dance” from Petrushka (1911), the “Dance of the Young Girls” from the Rite of Spring (1913), and the second of the Three Pieces for String Quartet (1914).
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Eigler, Ulrich. Between Voß and Schröder. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810810.003.0025.
Abstract:
This chapter argues that German translations of Virgil are the result of a complicated process, in which history of reception and history of translations move alongside one another. It explores the interaction between translations of Virgil and translations of Homer, giving particular attention to the role of the authoritative translation of Homer by Johann Heinrich Voß. It demonstrates that the discourse on translations of Virgil since the eighteenth century is deeply entwined with literary, aesthetic, and political questions, which are closely entangled with the German struggle for unity and cultural identity. The chapter tries to show this by looking briefly at translations of the Aeneid beginning with Friedrich Schiller’s experimental work, focusing particularly on the nineteenth and twentieth centuries.
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Noland, Carrie. Bound and Unbound. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.14.
Abstract:
The essay follows Jennifer Goggans’s 2014 reconstruction of Crises, arguing that the retrieval of past works (and thus their performance in a new historical context) encourages audiences to discover aspects of Cunningham’s aesthetic that have not received adequate attention. Cunningham observed and integrated the idiosyncratic qualities of his dancers, allowing them to influence his own way of moving in a process similar to contagion. Further, instead of avoiding all dramatic situations, he set up constraints that would generate them. Drama and erotic tension are present in his work not as plot elements but rather as the inevitable outcome of interconnections and confrontations produced throughout the dance at moments determined by the toss of a coin.
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Lewis, Hannah. Imagining Sound Film. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0002.
Abstract:
Chapter 1 focuses on writings in the French press by filmmakers, composers, and critics about sound film and its arrival in France. From sound film’s first successes in Hollywood, French critics paid careful attention to the new technology, and they wrote prolifically and prescriptively about how they believed the French film industry should respond to it. Many filmmakers expressed concern that sound film would upset cinema’s aesthetic development, but many others approached the new technology with excitement, particularly when it came to its musical applications. The debates in the French press surrounding sound film reveal how the new medium, and music’s role within it, was by no means a fixed entity for composers, directors, journalists, or audiences.
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Aloisi, Alessandra. The Power of Distraction. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350342972.
Abstract:
From Pascal to contemporary anxieties about attention, we have constantly been urged to avoid distraction if we want to live and work better. But Alessandra Aloisi argues that we are missing the point.Drawing on a broad range ofEuropean philosophy and literature, this book considers distraction not as an expression of human imperfection, but as a creative, subversive, and aesthetic capability. In contrast to the traditional accounts, from Saint Augustine to Robert Burton, which either associated distraction with sin or considered it as a symptom of melancholy, Aloisi argues that it is often precisely when we stop thinking about something that inspiration finds us. Why else are artists described as having their heads in the clouds? This book demonstrates the serendipity of distraction through close readings of cultural and visual sources ranging from the mathematician Poincaré to the Netflix show, Black Mirror. With inspiration from La Bruyère, Rousseau, Leopardi, Stendhal, Baudelaire, and others, Aloisi further examines the political value of distraction. After all, in an age of ubiquitous technology and 24/7 availability fighting for our attention, distraction provides what Bergson called a ‘slight revolt’ from the codes and behaviors that society dictates. Combining philosophy, literature, art, and politics, The Power of Distraction encourages us to think differently about our attention and considers just how productive daydreams can be.
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Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0031.
Abstract:
Part V explores the relationship between the dramatic history of the twentieth century and the transformations of Russian literary culture and poetics, arguing that the story is one of unexpected continuities as much as rupture. The Part outlines the development of Russian modernism and the avant-garde in the Silver Age (1890s–1917), moving on to the avant-garde poetics and institutions reinvented in late Soviet (1960s–early 1980s), and treating underground and post-Soviet literature (since 1991), as well as the émigré literature of Russia Abroad. Émigré and Soviet literature are shown to follow some similar patterns and themes, just as official and underground literature alike explore ways to represent the century’s catastrophes, and to test the responsibilities of the intelligentsia. The desire to break with the past emerges as a theme, as does a struggle over forms of cultural continuity. Women writers play key roles across multiple time periods, locales, and aesthetic forms. Part V analyzes the workings of political and aesthetic censorship during the domination of Socialist Realism, and it explores poetry as a discourse of subjectivity. It includes attention to utopian/dystopian and national narratives, and ends with an account of the intelligentsia’s cultural and historical self-identification.
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Foltz, Jonathan. The Novel after Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190676490.001.0001.
Abstract:
The Novel After Film examines how literary fiction has been redefined in response to the emergence of narrative film. It charts the institutional, stylistic, and conceptual relays that linked literary and cinematic cultures, and that fundamentally changed the nature and status of storytelling in the early twentieth century. In the cinema, a generation of modernist writers found a medium whose bad form was also laced with the glamour of the popular, and whose unfamiliar visual language seemed to harbor a future for innovative writing after modernism. As The Novel After Film demonstrates, this fascination with film was played out against the backdrop of a growing discourse about the novel’s respectability. As the modern novel was increasingly venerated as a genre of aesthetic refinement and high moral purpose, a range of authors, from Virginia Woolf and H. D. to Henry Green and Aldous Huxley, turned their attention to the cinema in search of alternative aesthetic histories. For authors working in modernism’s atmosphere of heightened formal sophistication, film’s violations of style took on a perverse attraction. In this way, film played a key role in changing the way that novelists addressed a transforming public culture which could seem at moments to be leaving the novel behind.
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Hearsum, Paula, and Ian Inglis. The Emancipation of Music Video. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.031.
Abstract:
This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Although YouTube is rightly acknowledged as one of the pivotal forms of social networking to have emerged in the last decade, relatively little attention has been paid to its specific impact on the form and content of music video. From its tentative beginnings in the 1970s, music video quickly established itself as one of the principal—and most powerful—components of the popular music industry. This chapter examines the ways in which the creative opportunities provided by YouTube’s overt democratization of modes of video production, presentation, and consumption have had economic, aesthetic, and political repercussions on popular music practices and have fundamentally shifted traditional understandings of supply and demand.
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Heal, Bridget. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198737575.003.0011.
Abstract:
The conclusion highlights the extent to which the research presented in this book changes our understanding of Lutheran confessional culture. It reiterates the book’s main structure and themes: Luther’s own understanding of images and the legacy that his writings and the images commissioned for them left to his successors; the era of uncertainty following his death; the renewal and transformation of piety in the seventeenth century; the age of the baroque. It once again emphasizes the importance of the Empire’s territorial divisions in shaping Lutheran culture, and it considers whether there was a distinctly Lutheran iconography or aesthetic. Finally, it draws attention to the variety of historical actors who helped shape Lutheran visual culture, from eminent theologians to ordinary parish pastors, and from princes and nobles to townsfolk.