Relevant bibliographies by topics / Art, aesthetics, enlightenment

Academic literature on the topic 'Art, aesthetics, enlightenment'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Art, aesthetics, enlightenment"

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Kent, Alexander J. "From a Dry Statement of Facts to a Thing of Beauty: Understanding Aesthetics in the Mapping and Counter-Mapping of Place." Cartographic Perspectives, no. 73 (September 1, 2012): 37–60. http://dx.doi.org/10.14714/cp73.592.

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Aesthetics plays a key role in cartographic design and is especially significant to the representation of place, whether by the state, the community, the crowd, or the artist. While state topographic mapping today demonstrates a rich diversity of national styles, its evolution (particularly since the Enlightenment) has led to the establishment of a particular aesthetic tradition, which has recently been challenged by counter-mapping initiatives and through map art. This paper explores the function of aesthetics in the cartographic representation of place. It offers an analysis of the aesthetic value of topographic maps and suggests how an appropriate wielding of the aesthetic language of cartography can communicate a sense of place more effectively.
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CARROLL, NOËL. "LES CULS-DE-SACOF ENLIGHTENMENT AESTHETICS: A METAPHILOSOPHY OF ART." Metaphilosophy 40, no. 2 (April 2009): 157–78. http://dx.doi.org/10.1111/j.1467-9973.2009.01586.x.

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Fritz, Martin. "Hallische Avantgarde. Die Erfindung der Ästhetik und die Ästhetisierung des Christentums." Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 21, no. 1-2 (January 15, 2014): 1–27. http://dx.doi.org/10.1515/znth-2015-0001.

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AbstractAvantgarde in Halle: The Invention of Aesthetics and the Aestheticization of Christianity. The foundation of scholarly aesthetics by the Halle philosopher Alexander Gottlieb Baumgarten and Georg Friedrich Meier in the middle of the 18th century took place within a milieu that was shaped by both pietism and the Enlightenment. Martin Fritz demonstrates that aesthetics in Halle itself can be considered a synthesis of pietism and Enlightenment ideas. The sensualization of basic Christian concepts is of eminent relevance for these aesthetics, in order to reinvent the pietistic striving for intensive religious experiences through such „aestheticization.“ The romantic idea of „Kunstreligion“ (art religion), which continues to be significant in cultural life today, is also based on this programmatic notion of aestheticization. Building on this historical background, this article’s concluding systematic considerations argue for a theological revaluation of pertinent contemporary cultural phenomena.
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Dziamski, Grzegorz. "Przemiany estetyki." Przegląd Kulturoznawczy, no. 1 (51) (March 2022): 127–47. http://dx.doi.org/10.4467/20843860pk.22.009.15754.

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Metamorphosis of Aesthetics Many aesthetic lecturers feel that the subject of their lectures is not so much aesthetics as the history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, British philosophers of taste and German romantics. Does this mean that aesthetics is nourished by its own past, nourished by reinterpretations of its classics, defends concepts and categories that no longer inspire anyone? Don’t they open up new cognitive perspectives? Does this mean that aesthetics is dead today, like Latin or Sanskrit, and that its vision of art and beauty is outdated, out of date and completely useless? Stefan Morawski in the introduction to the anthology Twilight of Aesthetics – Alleged or Authentic? he wrote that he did not know the history of aesthetic thought that would begin in the eighteenth century with Baumgarten. Today we can meet with such an approach more and more often. Many authors assume that in the second half of the 18th century, modern aesthetics was born as a science of senses, how our higher (sight, hearing) and lower senses (taste, smell, touch) contribute to our knowledge of the world. In the introduction to the anthology cited here, Stefan Morawski divides the history of aesthetics into four periods of unequal length. The Morawski diagram seems to be a convenient starting point for defining the changing object of aesthetics. The first of the periods distinguished by Morawski is the longest one, lasting from Ancient Greece to Enlightenment, can be called the history of aesthetic thought, the second is philosophical aesthetics, the third is a time of emancipation and institutionalization of aesthetics as autonomous discipline, and the fourth period leads beyond the limits of classical aesthetics.
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Dabney Townsend. "Art and Enlightenment: Scottish Aesthetics in the Eighteenth Century (review)." Hume Studies 31, no. 1 (2005): 184–86. http://dx.doi.org/10.1353/hms.2011.0242.

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Hafertepe, Kenneth. "An Inquiry into Thomas Jefferson's Ideas of Beauty." Journal of the Society of Architectural Historians 59, no. 2 (June 1, 2000): 216–31. http://dx.doi.org/10.2307/991591.

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A careful reading of eighteenth-century aesthetics provides a view of Thomas Jefferson's thinking about art and architecture quite different from the existing scholarly paradigm. Jefferson owned, read, and quoted Enlightenment philosophy and criticism, most notably that of Henry Home, known as Lord Kames. Far from privileging reason over emotion, these philosophers held that all people are created with innate senses of beauty and morality, as well as a rational faculty. Because of the sense of beauty, certain qualities in objects can inspire the idea of beauty in the mind; other ideas of beauty are comparative, requiring use of the rational faculty. Jefferson's aesthetic theory was informed by his understanding of the human mind, which led to an architecture rooted in good proportion and to didactic paintings rooted in history ancient and modern. As with other Enlightenment thinkers, Jefferson endorsed the entire classical tradition, admiring not only the architecture of ancient Rome and modern Paris but also of Palladio and the French Baroque. Similarly, he admired the work of minor Baroque painters as well as the neoclassicism of Jacques-Louis David. Nor was Jeffersonian classicism nationalistic; rather, he endorsed the Enlightenment concept of a universal and uniform standard of taste.
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Watson, Stephen H. "ADORNO, GADAMER, THE WORK OF ART AND THE RETRIEVAL OF THE SACRED." Síntese: Revista de Filosofia 47, no. 149 (December 20, 2020): 693. http://dx.doi.org/10.20911/21769389v47n149p693/2020.

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This paper considers the significant role the sacred played in Hans-Georg Gadamer and Theodor Adorno’s theories of post Enlightenment rationality and experience. While these thinkers are typically thought to be at odds with one another, on this topic, as will become evident, their work remained proximate: both appealed at crucial points to theological models, somewhat controversially, to combat the limitations of strict methodological accounts of their rational. This paper first traces their mutual reliance in this endeavor upon Kantian and post- -Kantian accounts of aesthetics, which imported classical metaphysical notions of Truth, Beauty, and the Good into their accounts. Against this backdrop, I trace how Gadamer and Adorno employed theological models to articulate accounts of the poverty of contemporary experience and theory, affording possibilities for its reinterpretation. Thereby, both viewed the sacred as a still not exhausted critical reserve in our rational history, one that extends beyond the constraints of Enlightenment, precisely in posing the critical question of tradition itself: the question, as Adorno put it, of how “a thinking obliged to relinquish tradition might preserve and transform tradition.”
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Dziamski, Grzegorz. "ESTHETICS TOWARDS FEMINISM." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9829.

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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.
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Dziamski, Grzegorz. "Estetyka wobec feminizmu." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9850.

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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.
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Chernik, Aria F. "The “Peculiar Light” of Blakean Vision: Reorganizing Enlightenment Discourse and Opening the Exemptive Sublime." Articles, no. 50 (June 5, 2008): 0. http://dx.doi.org/10.7202/018148ar.

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Abstract This article argues that there is a direct connection between Blake’s rejection of conventional Enlightenment aesthetics—namely, of tropes pertaining to light and darkness and void and chaos—and a space of liberty that is opened for the reader. This space, which I term the “exemptive sublime,” is free from interpretive mandates and even orthodox assumptions. To illustrate the affiliation between Blake’s radical aesthetics and the radical space of liberty that is created for the reader, I first briefly consider how even in some of his earliest works, such as “The Little Black Boy” and The Marriage of Heaven and Hell, Blake is already complicating notions of light, darkness, and void. I then turn my analysis to the verbal and visual designs of the opening plates in The [First] Book ofUrizen to demonstrate how Blake boldly reorganizes Enlightenment epistemological and ontological discourse so that places of void and darkness become places of productive insight. In its characteristic emphasis on the importance of inspired Vision over empirical sight, Blake’s composite art opens not just a space of liberty in which to question hegemonic doctrine, but also a space for ethical reflection.
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Dissertations / Theses on the topic "Art, aesthetics, enlightenment"

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Gurciullo, Sebastian 1968. "Between art and philosophy : Adorno and Foucault as heirs and critics of Enlightenment." Monash University, School of Literary, Visual and Cultural Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/7662.

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Buchenau, Stefanie. "The art of invention and the invention of art : logic, rhetoric and aesthetics in the early german Enlightenment." Lyon, Ecole normale supérieure, 2004. http://www.theses.fr/2004ENSF0013.

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Ce travail cherche à réévaluer la signification de l'esthétique de la "Frühaufklarung" dans l'histoire de l'esthétique moderne. Contre le discours classique de la littérature secondaire qui le plus souvent réduit cette esthétique à une préfiguration imparfaite de l'esthétique kantienne et postkantienne, il montre que les "Frühaufklärer" ne fondent pas seulement une tradition esthétique moderne, mais qu'ils défendent un projet cohérent et original; il convient en effet de situer leur esthétique dans le contexte du débat moderne sur "l'ars inveniendi" initié par Francis Bacon et développé par ses successeurs à l'Age classique tels que René Descartes, Gottfried Wilhelm Leibniz et Walter Ehrenfried Tschirnhaus et aussi, à l'aune du XVIIIème siècle, par Christian Wolff. Après avoir examiné les prémisses épistémologiques modernes de ce débat sur l'invention, cette étude analyse les contributions de Wolff et de ses disciples Johann Jacob Breitinger, Johann Christoph Gottsched et Alexander Gottlieb Baumgarten. Wolff introduit un tournant dans le débat antérieur en intégrant une philosophie des arts à l'intérieur de l'art d'invention général. Ses disciples transposent le paradigme heuristique moderne de la science et de la philosophie à la poésie et aux arts de représentation. Selon eux, le poète imite la nature en ce sens qu'il découvre une nature inconnue. De ce nouveau paradigme heuristique découle une nouvelle conception de la critique littéraire comme servant à la fois de méthode de jugement et d'invention. Baumgarten introduit une nouvelle perspective rhétorique, en réintroduisant l'idée cicéronienne d'invention (philosophique et rhétorique) au sein d'un contexte "logique" moderne : le vrai philosophe doit inventer des arguments à la fois cohérents et convaincants. Cette idée est au fondement de sa construction d'une seconde méthode d'invention, outre l'analyse logique, qu'il appelle "esthétique". Or cette addition d'une nouvelle discipline au sein de "l'organon" affecte le système philosophique tout entier et la psychologie et la philosophie pratique en particulier. Baumgarten propose une nouvelle division des facultés supérieures et inférieures et réserve un nouvel espace pour l'art et l'esthétique à l'intérieur de la philosophie pratique
This work is an attempt to reassess the significance of early German Enlightenment aesthetics in the history of modern aesthetics. Against the common reading that assigns early German Enlightenment aesthetics the status of an imperfect prefiguration of Kantian and post-Kantian aesthetics, I argue that the "Frühaufklärer" not only found a genuinely modern aesthetic tradition, but that they defend a consistent and original project : their aesthetics must be viewed in the context of the modern debate on the "ars inveniendi" initiated by Francis Bacon and developed by his early modern followers, including Christian Wolff. After examining the modern epistemological premises of the debate on invention. I investigate the contributions of Wolff and his pupils, namely Johann Jacob Bodmer and Johann Jacob Breitnger, as well as Johann Christoph Gottsched and Alexander Gottlieb Baumgarten. Wolff himself introduces a turn within the earlier debate on invention in that he includes a philosophy of the arts within his general art of invention. His pupils transpose the modern heuristic paradigm from science and philosophy to poetry and the representative arts : the poet imitates nature insofar as he unveils hidden aspects of nature. From the modern view of inventio, they furthermore draw conclusions on the nature of art criticism as both a method of judgment and of invention. Baumgarten introduces a rhetorical shift within the former debate; he reintroduces a Ciceronian idea of invention concerning both logic and rhetoric within the modern logical context : the true philosopher must find arguments that are both consistent and convincing. But while Baumgarten's addition of aesthetics to logic as a second method of invention conforms to the modern paradigm of invention, it deeply changes the nature o f the "organon". These changes in turn affect the system itself, psychology and practical philosophy in particular. Baugmarten proposes a new division of the higher and lower faculties of the soul, and he carves out a space for art and aesthetics in practical philosophy
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Burke, Devin Michael Paul. "Music, Magic, and Mechanics: The Living Statue in Ancien-Régime Spectacle." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1449258139.

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Fick, Kimary E. "Sensitivity, Inspiration, and Rational Aesthetics: Experiencing Music in the North German Enlightenment." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822804/.

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This dissertation examines pre-Kantian rational philosophy and the development of the discipline of aesthetics in the North German Enlightenment. With emphasis on the historical conception of the physiological and psychological experience of music, this project determines the function of music both privately and socially in the eighteenth century. As a result, I identify the era of rational aesthetics (ca.1750-1800) as a music-historical period unified by the aesthetic function and metaphysical experience of music, which inform the underlying motivation for musical styles, genres, and means of expression, leading to a more meaningful and compelling historical periodization. The philosophy of Alexander Baumgarten, Johann Georg Sulzer, and others enable definitions of the experience of beautiful objects and those concepts related to music composition, listening, and taste, and determine how rational aesthetics impacted the practice, function, and ultimately the prevailing style of music in the era. The construction, style, and performance means of the free fantasia, the most personal and expressive genre of the era, identify its function as the private act of solitude, or a musical meditation. An examination of pleasure societies establishes the role of music in performance and discussion in both social gatherings and learned musical clubs for conveying the morally good, which results in the spread of good taste. Taken together, the complimentary practices of private and social music played a significant role in eighteenth-century life for developing the self, through personal taste, and society, through a morally good culture.
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Soudková, Kateřina. "Myšlenky zenového buddhismu a jejich odraz v japonském umění." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-350514.

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Zen Buddhism Thoughts and their Reflection in Japanese Art This thesis covers the development of Chan and Zen Buddhism thoughts, their effect on Japanese culture and their reflection in specific art forms. In the first part, it summarizes the arriving and settling of Zen in Japan as a follow-up to Chan development in China and as a reaction to the preceeding Buddhist schools in Japan. In the second part it deduces a set of criteria for defining "Zen Arts" from the general trends in taste at that time. And in the third part, it compares the differences in architecture, landscape design and painting before and after the influence of Zen. It follows the changes in development of specific components and techniques of these art forms and on this basis it determines what are the key Zen Buddhism thoughts that are expressed by that and how.
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Sheng-Hua, Cheng, and 鄭勝華. "An Art Theory Working Toward Man's Enlightenment and Redemption: On Adorno's Aesthetic Issues." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/07974170113183878426.

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碩士
國立高雄師範大學
美術系碩士班
93
Abstract This study explores Adorno’s aesthetic theory and the main issues it takes up. The diversity and curious appearances of modern art works had made interpretation based on art theory of the past almost impossible. The uniqueness of Adorno’s aesthetic theory lies in his philosophical interpretation of modern art works. In so doing, he caught the spirit of those works precisely. As a gesture meant to fight against and oppose the society, the artworks of then offered a chance of reflection. This thesis is divided into the following three parts: First, an exploration of Adorno’s aesthetics is shaped up in the historical context of art. Three key issues from the philosopher’s late-period monumental work Aesthetic Theory were further discussed: the material, autonomy and truth content. It is the mutation of material used in artworks triggered the art crisis in the modern period which led to artworks’ being more barren, secular and of less content. It further caused modern art works to exhibit a sense of silence and enigma, as if they were a self-sufficient autonomy. Adorno, however, considered that the artworks “speak” through “silence”. Such an autonomy and opposition to the society constituted truth content. Next, the relation between Adorno and modern art world is examined. The features of Adorno’s aesthetics can never be separated from his social background. He was born into a family of music lovers and musicians, and he indulged himself in the readings of German classic philosophy in his younger years. These factors culminated in his Aesthetic Theory which is closely linked with Adorno’s concept of non-identity. He viewed avant-garde the embodiment of non-identity. Finally, the question of how art may relate to man’s enlightenment and redemption is answered. This involves the recurrent issues that concerned Adorno, including anti-Semitism, fascist totalitarianism as well as Auschwitz concentration camp. Adorno saw artworks as the symbols of truth because they offer a possibility of reflection and of shaking or opposing ideology. And aesthetics should follow this statement so that it could penetrate the blurred or ugly appearances of modern artworks to obtain truth content. In that way, one may get closer to Adorno’s seemingly obscure language to understand his aesthetic appeals.
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Martini, Allesandro. "Norms for the evaluation of literature focusing primarily on the Frankfurt School." Diss., 2000. http://hdl.handle.net/10500/18637.

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Critical Theory, as posited by members of The Frankfurt School, was evaluated with the objective of attaching an implied ethical dimension. This was discovered in their privileging of a particular type of aesthetic, as evinced in their analysis of certain works of autonomous High Modernism. This implied ethic, which is one based around the concept of enlightenment as potential for emancipation, was then applied as a norm for the evaluation of art. This ethic, however, does not seek to impose a particular reading on (specifically) literary production: Rather, it seeks to impart the importance of a commitment by the literary critic in the use of an ethically based norm, an ethic, what is more, that is based and supported by a discussion of the concepts 'freedom' and Enlightenment. Finally, with this ethic firmly established, the discussion then attempted to distinguish between modernism and post-modernism, using this implied ethic as a guide to separation.
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Books on the topic "Art, aesthetics, enlightenment"

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Albaugh, Stephen. Art against the Enlightenment. Des Moines, Iowa: Iowa Institute of Philosophy, 1990.

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Forms of enlightenment in art. Cambridge: Open Angle Books, 2010.

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Art and enlightenment: Aesthetic theory after Adorno. Lincoln: University of Nebraska Press, 1991.

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Kavanagh, Thomas M. Esthetics of the moment: Literature and art in the French Enlightenment. Philadelphia: University of Pennsylvania Press, 1996.

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The modern ideal: The rise and collapse of idealism in the visual arts from the Enlightenment to postmodernism. London: V&A, 2005.

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1948-, Baker Nancy Kovaleff, Christensen Thomas Street, and Koch Heinrich Christoph 1749-1816, eds. Aesthetics and the art of musical composition in the German Enlightenment: Selected writings of Johann Georg Sulzer and Heinrich Christoph Koch. Cambridge: Cambridge University Press, 1995.

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Institut national d'histoire de l'art (France), ed. Le public et la politique des arts au siècle des Lumières: Célébration du 250e anniversaire du premier salon de Diderot. Bordeaux: William Blake & Co., Art & arts, 2011.

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The Society of Dilettanti: Archaeology and identity in the British enlightenment. New Haven: Yale University Press, 2009.

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Foundation, Voltaire, ed. Correspondence: Images of the eighteenth century ; Polemic ; Style and aesthetics. Oxford: Voltaire Foundation, 2004.

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Jonathan, Friday, ed. Art and enlightenment: Scottish aesthetics in the eighteenth century. Exeter: Imprint Academic, 2004.

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Book chapters on the topic "Art, aesthetics, enlightenment"

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Eve, Martin Paul. "Art, Society and Ethics: Adorno’s Dialectic of Enlightenment, Aesthetic Theory and Pynchon." In Pynchon and Philosophy, 146–72. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137405500_7.

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Haschemi Yekani, Elahe. "Foundations: Defoe and Equiano." In Familial Feeling, 69–121. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58641-6_2.

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AbstractThis chapter discusses Daniel Defoe’s Robinson Crusoe and Olaudah Equiano’s The Interesting Narrative as foundational texts of emergent enlightenment thinking about the subject in relation to modernity and slavery. The aesthetics of their entangled foundational tonality is characterised by self-reflexive descriptions of psychological interiority, a retrospective temporal framework, religious conversion, and a belief in the emerging modern market economy. While both self-made men develop an emotive claim to Britishness, the representation of familial feelings remains stifled. In contrast to insular adventurer Robinson Crusoe, former slave Olaudah Equiano’s life story is much more strongly reliant on bonds to establish commonality. Moreover, their constructions of masculinity are spatially distinct. While Equiano’s “oceanic” identity is mostly formed in movement on the sea, Crusoe’s “insular” version seems to fend off any form of Otherness. For Equiano claiming familiarity is instrumental in the process of being recognised as a citizen, for Crusoe, the flight from familial obligations is part of the narrative appeal of his adventure. Thus, this chapter argues that while Black writing is often dismissed as imitative, it is in fact the marginalised perspective of the ex-slave that can be considered foundational of a more realistic description of intersubjectivity in English writing.
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"Chapter 1. Allegory, Poetic Theology, and Enlightenment Aesthetics." In The Insistence of Art, 31–54. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823275823-002.

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"Aesthetic foundations." In Aesthetics and the Art of Musical Composition in the German Enlightenment, 25–54. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511518348.003.

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Milam, Jennifer, and Nicola Parsons. "Introduction. The Potential Vısibility of Ideas in Enlightenment Art and Aesthetics." In Making Ideas Visible in the Eighteenth Century, 1–10. University of Delaware Press, 2022. http://dx.doi.org/10.36019/9781644532355-003.

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"Foreword by Ian Bent." In Aesthetics and the Art of Musical Composition in the German Enlightenment, ix—xii. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511518348.001.

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Christensen, Thomas. "Introduction by Thomas Christensen." In Aesthetics and the Art of Musical Composition in the German Enlightenment, 3–24. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511518348.002.

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"The creative process." In Aesthetics and the Art of Musical Composition in the German Enlightenment, 55–80. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511518348.004.

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"Musical issues." In Aesthetics and the Art of Musical Composition in the German Enlightenment, 81–108. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511518348.005.

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Baker, Nancy Kovaleff. "Introduction by Nancy Kovaleff Baker." In Aesthetics and the Art of Musical Composition in the German Enlightenment, 111–36. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511518348.006.

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Conference papers on the topic "Art, aesthetics, enlightenment"

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Wenying, Dong, and Geng Yien. "Life Aesthetics in Japanese Civil Lacquerware and Its Enlightenment to Chinese Traditional Handicrafts." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.059.

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Reports on the topic "Art, aesthetics, enlightenment"

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NELYUBINA, E., and L. PANFILOVA. ASSESSMENT OF THE QUALITY OF EDUCATIONAL ELECTRONIC PUBLICATIONS AND RESOURCES. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2658-4034-2021-12-4-2-85-97.

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Abstract:
Now the whole life of a person has switched to online mode. These changes also affected the education system. This means the need to introduce new technologies into the educational process. Books, manuals, printed publications are being replaced by electronic educational resources. Providing up-to-date, verified information to students has always been and remains one of the most important functions of the teacher. Unfortunately, with the transition of training to the online mode, the teacher cannot use his literature when conducting classes. In this regard, there is a need to use electronic resources. On the one hand, the development of the global network implies the presence of a large number of a wide variety of sites, which cannot but be a positive aspect, because both the teacher and the student can independently choose a resource that will be most understandable. But on the other hand, the variety of Internet resources implies the presence of unverified, false information, which can negatively affect the quality of education. That is why it is necessary to analyze new information systems. The problem is the presence of a large number of information technologies and resources used in education. Purpose. The goal is to conduct a comparative analysis of educational electronic publications and resources most often used by teachers of the natural science cycle in terms of their fullness, accessibility and use in the educational process. Method or methodology of the work. The requirements for the organization of a comprehensive examination suggest an approach that includes an examination of technical and technological, psychological, pedagogical and design-ergonomic aspects of the creation and use of educational electronic publications and resources, in our work we were based precisely on generalized research methods: 1) Technical and technological expertise (technical component of the site, its position in the network). 2) Psychological and pedagogical expertise (component by the type of educational electronic publication or resource, level of education, type and form of the educational process, assessment of the content and scenario of the informatization tool). 3) Design-ergonomic expertise (assessment of the quality of interface components of educational electronic publications and resources, their compliance with uniform ergonomic, aesthetic and health-saving requirements; assessment of the quality of interface components of educational electronic editions and resources, their compliance with uniform ergonomic, aesthetic and health-saving requirements). Results. The main sites that are frequently used by teachers of the natural science cycle of disciplines are the Russian Textbook corporation, the Enlightenment group of companies, the Binom publishing house, the Digital Age School, the practical significance of the study is determined by the high level of readiness of the results obtained, during the study it was found that it is advisable to introduce an information-electronic educational site - the Russian textbook corporation - into the pedagogical practice of the implementation of natural science subjects. The advantages of this server were established and recommendations for its use in the educational process were developed. Practical implications: the results obtained are expedient to be applied in educational institutions of the Russian Federation.
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