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Books on the topic 'Art, aesthetics, enlightenment'

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Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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1

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

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2

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

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3

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

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4

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

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5

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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6

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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7

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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8

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

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9

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

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10

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

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11

Koch, Heinrich Christoph, and Johann Georg Sulzer. Aesthetics and the Art of Musical Composition in the German Enlightenment. Edited by Nancy Baker and Thomas Christensen. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511518348.

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12

Buchenau, Stefanie. Founding of Aesthetics in the German Enlightenment: The Art of Invention and the Invention of Art. University of Cambridge ESOL Examinations, 2015.

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13

Founding of Aesthetics in the German Enlightenment: The Art of Invention and the Invention of Art. University of Cambridge ESOL Examinations, 2013.

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14

Buchenau, Stefanie. Founding of Aesthetics in the German Enlightenment: The Art of Invention and the Invention of Art. Cambridge University Press, 2013.

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15

Buchenau, Stefanie. Founding of Aesthetics in the German Enlightenment: The Art of Invention and the Invention of Art. Cambridge University Press, 2013.

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16

Buchenau, Stefanie. Founding of Aesthetics in the German Enlightenment: The Art of Invention and the Invention of Art. Cambridge University Press, 2013.

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17

Roberts, David. Art and Enlightenment: Aesthetic Theory after Adorno (Modern German Culture and Literature). University of Nebraska Press, 2006.

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18

Kavanagh, Thomas M. Esthetics of the Moment: Literature and Art in the French Enlightenment. University of Pennsylvania Press, 2015.

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19

Berger, Susanna. Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment. Princeton University Press, 2017.

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20

The Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment. Princeton University Press, 2017.

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21

Higgins, Kathleen. Comparative Aesthetics. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0040.

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One of the first questions that arises in efforts to conduct comparative aesthetics is whether or not the terms ‘art’ and ‘aesthetics’ are inextricably bound to certain cultures and their presuppositions. Since the Enlightenment, the dominant Western conception of ‘fine’ art is distinguished from that of ‘crafts’ used in everyday life. A work of art is understood to be designed primarily for contemplation; if it serves any other practical function, this is considered to be secondary. Theorists disagree on the criteria for judging the work of art, but typically these are linked to a state of mind in the observer (whether emotional, intellectual, or some combination of the two). Works of fine art, being geared to reflective appreciation, are at home in institutional environments that are free from the distractions of everyday life, such as the concert hall or the museum.
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22

Esthetics of the Moment: Literature and Art in the French Enlightenment (Critical Authors & Issues). University of Pennsylvania Press, 1997.

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23

Friday, Jonathan. Art and Enlightenment: Scottish Aesthetics in the 18th Century (Library of Scottish Philosophy) (Library of Scottish Philosophy). Imprint Academic, 2004.

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24

Koch, Heinrich Christoph, and Johann Georg Sulzer. Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch (Cambridge Studies in Music Theory and Analysis). Cambridge University Press, 2006.

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25

Baker, Nancy, Thomas Christensen, Johann Georg Sulzer, and Heinrich Christoph Koch. Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch. Cambridge University Press, 2011.

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26

Baker, Nancy, Thomas Christensen, Johann Georg Sulzer, Heinrich Christoph Koch, and Baker Nancy. Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch. Cambridge University Press, 2009.

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27

Koch, Heinrich Christoph, and Johann Georg Sulzer. Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch (Cambridge Studies in Music Theory and Analysis). Cambridge University Press, 1996.

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28

(Editor), David Simpson, Nigel Leask (Editor), and Peter de Bolla (Editor), eds. Land, Nation and Culture, 1740-1840: Thinking the Republic of Taste (Palgrave Studies in the Enlightenment, Romanticism and the Cultures of Print). Palgrave Macmillan, 2005.

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29

Cuillé, Tili Boon. Divining Nature: Aesthetics of Enchantment in Enlightenment France. Stanford University Press, 2020.

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30

1957-, De Bolla Peter, Leask Nigel 1958-, and Simpson David 1951-, eds. Land, nation and culture, 1740-1840: Thinking the republic of taste. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004.

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31

Lloyd, David. Under Representation. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282388.001.0001.

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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.
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32

Foundation, Voltaire. Correspondence: Images of the Eighteenth Century; Polemic; Style and Aesthetics (Svec,). Voltaire Foundation, 2004.

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33

Caviglia, S. Body Narratives: Motion and Emotion in the French Enlightenment. Brepols Publishers, 2017.

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34

Byers, Mark. Egocentric Predicaments. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198813255.003.0007.

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The penultimate chapter explores a major conjunction between literary and music aesthetics in the period. The first section shows how Olson and the New York School of music began to address, in 1950, the problem of the artist’s unwanted presence in the work of art. The following sections reveal that Olson and the composers found similar formal solutions to this problem, foregrounding individual sound units with new forms of spatial notation that relied upon ‘composition by field’. Anxieties about the interfering ‘ego’ were rooted, the chapter suggests, in contemporary critiques of the organizing, Enlightenment intellect and reflected the avant-garde’s commitment to uncertainty and immediacy.
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35

Cervenak, Sarah Jane. Black Gathering. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021773.

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In Black Gathering Sarah Jane Cervenak engages with Black artists and writers who create alternative spaces for Black people to gather free from interruption or regulation. Drawing together Black feminist theory, critical theories of ecology and ecoaesthetics, and Black aesthetics, Cervenak shows how novelists, poets, and visual artists such as Gayl Jones, Toni Morrison, Clementine Hunter, Samiya Bashir, and Leonardo Drew advance an ecological imagination that unsettles Western philosophical ideas of the earth as given to humans. In their aestheticization and conceptualization of gathering, these artists investigate the relationships among art, the environment, home, and forms of Black togetherness. Cervenak argues that by offering a formal and conceptual praxis of gathering, Black artists imagine liberation and alternative ways of being in the world that exist beyond those Enlightenment philosophies that presume Black people and earth as given to enclosure and ownership.
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36

Lifschitz, Avi, and Michael Squire, eds. Rethinking Lessing's Laocoon. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802228.001.0001.

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Ever since its publication in 1766, Gotthold Ephraim Lessing’s treatise Laocoon, or On the Limits of Painting and Poetry has shaped debates about aesthetic experience and the medial distinctions between words and images. Rethinking Lessing’s Laocoon provides a reassessment of this seminal work on its 250th anniversary, examining Lessing’s interpretation of ancient art and poetry, the Enlightenment contexts of the treatise, and its subsequent legacy in the fields of aesthetic, semiotics, and philosophy. Lessing’s essay is focused on an ancient statue and its interpretation, revisiting Greek and Roman texts and images to think about the spatial and temporal ‘limits’ (Grenzen) of what Lessing calls ‘poetry’ and ‘painting’. Yet the text is also embedded within Enlightenment theories of art, perception, and historical interpretation—as well as within the nascent eighteenth-century study of classical antiquity (Altertumswissenschaft). Rethinking Lessing’s Laocoon is concerned not just with Lessing’s reception of antiquity, but also with the reception of that reception up to the present day. It examines Lessing’s work from a variety of disciplinary perspectives, highlighting the importance of Lessing’s Laocoon not only to the Enlightenment, but more generally also within shifting attitudes to the classical past.
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37

Fazan, Katarzyna, Michal Kobialka, and Bryce Lease, eds. A History of Polish Theatre. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108619028.

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Poland is celebrated internationally for its rich and varied performance traditions and theatre histories. This groundbreaking volume is the first in English to engage with these topics across an ambitious scope, incorporating Staropolska, the Polish-Lithuanian Commonwealth, the Enlightenment and Romanticism within its broad ambit. The book also discusses theatre cultures under socialism, the emergence of canonical practitioners and training methods, the development of dramaturgical forms and stage aesthetics and the political transformations attending the ends of the First and Second World Wars. Subjects of far-reaching transnational attention such as Jerzy Grotowski and Tadeusz Kantor are contextualised alongside theatre makers and practices that have gone largely unrecognized by international readers, while the participation of ethnic minorities in the production of national culture is given fresh attention. The essays in this collection theorise broad historical trends, movements, and case studies that extend the discursive limits of Polish national and cultural identity.
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38

Hutton, Patrick H., Beate Dignas, Gerald Schwedler, Marek Tamm, Patrick H. Hutton, Susan A. Crane, Stefan Berger, Alessandro Ancangeli, and William Niven, eds. A Cultural History of Memory in the Eighteenth Century. Bloomsbury Publishing Plc, 2020. http://dx.doi.org/10.5040/9781474206761.

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The Cultural History of Memory in the Eighteenth Century places in sharp relief the contrast between inspiring ideas that heralded an auspicious future and immemorial traditions that cherished a vanishing past. Waxing large during that era was the European Enlightenment, with its projects for reform and optimistic forecasts about the prospect of making a better world. Heritage was reframed, as martyrs for the cause of religious liberty and heroes for the promotion of the arts and sciences were enshrined in a new pantheon. They served as icons marking a pathway toward a presumed destiny, amid high hopes that reason would triumph over superstition to guide the course of human affairs. Such sentiments gave reformers a new sense of collective identity as an imagined community acting in the name of progress. Against this backdrop, this volume addresses a variety of themes in memory’s multi-faceted domain, among them mnemonic schemes in the transition from theist to scientific cosmologies; memory remodeled in the making of print culture; memory’s newfound resources for introspection; politics reimagined for the modern age; the nature of tradition reconceived; the aesthetics of nostalgia for an aristocracy clinging to a tenuous identity; the lure of far-away places; trauma in an age of revolution; and the emerging divide between history and collective memory. Along the way, contributors address such topics as the idea of nation in early modern politics; the aesthetic vision of Hubert Robert in his garden landscapes; the transforming effects of the interaction between mind and its mnemonic satellites in print media; Shakespeare remembered and commemorated; the role of memory in the redesign of historiography; the mediation of high and popular culture through literature; soul-searching in female autobiography; and commemorative practices during the French Revolution.
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39

Hirschmann, Wolfgang, and Steven Zohn, eds. Telemann Studies. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108663472.

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Even as Georg Philipp Telemann's significance within eighteenth-century musical culture has become more widely appreciated in recent years, the English-language literature on his life and music has remained limited. This volume, bringing together sixteen essays by leading scholars from the USA, Germany, and Japan, helps to redress this imbalance as it signals a more international engagement with Telemann's legacy. The composer appears here not only as an important early Enlightenment figure, but also as a postmodern one. Chapters on his sacred music address the works' sensitivity to Lutheran and physico-theology, contrasting of historical and modern consciousness, and embodiment of an emerging opus concept. His secular compositions and writings are brought into rich dialogue with French musical and aesthetic currents. Also considered are Telemann's relationships with contemporaries such as Johann Sebastian Bach, the urban and courtly contexts for his music, and his influential position as 'general Kapellmeister' of protestant Germany.
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40

Byers, Mark. Charles Olson and American Modernism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198813255.001.0001.

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The Practice of the Self situates the work of American poet Charles Olson (1910–70) at the centre of the early postwar American avant-garde. It shows Olson to have been one of the major advocates and theorists of American modernism in the late 1940s and early 1950s; a poet who responded fully and variously to the political, ethical, and aesthetic urgencies driving innovation across contemporary American art. Reading Olson’s work alongside that of contemporaries associated with the New York Schools of painting and music (as well as the exiled Frankfurt School), the book draws on Olson’s published and unpublished writings to establish an original account of early postwar American modernism. The development of Olson’s work is seen to illustrate two primary drivers of formal innovation in the period: the evolution of a new model of political action pivoting around the radical individual and, relatedly, a powerful new critique of instrumental reason and the Enlightenment tradition. Drawing on extensive archival research and featuring readings of a wide range of artists—including, prominently, Barnett Newman, Mark Rothko, David Smith, Wolfgang Paalen, and John Cage—The Practice of the Self offers a new reading of a major American poet and an original account of the emergence of postwar American modernism.
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41

Stokes, Christopher. Romantic Prayer. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857808.001.0001.

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Whilst religion and the secular have been continually debated contexts for literature of the Romantic era, the dominant scholarly focus has always been on doctrines and denominations. In analysing the motif of devotion, this book shifts attention to the quintessential articulation of religion as lived experience, as practice, and as a performative rather than descriptive phenomenon. In an era when the tenability and rationality of prayer were much contested, poetry—a form with its own interlinked history with prayer, especially via lyric—was a unique place to register what prayer meant in modernity. This study illustrates how the discourse of prayer continually intervened in the way that poetic practices evolved and responded to the religious and secular questions of the eighteenth- and nineteenth-century moment. After laying out the details of prayer’s historical position in the Romantic era across a spread of religious traditions, it turns to a range of writers, from the identifiably religious to the staunchly sceptical. William Cowper and Anna Letitia Barbauld are shown to use poetry to reflect and reinvent the ideals of prayer inherited from their own Dissenting denominational histories. Samuel Taylor Coleridge’s work is analysed as part of a long engagement with the rationality of prayer in modernity, culminating in an explicit ‘philosophy’ of prayer; William Wordsworth—by contrast—keeps prayer at an aesthetic distance, continually alluding to prayerful language but rarely committing to a devotional voice itself. John Keats, Percy Bysshe Shelley, and Lord Byron are treated in the context of departing from Christianity, under the influence of Enlightenment, materialist and atheist critique—what happens to prayer in poetry when prayer as a language is becoming impossible to maintain?
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