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Taken as a whole, they underscore the ongoing relevance of aesthetics to the ecocritical project and the concern for beauty that motivates effective social and political engagement.
Aesthetics. --- Environment (Aesthetics) --- Esthétique --- Esthétique environnementale --- Beau (esthétique)
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Taste and Experience in Eighteenth Century Aesthetics acknowledges theories of taste, beauty, the fine arts, genius, expression, the sublime and the picturesque in their own right, distinct from later theories of an exclusively aesthetic kind of experience. By drawing on a wealth of thinkers, including several marginalised philosophers, Dabney Townsend presents a novel reading of the century to challenge our understanding of art and move towards a unique way of thinking about aesthetics. Speaking of a proto-aesthetic, Townsend surveys theories of taste and beauty arising from the empiricist shift in philosophy. A proto-aesthetic was shaped by the philosophers who followed Locke and accepted that theories of taste and beauty must be products of experience alone. Francis Hutcheson, David Hume, Alexander Gerard and Thomas Reid were among the most important advocates, joined by others who re-thought traditional topics. Featuring chapters tracing its philosophical principles, issues raised by the subjectivity of the empiricist approach and the more academic proto-aesthetic formed toward the end of the century, Townsend argues that Lockean empiricism laid the foundations for what we now call aesthetics.
Esthétique --- Beau (esthétique) --- Aesthetics, British --- Empiricism --- Art --- Art and philosophy --- Aesthetics --- anno 1700-1799
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The notion of beauty is inherently elusive : aesthetic judgments are at once subjective and felt to be universally valid. In Beauty Matters, Anri Yasuda demonstrates that by exploring the often conflicting yet powerful pull of aesthetic sentiments, major authors of the late Meiji (1868–1912) and Taishō (1912–1926) periods illuminated themes and perspectives that resonated broadly in modern Japanese society. This approach presents an alternative to conventional accounts in which Japanese literature before the modernist turn of the 1920s has tended to be defined by an insular focus on subjective representation and autobiographical realism.Yasuda investigates how Natsume Sōseki, Mori Ogai, Mushanokōji Saneatsu and his peers at Shirakaba magazine, and Akutagawa Ryūnosuke sought to identify the aesthetic properties of literature through comparisons with the visual arts. They also considered the position of Japanese cultural sensibilities within the Eurocentric imperial world order. Their stories featuring painters and paintings weigh the fundamental challenge of representing anything when the conditions of knowledge are in flux, and their stories about cross-cultural encounters display both hope and ambivalence about the prospect of cosmopolitanism. Yasuda shows how thinking about beauty and art enabled these authors to surpass purely “literary” concerns. By tracing the wide-reaching significance of aesthetic affect in literary thought, Beauty Matters destabilizes received conceptions of literature’s parameters and affirms literature’s continued potential to intervene in cultural discourses in Japan and beyond.
Literature --- Japanese literature --- Littérature --- Beau (esthétique) --- Aesthetics --- Esthétique --- Dans la littérature. --- Japan.
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Aesthetics --- Aesthetics. --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Psychology --- Judgment (Aesthetics). --- Philosophy. --- Beau (esthétique) --- Esthétique. --- Radio broadcasting Aesthetics
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Du succes de la saga Moi, moche et mechant au #chubby sur Instagram, du selfie au photo-dumping, du desormais incontournable pull moche arbore a Noel a l'improbable design de la Citroen AMI, il semble qu'aujourd'hui, la Beaute avec un grand B ne soit plus en vogue.Normatif et dictatorial, artificiel et trompeur, prompt l'asservissement et au rejet du diffrent, le Beau est alors prsent accus d'intolrance et de propagandisme.Ds lors, la Laideur est devenue en art une source intarissable de libert esthtique et une critique de la culture du Surhomme des dictatures du XXe sicle avant que le moche ne soit considr comme une rponse l'hyperesthtisme impersonnel et deshumanisant des mass media.Depuis, l'heure semble dsormais l'laboration d'une esthtique de l'inesthtique et la banalisation comme la valorisation de nos penchants les plus abjects. De cette tendance merge une nouvelle valeur qui ne prtend plus la transcendance du Beau ni au choc cathartique du Laid, mais revendique une mochet assume et militante. Un moche qui entend dconstruire les anciennes hirarchies esthtiques et morales au profit d'une vision rsolument inclusive. Un no-moche que nous qualifions d'imbeau, et dont ce livre propose d'analyser la gense artistique autant que socitale.
Ugliness --- Aesthetics, Modern --- History --- Ugliness in art --- Beau (esthétique). --- Kitsch. --- Laideur. --- Mauvais goût (esthétique). --- Beau (esthétique) --- Mauvais goût (esthétique)
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Paulson retrieves an aesthetics that had strong support during the eighteenth century but has been obscured both by the more dominant academic discourse of Shaftesbury (and later Sir Joshua Reynolds) and by current trends in art and literary history. Arguing that the two traditions comprised not only painterly but also literary theory and practice, Paulson explores the innovations of Henry Fielding, John Cleland, Laurence Sterne, and Oliver Goldsmith, which followed and complemented the practice in the visual arts of Hogarth and his followers. In The Beautiful, Novel, and Strange Ronald Paulson fills a lacuna in studies of aesthetics at its point of origin in England in the 1700s. He shows how aesthetics took off not only from British empiricism but also from such forms of religious heterodoxy as deism. The third earl of Shaftesbury, the founder of aesthetics, replaced the Christian God of rewards and punishments with beauty - worship of God, with a taste for a work of art. William Hogarth, reacting against Shaftesbury's "disinterestedness," replaced his Platonic abstractions with an aesthetics centered on the human body, gendered female, and based on an epistemology of curiosity, pursuit, and seduction. Paulson shows Hogarth creating, first in practice and then in theory, a middle area between the Beautiful and the Sublime by adapting Joseph Addison's category (in the Spectator) of the Novel, Uncommon, and Strange.
Litterature et societe --- Art et litterature --- Roman anglais --- Litterature anglaise --- Esthetique --- Esthetica. --- Letterkunde. --- Engels. --- Literature and society. --- Fiction --- English fiction. --- Art and literature. --- Aesthetics, British. --- Literature and society --- Aesthetics, British --- Art and literature --- English fiction --- Histoire et critique. --- Technique. --- History --- History and criticism. --- 1700-1799 --- Great Britain. --- Visual arts --- Aesthetics --- Literature and art --- Literature and painting --- Literature and sculpture --- Painting and literature --- Sculpture and literature --- Literature --- Fiction writing --- Metafiction --- Writing, Fiction --- Authorship --- Aesthetics, English --- British aesthetics --- English aesthetics --- English literature --- Literature and sociology --- Society and literature --- Sociology and literature --- Sociolinguistics --- Social aspects --- Art, Théorie de l' --- Art --- Arts --- Contribution à l'esthétique --- Et l'esthétique --- Philosophie des arts --- Théorie artistique --- Théorie de l'art --- Théories artistiques --- Critique et interprétation --- Culture visuelle --- Esthétique --- Esthétique et droit --- Esthétique et morale --- Académisme --- Allusion --- Apollinien et dionysiaque --- Architecture --- Art pour l'art --- Auteur (esthétique) --- Authenticité (art) --- Avant-garde (esthétique) --- Beau (esthétique) --- Beauté féminine (esthétique) --- Camp (style) --- Catharsis --- Cinéma --- Comique --- Contemporanéité (esthétique) --- Création (esthétique) --- Déformation (esthétique) --- Dernières oeuvres --- Détails (philosophie) --- Dilettantisme (esthétique) --- Dimension (esthétique) --- Double (esthétique) --- Douceur --- Échelle (ordre de grandeur) --- Éclectisme (esthétique) --- Élégance --- Ellipse (esthétique) --- Empathie (esthétique) --- Entre-deux (esthétique) --- Épique (esthétique) --- Esthétique anarchiste --- Esthétique communiste --- Esthétique comparée --- Esthétique environnementale --- Esthétique fasciste --- Esthétique marxiste --- Esthétique national-socialiste --- Fantastique --- Fin de siècle (esthétique) --- Flou (esthétique) --- Force (esthétique) --- Forme (esthétique) --- Goût (esthétique) --- Grâce (esthétique) --- Grandiose (esthétique) --- Grotesque --- Harmonie (esthétique) --- Humour --- Imaginaire (philosophie) --- Imagination (philosophie) --- Immobilité (esthétique) --- Improvisation (esthétique) --- Informe (esthétique) --- Insignifiance (esthétique) --- Inspiration --- Ironie --- Jeu (philosophie) --- Jugement esthétique --- Kitsch --- Laideur --- Légèreté --- Littérature --- Médiévisme (esthétique) --- Modernisme (esthétique) --- Montage (esthétique) --- Mouvement (esthétique) --- Musique --- Nature (esthétique) --- Nouveauté --- Objet (esthétique) --- Orientalisme --- Originalité (esthétique) --- Peinture --- Pittoresque --- Poïétique --- Post-postmodernisme --- Postmodernisme --- Premières oeuvres --- Provocation (esthétique) --- Répétition (esthétique) --- Représentation (esthétique) --- Reste (esthétique) --- Ruines (esthétique) --- Rythme --- Silence (philosophie) --- Simultanéité (esthétique) --- Spectaculaire --- Stimmung --- Style --- Sublime --- Théâtre --- Tradition (philosophie) --- Transgression --- Valeurs (philosophie) --- Vulgarité --- Wabi-sabi --- Philosophie --- Littérature et art --- Littérature et arts plastiques --- Littérature et beaux-arts --- Littérature et peinture --- Littérature et sculpture --- Peinture et littérature --- Poésie et art --- Poésie et peinture --- Poésie et sculpture --- Sculpture et littérature --- Critique d'art --- Architecture et littérature --- Cubisme et littérature --- Ekphrasis --- Littérature et photographie --- Ut pictura poesis (esthétique) --- Arts et littérature --- Société et littérature --- Femmes et littérature --- Littérature et géographie --- Littérature postcoloniale --- Sociologie de la littérature --- Vie littéraire --- Féminisme et littérature --- Institution littéraire --- Psychologie sociale et littérature --- Histoire --- Aspect religieux --- Philosophie et esthétique --- Aspect social --- Esthétique et religion --- Littérature et société --- Art et littérature
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