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History --- Aesthetics --- -Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Psychology --- -History --- Radio broadcasting Aesthetics --- Aesthetics - History
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Het begrip Gesamtkunstwerk wordt doorgaans met grote vanzelfsprekendheid gekoppeld aan de figuur van Richard Wagner. Hierbij wordt de specifieke inhoud van de term vaak verengd tot ?het samenbrengen van de verschillende kunstvormen in een multimediaal totaalspektakel?. Dit boek schetst een tijdlijn die loopt van de Verlichting tot de Hoogromantiek in Duitsland, en wil door prominente denkers als Alexander Baumgarten, Immanuel Kant en E.T.A. Hoffmann in het verhaal te betrekken, peilen naar de diepste wortels van het Gesamtkunstwerk. Een brede culturele analyse van het tijdsgewricht waarin de notie tot stand kwam, verklaart waarom de muziek in de negentiende eeuw haar amusementsfunctie oversteeg en de voertaal werd om de dunne grens tussen rationaliteit en irrationaliteit, en tussen individu en samenleving, te thematiseren.
History of civilization --- Music --- History of Germany and Austria --- anno 1700-1799 --- anno 1800-1899 --- Romanticism in music. --- Aesthetics. --- Music. --- Philosophy and aesthetics --- History --- History and criticism. --- Philosophy and aesthetics. --- Hoffmann, E. T. A. --- Wagner, Richard, --- 1700-1899 --- Germany. --- Germany --- 18th century --- 19th century --- Music - Philosophy and aesthetics - History - 18th century --- Music Philosophy and aesthetics - History - 19th century --- Music Germany - 18th century - History and criticism --- Music Germany - 19th century - History and criticism --- Romanticism in music --- Aesthetics --- Hoffmann, E. T. A. (Ernst Theodor Amadeus), 1776-1822 - Aesthetics --- Wagner, Richard, 1813-1883 - Aesthetics
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Art --- anno 1900-1999 --- Dada --- avant-garde --- Pop [fine arts styles] --- Avant-garde (Aesthetics) --- Art, Modern --- History --- Exhibitions --- History. --- -Avant-garde (Aesthetics) --- -Aesthetics --- Modernism (Art) --- Modern art --- -History --- -Art, Modern --- -Exhibitions --- Art styles --- -Modern art --- -Art --- Aesthetics --- Exhibitions&delete& --- History&delete& --- Nieuwe Ploeg (Group of artists) --- Avant-garde (Aesthetics) - History - 20th century - Exhibitions - History --- Art, Modern - 20th century - Exhibitions - History
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Aesthetics --- Time --- History --- -Aesthetics --- -#GROL:SEMI-1'15/19' --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Hours (Time) --- Geodetic astronomy --- Nautical astronomy --- Horology --- Psychology --- #GROL:SEMI-1'15/19' --- Radio broadcasting Aesthetics --- Aesthetics - History --- Time - History
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History of philosophy --- Philosophy and psychology of culture --- General ethics --- anno 1900-1999 --- Civilization, Modern --- Postmodernism --- Avant-garde (Aesthetics) --- Arts --- History --- Philosophy --- 165.76 --- Postmodernisme. Poststructuralisme. Post-modernisme. Post-structuralisme --- 165.76 Postmodernisme. Poststructuralisme. Post-modernisme. Post-structuralisme --- Civilization, Modern - 20th century --- Avant-garde (Aesthetics) - History - 20th century --- Arts - Philosophy
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How Dada is to break its cultural accommodation and containment today necessitates thinking the historical instances through revised application of critical and theoretical models. The volume Dada Culture: Critical Texts on the Avant-Garde moves precisely by this motive, bringing together writings which insist upon the continuity of the early twentieth-century moment now at the start of the twenty-first. Engaging the complex and contradictory nature of Dada strategies, instanced in the linguistic gaming and performativity of the movement's initial formation, and subsequently isolating the specific from the general with essays focusing on Ball, Tzara, Serner, Hausmann, Dix, Heartfield, Schwitters, Baader, Cravan and the exemplary Duchamp, the political philosophy of the avant-garde is brought to bear upon our own contemporary struggle through critical theory to comprehend the cultural usefulness, relevance, validity and effective (or otherwise) oppositionality of Dada's infamous anti-stance. The volume is presented in sections that progressively point towards the expanding complexity of the contemporary engagement with Dada, as what is often exhaustive historical data is forced to rethink, realign and reconfigure itself in response to the analytical rigour and exercise of later twentieth-century animal anarchic thought, the testing and cultural placement of thoughts upon the virtual, and the eventual implications for the once blissfully unproblematic idea of expression. From the opening, provocative proposition that historically Dada may have been the falsest of all false paths, the volume rounds to dispute such condemnation as demarcation continues not only of Dada's embeddedness in western culture, but more precisely of the location of Dada culture.
Dadaism --- Avant-garde (Aesthetics) --- Human figure in art --- History --- Influence --- Human figure in art. --- History. --- Influence. --- Art --- Comparative literature --- Philosophy and psychology of culture --- anno 1900-1999 --- Human body in art --- Composition (Art) --- Figurative art --- Anatomy, Artistic --- Figure drawing --- Figure painting --- Dada --- Tabu-Dadaism --- Arts, Modern --- Aesthetics --- Modernism (Art) --- Dadaism - History --- Dadaism - Influence --- Avant-garde (Aesthetics) - History - 20th century --- Dadaïsme
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Mimesis is one of the oldest, most fundamental concepts in Western aesthetics. This book offers a new, searching treatment of its long history at the center of theories of representational art: above all, in the highly influential writings of Plato and Aristotle, but also in later Greco-Roman philosophy and criticism, and subsequently in many areas of aesthetic controversy from the Renaissance to the twentieth century. Combining classical scholarship, philosophical analysis, and the history of ideas--and ranging across discussion of poetry, painting, and music--Stephen Halliwell shows with a wealth of detail how mimesis, at all stages of its evolution, has been a more complex, variable concept than its conventional translation of "imitation" can now convey. Far from providing a static model of artistic representation, mimesis has generated many different models of art, encompassing a spectrum of positions from realism to idealism. Under the influence of Platonist and Aristotelian paradigms, mimesis has been a crux of debate between proponents of what Halliwell calls "world-reflecting" and "world-simulating" theories of representation in both the visual and musico-poetic arts. This debate is about not only the fraught relationship between art and reality but also the psychology and ethics of how we experience and are affected by mimetic art. Moving expertly between ancient and modern traditions, Halliwell contends that the history of mimesis hinges on problems that continue to be of urgent concern for contemporary aesthetics.
Classical literature --- Aesthetics --- Mimesis in art. --- History. --- 111.85 --- 82.01 --- Metafysica: schoonheid; metafysische esthetica --- Esthetica --- 82.01 Esthetica --- 111.85 Metafysica: schoonheid; metafysische esthetica --- Mimesis in art --- Mimesis in de kunst --- Mimésis dans l'art --- Mimesis in literature --- Literature --- Poetics --- Esthétique --- Mimêsis --- Mimésis dans la littérature --- Littérature --- Poétique --- Histoire --- Imitation in art --- History --- Radio broadcasting Aesthetics --- Aesthetics - History.
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Poète et essayiste, Kral offre dans ce livre une des premières réflexions sur la poésie et l'art (peinture et cinéma) de l'esprit post-moderne. Études de Handke, Hopper et Wenders, entre autres. À partir de son expérience au sein de groupes surréalistes, il procède à une critique des poétiques d'avant-garde et de leur parti, tout idéologique, sur l'avenir : sur l'invention et l'imaginaire de l'homme comme instruments d'une refonte radicale du monde.
-Avant-garde (Aesthetics) --- -Arts, Modern --- Arts, Modern --- -Postmodernism --- Post-modernism --- Postmodernism (Philosophy) --- Modern arts --- History --- -Art styles --- Literature --- anno 1900-1999 --- Avant-garde (Aesthetics) --- Postmodernism --- Modernism (Art) --- Philosophy, Modern --- Post-postmodernism --- Aesthetics --- Postmodernism. --- Art styles --- Postmodernism (Literature) --- Postmodernisme --- Postmodernisme (Littérature) --- Arts, Modern - 20th century. --- Avant-garde (Aesthetics) - History - 20th century. --- Littérature --- Poésie --- Postmodernisme et littérature --- Avant-garde (esthétique) --- Arts --- Post-modernisme (poésie) --- Post-modernisme (art) --- 1945-.... --- 20e siècle
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Theatrical science --- Aesthetics of art --- anno 1900-1999 --- Modernism (Art) --- Modernisme (Art) --- Modernisme (Kunst) --- Ut pictura poesis (Aesthetics) --- Ut pictura poesis (Esthetica) --- Ut pictura poesis (Esthétique) --- Avant-garde (Aesthetics) --- Arts, Modern --- History --- 82-2 --- -Avant-garde (Aesthetics) --- -Modernism (Art) --- Aesthetics --- Art and literature --- Humanism in art --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Modern arts --- Toneel. Drama --- -Arts, Modern --- -82-2 --- 82-2 Toneel. Drama --- Modernism (Art). --- Ut pictura poesis (Aesthetics). --- Avant-Garde (Aesthetics) --- 20th century --- Arts [Modern ] --- Avant-garde (Aesthetics) - History - 20th century --- Arts, Modern - 20th century
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Painting landscapes was very much a private activity for Peter Paul Rubens. Whilst the majority of his other works were commissioned, the landscapes seem to have been painted for his own pleasure and delight and stayed in the artist’ s possession until his death. Most of them were painted in the last decade of his life; a happy period, in which Rubens retired from public duties and spent most of his free time studying the antique and enjoying sojourns on his country estate, castle Het Steen.0To grasp this profoundly personal character of Rubens’ s landscapes, this book considers the artist’ s highly complex method of pictorial invention to illuminate the perception, implementation, dissemination, and posthumous reception of views on nature and landscape as depicted in Rubens’ s landscape art.
Nature --- landscapes [representations] --- Rubens, Peter Paul --- Painters --- Landscape painting, Flemish --- Landscape prints, Flemish --- Peintres --- Peinture de paysages flamande --- Estampe de paysages flamande --- Attitudes --- Rubens, Peter Paul, --- Painting, Flemish --- Landscape prints, Dutch --- Nature in art. --- Nature (Aesthetics) --- Landscapes in art. --- History --- Criticism and interpretation. --- Themes, motives. --- Nature in art --- Landscapes in art --- Criticism and interpretation --- Themes, motives --- Painting, Flemish - 17th century --- Landscape painting, Flemish - 17th century --- Landscape prints, Dutch - 17th century --- Nature (Aesthetics) - History - 17th century --- Rubens, Peter Paul, - 1577-1640 - Criticism and interpretation --- Rubens, Peter Paul, - 1577-1640 - Themes, motives --- Rubens, Peter Paul, - 1577-1640
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