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Aesthetics, Modern --- Modern aesthetics

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Aesthetics --- Semiotics --- Aesthetics, Modern --- -Semiotics --- -Semeiotics --- Semiology (Linguistics) --- Semantics --- Signs and symbols --- Structuralism (Literary analysis) --- Modern aesthetics --- History --- -Lessing, Gotthold Ephraim --- -History --- -Modern aesthetics --- Semeiotics --- Lessing, Gotthold Ephraim,

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A History of Modern Aesthetics narrates the history of philosophical aesthetics from the beginning of the eighteenth century through the twentieth century. Aesthetics began with Aristotle's defense of the cognitive value of tragedy in response to Plato's famous attack on the arts in The Republic, and cognitivist accounts of aesthetic experience have been central to the field ever since. But in the eighteenth century, two new ideas were introduced: that aesthetic experience is important because of emotional impact - precisely what Plato criticized - and because it is a pleasurable free play of many or all of our mental powers. This book tells how these ideas have been synthesized or separated by both the best-known and lesser-known aestheticians of modern times, focusing on Britain, France and Germany in the eighteenth century; Germany and Britain in the nineteenth; and Germany, Britain and the United States in the twentieth.

Aesthetics --- anno 1700-1799 --- anno 1800-1999 --- Aesthetics, Modern --- Aesthetics, Modern. --- PHILOSOPHY --- History. --- History & Surveys --- Modern. --- Modern aesthetics --- History --- Philosophy

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Das im späten 18. Jahrhundert entstandene Konzept einer 'Kunstreligion' radikalisiert sich nach 1850 im Horizont einer ästhetischen 'Moderne'. Die autonom gewordene Kunst übernimmt Aufgaben und Funktionen, die zuvor Sache der Religion gewesen sind, und stilisiert z. B. den Künstler als Priester oder als Prophet.Die Beiträge rekonstruieren in Fallstudien von Richard Wagner und Theodor Storm über Hugo von Hofmannsthal und Stefan George bis zu Max Reinhardt und Martin Heidegger unterschiedliche Erscheinungsformen einer Kunstauffassung, die sich des quasi numinosen Charakters ihrer Werke bewusst geworden ist und diese Analogie produktiv macht.Es eröffnen sich neue und differenzierte, synchrone wie diachrone, zugleich medienspezifische und medienübergreifende Perspektiven auf ein für die Moderne wie für die Postmoderne gleichermaßen wichtiges Kulturphänomen.

Religion and literature --- Aesthetics, Modern. --- German literature --- Modern aesthetics --- Literature --- Literature and religion --- Moral and religious aspects --- Poetics. --- aesthetics. --- moderism.

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In American visual culture, the 1930s and 1940s were a key transitional period shaped by the era of modernism and the global confrontation of World War II. Christof Decker demonstrates that the war and its iconography of destruction challenged visual artists to find new ways of representing its consequences. Dealing with trauma and war crimes led to the emergence of complex aesthetic forms and media crossovers. Decker shows that the 1940s were a pivotal period for the creation of horrific yet also innovative representations that boosted American visual modernism and set the stage for debates about the ethics of visual culture in the post-9/11 era.

Aesthetics, Modern. --- Modern aesthetics --- America. --- American Studies. --- Cultural Studies. --- Image. --- Media. --- Photography. --- USA. --- Visual Culture. --- Visual Studies. --- World War II.