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  1. added 2019-07-05
    Класики і романтики: спроба саморецензії.Borys Shalaginov - 2018 - NaUKMA Researh Papers. Literary Studies 1:126-134.
    У статті підсумовано основні результати багаторічного дослідження «веймарської класики» і раннього німецького романтизму, розкрито суть «модерністичного проекту», спрямованого на інтелектуально-культурне оновлення всього європейського суспільства. Розглянуто три світоглядні «кризи модерну». Перша – на зламі XVIII–ХІХ ст. Романтики тоді розділили мистецтво естетично і соціологічно на масове і високе, а історично – на сучасний і «класичний» мейнстріми. Простежено подальшу долю «проекту» в умовах другої кризи доби Модерн на зламі ХІХ–ХХ ст. (тут естафету романтиків підхопив Ф. Ніцше) і уже в наш час – останньої (...)
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  2. added 2018-08-04
    Adam Bede’s Dutch Realism and the Novelist’s Point of View.Rebecca Gould - 2012 - Philosophy and Literature 36 (2):404-423.
    Hegel was ambivalent about Dutch genre painting’s uncanny ability to find beauty in daily life. The philosopher regarded the Dutch painterly aesthetic as Romanticism avant la lettre, and classifies it as such in his Lectures on Aesthetics, under the section entitled “Die romantischen Künste [The Romantic arts].”1 Dutch art, in Hegel’s reading, is marred by many shortcomings. The most prominent among these are the “subjective stubbornness [subjective Beschlossenheit]” that prevents this art from attaining to the “free and ideal forms of (...)
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  3. added 2018-03-27
    Leo Tolstoy’s tragic death and his impacts on Max Weber and György Lukács: On autonomy of arts and science/ O tema da morte trágica de Liev Tolstói e set impacto em Max Weber e György Lukács: Sobre a autonomia nas ciências e na arte.Luis F. Roselino - 2014 - Revista História E Cultura 3 (1):150-171.
    The tragic death in Tolstoy's writings has helped both Max Weber and György Lukács in characterizing the modern pathos as a tragic contemplation of the emptiness of life. Through Tolstoy's readings, Weber and Lukács found an interesting source of denying arts and modern sciences autonomy, considering, from the aesthetics sphere, the meaningless of this new immanent reality. Both has assumed Tolstoy main theme from the same perspective, contrasting ancient and modern worldviews. Max Weber presented this theme in his disenchantment of (...)
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  4. added 2017-05-04
    The Performative Limits of Poetry.Christopher Mole - 2013 - British Journal of Aesthetics 53 (1):55-70.
    J. L. Austin showed that performative speech acts can fail in various ways, and that the ways in which they fail can often be revealing, but he was not concerned with understanding performative failures that occur in the context of poetry. Geoffrey Hill suggests, in both his poetry and his prose writings, that these failures are more interesting than Austin realized. This article corrects Maximilian de Gaynesford’s misunderstanding of Hill’s treatment of this point. It then explains the way in which (...)
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  5. added 2016-12-08
    The Relationship Between Aesthetic Value and Cognitive Value.Antony Aumann - 2014 - Journal of Aesthetics and Art Criticism 72 (2):117-127.
    Recent attention to the relationship between aesthetic value and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aesthetic value of a work can influence its cognitive value. More narrowly, I consider whether a work's aesthetic value ever contributes to or detracts from its philosophical value, which I take to include the truth of its claims, the strength of its arguments, and its (...)
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  6. added 2014-04-17
    That Obscure Object of Desire: Pleasure in Painful Art.Jonathan Gilmore - 2013 - In Jerrold Levinson (ed.), Suffering Art Gladly: The Paradox of Negative Emotions in Art. Palgrave/Macmillan.
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  7. added 2013-11-27
    Representation and the Novel.John Gibson - 2013 - The Henry James Review 34 (3):220-231.
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  8. added 2012-10-05
    The Puzzle of Historical Criticism.Christopher Bartel - 2012 - Journal of Aesthetics and Art Criticism 70 (2):213-222.
    Works of fiction are often criticized for their historical inaccuracies. But this practice poses a problem: why would we criticize a work of fiction for its historical inaccuracy given that it is a work of fiction? There is an intuition that historical inaccuracies in works of fiction diminish their value as works of fiction; and yet, given that they are works of fiction, there is also an intuition that such works should be free from the constraints of historical truth. The (...)
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  9. added 2011-03-20
    Art as Its Own Interpretation.Nicholas Maxwell - 2003 - In Andreea Ruvoi (ed.), Interpretation and Its Objects: Studies in the Philosophy of Michael Krausz. Rodopi.
    In this article I argue that a work of art provides the best interpretation of itself - more faithful than any other scholarly interpretative work.
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  10. added 2009-11-30
    Literature and Knowledge.John Gibson - 2009 - In Richard Eldridge (ed.), Oxford Handbook of Philosophy and Literature. Oxford University Press.
    What is the relation between works of fiction and the acquisition of knowledge?
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