Sublime and grotesque
Author : William D. Howarth
Publisher :
Page : 0 pages
File Size : 39,87 MB
Release : 1975
Category :
ISBN :
Author : William D. Howarth
Publisher :
Page : 0 pages
File Size : 39,87 MB
Release : 1975
Category :
ISBN :
Author : Michael J. Matthis
Publisher : Cambridge Scholars Publishing
Page : 140 pages
File Size : 40,52 MB
Release : 2020-06-01
Category : Art
ISBN : 1527554074
The eighteenth-century Enlightenment represents a turn toward experience, that is, toward the experiencing subject. Still the Enlightenment involves an aspiration toward objective truth in the ideals of the newly emerging sciences and in the experiments in democracy that were beginning to transform the political landscape of Europe and America. Immanuel Kant’s towering philosophical achievement in his critical works helps to reformulate a meaning of objectivity that is congenial to the climate of inquiry and freedom in that remarkable century, a meaning that is unburdened of the metaphysical commitments of many of his predecessors. Kant’s revolution in philosophical thought gives us an objectivity that is crucially related to epistemic conditions rooted in subjectivity, a correlation between subjectivity and objectivity that carries over as well into his critical treatises concerned with ethics and aesthetics. This book of essays explores the tension between subjectivity and objectivity as it develops in the Enlightenment in Winkelmann, Hume, and Kant. The focus is upon aesthetic theories concerning the beautiful, the sublime, and the grotesque. The question by two of the authors as to whether aesthetic enjoyment of the blues is morally justified underscores an interest in these essays in the connection between aesthetics and ethics. This concern of the relation of aesthetics to judgments in cognition and in morality underlies an area of peculiar interest to Kant, and therefore to many of these essays. Finally the authors examine a turn toward the subjective in the Postmodern world of art and aesthetic theory, a turn that represents a relaxation of the original Enlightenment tension between subjectivity and objectivity. It also represents perhaps a grotesque turn toward the extreme of subjectivity in the realm of Postmodern theory, an extreme toward which at least one of the authors casts a critical eye.
Author : William Driver Howarth
Publisher : London : Harrap
Page : 472 pages
File Size : 10,68 MB
Release : 1975
Category : Literary Criticism
ISBN :
Author : Elizabeth Tinnon
Publisher :
Page : 128 pages
File Size : 26,30 MB
Release : 2009
Category : France
ISBN :
Author : Linda Lee Kick
Publisher :
Page : 546 pages
File Size : 10,90 MB
Release : 2011
Category :
ISBN : 9781267219923
Since the grotesque and the sublime hover at the intersection of several disciplines, my methodology is concomitantly interdisciplinary and feminist: philosophy, rhetoric, musicology, psychoanalysis, narratology, history, and cognitive science all serve to shift a canonized aesthetics of the sublime and the grotesque toward an ethics of the interhuman.
Author : Michael James Matthis
Publisher : Cambridge Scholars Publishing
Page : 0 pages
File Size : 11,50 MB
Release : 2010
Category : Aesthetics
ISBN : 9781443819633
The eighteenth-century Enlightenment represents a turn toward experience, that is, toward the experiencing subject. Still the Enlightenment involves an aspiration toward objective truth in the ideals of the newly emerging sciences and in the experiments in democracy that were beginning to transform the political landscape of Europe and America. Immanuel Kantâ (TM)s towering philosophical achievement in his critical works helps to reformulate a meaning of objectivity that is congenial to the climate of inquiry and freedom in that remarkable century, a meaning that is unburdened of the metaphysical commitments of many of his predecessors. Kantâ (TM)s revolution in philosophical thought gives us an objectivity that is crucially related to epistemic conditions rooted in subjectivity, a correlation between subjectivity and objectivity that carries over as well into his critical treatises concerned with ethics and aesthetics. This book of essays explores the tension between subjectivity and objectivity as it develops in the Enlightenment in Winkelmann, Hume, and Kant. The focus is upon aesthetic theories concerning the beautiful, the sublime, and the grotesque. The question by two of the authors as to whether aesthetic enjoyment of the blues is morally justified underscores an interest in these essays in the connection between aesthetics and ethics. This concern of the relation of aesthetics to judgments in cognition and in morality underlies an area of peculiar interest to Kant, and therefore to many of these essays. Finally the authors examine a turn toward the subjective in the Postmodern world of art and aesthetic theory, a turn that represents a relaxation of the original Enlightenment tension between subjectivity and objectivity. It also represents perhaps a grotesque turn toward the extreme of subjectivity in the realm of Postmodern theory, an extreme toward which at least one of the authors casts a critical eye.
Author : Stacy J. Lettman
Publisher : UNC Press Books
Page : 267 pages
File Size : 15,83 MB
Release : 2022-05-03
Category : Literary Criticism
ISBN : 1469668092
In this interdisciplinary work, Stacy J. Lettman explores real and imagined violence as depicted in Caribbean and Jamaican text and music, how that violence repeats itself in both art and in the actions of the state, and what that means for Caribbean cultural identity. Jamaica is known for having one of the highest per capita murder rates in the world, a fact that Lettman links to remnants of the plantation era—namely the economic dispossession and structural violence that still haunt the island. Lettman contends that the impact of colonial violence is so embedded in the language of Jamaican literature and music that violence has become a separate language itself, one that paradoxically can offer cultural modes of resistance. Lettman codifies Paul Gilroy's concept of the "slave sublime" as a remix of Kantian philosophy through a Caribbean lens to take a broad view of Jamaica, the Caribbean, and their political and literary history that challenges Eurocentric ideas of slavery, Blackness, and resistance. Living at the intersection of philosophy, literary and musical analysis, and postcolonial theory, this book sheds new light on the lingering ghosts of the plantation and slavery in the Caribbean.
Author : Kant/Goldthwait
Publisher :
Page : 0 pages
File Size : 46,12 MB
Release : 2004
Category : PHILOSOPHY
ISBN : 9780520352803
When originally published in 1960, this was the first complete English translation since 1799 of Kant's early work on aesthetics. More literary than philosophical, Observations shows Kant as a man of feeling rather than the dry thinker he often seemed to readers of the three Critiques.
Author : Julie A. Brown
Publisher : Ashgate Publishing, Ltd.
Page : 204 pages
File Size : 48,92 MB
Release : 2007-01-01
Category : Music
ISBN : 9780754657774
In Bluebeard's Castle (1911), The Wooden Prince (1916/17), The Miraculous Mandarin (1919/24, rev. 1931) and Cantata Profana (1930), Bartók engaged scenarios featuring either overtly grotesque bodies or closely related transformations and violations of the body. In this book, Julie Brown argues that Bartók's concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. All three were thoroughly implicated in cultural constructions of the Modern during the period in which Bartók was composing.
Author : Julie Brown
Publisher : Routledge
Page : 193 pages
File Size : 16,72 MB
Release : 2017-07-05
Category : Music
ISBN : 1351574574
The grotesque is one of art's most puzzling figures - transgressive, comprising an unresolveable hybrid, generally focussing on the human body, full of hyperbole, and ultimately semantically deeply puzzling. In Bluebeard's Castle (1911), The Wooden Prince (1916/17), The Miraculous Mandarin (1919/24, rev. 1931) and Cantata Profana (1930), Bart ngaged scenarios featuring either overtly grotesque bodies or closely related transformations and violations of the body. In a number of instrumental works he also overtly engaged grotesque satirical strategies, sometimes - as in Two Portraits: 'Ideal' and 'Grotesque' - indicating this in the title. In this book, Julie Brown argues that Bart concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While Bart eveloped each interest in highly individual ways, and did so separately to a considerable extent, the three concerns remained conceptually interlinked. All three were thoroughly implicated in cultural constructions of the Modern during the period in which Bart as composing.