In 1938 Wittgenstein delivered a short course of lectures on aesthetics to a small group of students at Cambridge. The present volume has been compiled from notes taken down at the time by three of the students: Rush Rhees, Yorick Smythies, and James Taylor. They have been supplemented by notes of conversations on Freud (to whom reference was made in the course on aesthetics) between Wittgenstein and Rush Rhees, and by notes of some lectures on religious belief. As very little is known of Wittgenstein's views on these subjects from his published works, these notes should be of considerable interest to students of contemporary philosophy. Further, their fresh and informal style should recommend Wittgenstein to those who find his Tractatus and Philosophical Investigations a little formidable.
The first thing to be said about this book is that nothing contained herein was written by Wittgenstein himself. The notes published here are not Wittgenstein's own lecture notes, but notes taken down by students, which he neither saw nor checked. It is even doubtful if he would have approved of their publication, as least in their present form. Since, however, they deal with topics only briefly touched upon in his other published writings, and since for some time they have been circulating privately, it was thought best to publish them in a form approved by their authors.
Vor 200 Jahren starb Friedrich Schiller, der Verfasser der "Räuber", der "große genialische Dichter" (Hölderlin), der Mann des "Wahren, Guten, Schönen" (Goethe), der National-dichter und - neben Goethe - Säulenheilige der Weimarer Klassik. Der TEXT+KRITIK Sonderband will, zum "Schiller-Gedenkjahr", einen anderen Friedrich Schiller ins Gedächtnis rufen: den Alltagsdichter, den Leser, den Theatermacher, den Kulturhistoriker, den Religionskritiker, den Lyriker jenseits der Balladen - den Grenzgänger der Klassik. Es geht hier einmal nicht mehr um die monolithischen Texte; vielmehr soll hier ein Blick auf eher abseitiges gewagt werden, mit dem eine Neulektüre des schillerschen Werkes gelingen könnte. Beiträge zur aktuellen Inszenierbarkeit der Dramen, zur Bedeutung des Weimarer Pathetikers für die Gegenwartslyrik und zur Rhetorik der Schiller-verehrung öffnen den Blickwinkel auch für Kanonfragen. Mitarbeiter des Bandes sind Peter-Andre Alt, Barbara Bauer, Axel Beer, Grit Dommes, Bernhard Greiner, Matthias Hartmann, Michael Hofmann, Hermann Korte, Günter Oesterle, Michael Ott, Diana Schilling, Sabine Scho, Mirjam Springer, Gert Vobhoff und Gregor Wittkop.
This is an insightful and intelligent re-thinking of Japanese art history & its Western influences. This broad-ranging and profoundly influential analysis describes how Western art institutions and vocabulary were transplanted to Japan in the late nineteenth century. In the 1870-80s, artists and government administrators in Japan encountered the Western 'system of the arts' for the first time. Under pressure to exhibit and sell its artistic products abroad, Japan's new Meiji government came face-to-face with the need to create European-style art schools and museums - and even to establish Japanese words for art, painting, artist, and sculpture. "Modern Japanese Art" is a full re-conceptualization of the field of Japanese art history, exposing the politics through which the words, categories, and values that structure our understanding of the field came to be while revealing the historicity of Western and non-Western art history.
Available for the first time in English, Li Zehou's philosophical aesthetics interpret the historical origins and evolution of aesthetic experience and their significance to the intellectual, emotional, and spiritual growth of human beings. Although LI's ideas have been debated in China for more than two decades, his conversations with Jane Cauvel will now allow Western students and philosophers to re-encounter Chinese and Western conceptions of aesthetics, and the way art shapes indiciduals, societies, technology, and the future of humankind.
Art, Myth and Society in Hegel's Aesthetics returns to the student transcripts of Hegel's lectures on aesthetics, which have yet to be translated into English and in some cases remain unpublished. David James develops the idea that these transcripts show that Hegel was primarily interested in understanding art as an historical phenomenon and, more specifically, in terms of its role in the ethical life of various peoples. This involves relating Hegel's aesthetics to his philosophies of right and history, rather than to his logic or metaphysics. The book thus offers a thorough re-evaluation of Hegel's aesthetics and its relation to his theory of objective spirit, exposing the ways in which Hegel's views on this subject are anchored in his reflections on history and on different forms of ethical life.
The aesthetics of everyday life, originally developed by Henri Lefebvre and other modernist theorists, is an extension of traditional aesthetics, usually confined to works of art. It is not limited to the study of humble objects but is rather concerned with all of the undeniably aesthetic experiences that arise when one contemplates objects or performs acts that are outside the traditional realm of aesthetics. It is concerned with the nature of the relationship between subject and object. One significant aspect of everyday aesthetics is environmental aesthetics, whether constructed, as a building, or manipulated, as a landscape. Others, also discussed in the book, include sport, weather, smell and taste, and food.
While Experiential Learning has been an influential methods in the education and development of managers and management students, it has also been one of the most misunderstood. This Handbook offers the reader a comprehensive picture of current thinking on experiential learning; ideas and examples of experiential learning in practice; and it emphasises the importance of experiential learning to the future of management education. Contributors include: Chris Argyris, Joseph Champoux, D. Christopher Kayes, Ruth Colquhoun, John Coopey, Nelarine Cornelius, Elizabeth L. Creese, Gordon Dehler, Andrea Ellinger, Meretta Elliott, Silvia Gherardi, Jeff Gold, Steve G. Green, Kurt Heppard, Anne Herbert, Robin Holt, Martin J. Hornyak, Paula Hyde, Tusse Sidenius Jensen, Sandra Jones, Anna Kayes, Kirsi Korpiaho, Tracy Lamping, Enrico Maria Piras, Amar Mistry, Dale Murray, Jean Neumann, Barbara Poggio, Keijo Räsänen, Peter Reason, Michael Reynolds, Clare Rigg, Bente Rugaard Thorsen, Burkard Sievers, Stephen Smith, Sari Stenfors, Antonio Strati, Elaine Swan, Jane Thompson, Richard Thorpe, Kiran Trehan, Russ Vince, Jane Rohde Voight, Tony Watson, and Ann Welsh.
This book shows how aesthetic understanding of organizations can extend our knowledge and sharpen our insights into many processes that shape organizational action. Organizational life is pervaded by aesthetics, yet conventional organizational analysis has been dominated by a `scientific', logico-rational tradition that ignores the aesthetic dimension. The book highlights the role of emotion in organizations, the importance of symbol, the subjective influence of culture and the processes of learning and cognition. These phenomena are related to the aesthetic rather than to purify rational, demanding new modes of inquiry that allow us richer insight into the dynamics of organizational life. Organization and Aesthetics provides a powerful new lens through which the daily, ever-chaning complexity of organizations can be better understood by students, researchers and mangers.
This innovative book discloses Karl Rahner's foremost achievement: discovering and delineating an ethos of Catholicism, a multi-faceted and comprehensive approach to life in Christ. Karl Rahner's Theological Aesthetics does so by placing the German Jesuit and his teacher, philosopher Martin Heidegger, into a richly detailed dialogue on aesthetics. The book treats classic Rahner topics such as anthropology and Christology. But it breaks new ground by exploring themes such as angels, Mary, and the apocalypse, juxtaposed with analogous philosophical topics in Heidegger.
During John Dewey's lifetime (1859-1952), one public opinion poll after another revealed that he was esteemed to be one of the ten most important thinkers in American history. His body of thought, conventionally identified by the shorthand word "Pragmatism," has been the distinctive American philosophy of the last fifty years. His work on education is famous worldwide and is still influential today, anticipating as it did the ascendance in contemporary American pedagogy of multiculturalism and independent thinking. His University of Chicago Laboratory School (founded in 1896) thrives still and is a model for schools worldwide, especially in emerging democracies. But how was this lifetime of thought enmeshed in Dewey's emotional experience, in his joys and sorrows as son and brother, husband and father, and in his political activism and spirituality? Acclaimed biographer Jay Martin recaptures the unity of Dewey's life and work, tracing important themes through the philosopher's childhood years, family history, religious experience, and influential friendships. Based on original sources, notably the vast collection of unpublished papers in the Center for Dewey Studies, this book tells the full story, for the first time, of the life and times of the eminent American philosopher, pragmatist, education reformer, and man of letters. In particular, The Education of John Dewey highlights the importance of the women in Dewey's life, especially his mother, wife, and daughters, but also others, including the reformer Jane Addams and the novelist Anzia Yezierska. A fitting tribute to a master thinker, Martin has rendered a tour de force portrait of a philosopher and social activist in full, seamlessly reintegrating Dewey's thought into both his personal life and the broader historical themes of his time.
Roman Ingarden's very extensive philosophical work in metaphysics, ontology, epistemology, and aesthetics con tinues to attract increasing attention both in Poland and in North America. Further work left uncompleted at his death is appearing. Major bibliographies of his work as well as of studies about his work are now in print. Ingar den's scattered articles on various questions in philosophy are being collected. And conferences devoted to his work are now held regularly. These diverse activities might suggest a similar diver sity in Ingarden's philosophical legacy. But such a sugges tion would be misleading. For interest in Ingarden's work has continued to centre on the one area which is arguably at the core of his achievement, namely the complex prob lems of aesthetics. In this field Ingarden seemed to pull together his various interests in ontology and epistemology especially. Here he brought those interests to focus on a set of issues that would occupy him creatively throughout the vicissitudes of his long and difficult scholarly life. More over, aesthetics is also the field where Ingarden perhaps most succeeded in orchestrating the many themes he owed to his phenomenological training while finally transposing the central issues into something original, something dis tinctively his own that philosophers can no longer identify as merely phenomenological. Ingarden's aesthetics not surprisingly has captured the interest today of many scholars in different fields.
This book presents an up-to-date introduction to the subject that captures the excitement and passion of art itself. It opens by exploring why art is important to us and goes on to grip the reader with a discussion of all of the areas central to aesthetics: aesthetic experience, representation, expression, definition of art, evaluation, interpretation, structuralism and post-structuralism, truth and morality. It draws upon the great thinkers on art, Plato and Kant, Croce and Beardsley, including the most recent iconoclastic views of Barthes and Derrida.
"Argues that Oakeshott's views on aesthetics, religion, and morality, which she places in the Augustinian tradition, are intimately linked to a creative moral personality that underlies his political theorizing. Also compares Oakeshott's Rationalism to Voegelin's concept of Gnosticism and considers both thinkers' treatment of Hobbes to delineate their philosophical differences"--Provided by publisher.
0. 1. GENERAL DESCRIPTION OF THE PROBLEMATIC This study is devoted to an examination of a concept of crucial significance for Soviet aesthetics - the concept of the aesthetic (esteticeskoe). Soviet aestheticians have for some time already been trying to design a concept of the aesthetic that would satisfy, on the one hand, the requirements of aesthe tic phenomena, and, on the other hand, the principles of the Marxist-Leninist world view. The first part of this work shows how the concept of the aesthetic has been and continues to be problematic for Soviet aestheticians. This task is carried out by dwelling, first of all, on the controversies among Soviet aesthe ticians concerning meta-aesthetic issues, viz, the nature and scope of aesthetics as well as its place among other philosophical and non-philosophical disci plines. A particularly clear view of the problems that have traditionally pre occupied Soviet aestheticians is provided by an examination of what they standardly call the 'method of aesthetics', where 'method' is understood in the sense of an explanatory framework rather than in the strict logico-scien tific sense of the term. This discussion will provide the occasion to pass in review the main periods of Soviet aesthetics and the characteristic aspects of each. The chapter on the sources of contemporary Marxist-Leninist aesthetics brings into relief the lack of a homogeneous tradition in the question of the nature of the aesthetic and other related problems.
This book offers a critical outline of the sources of the history, of the spirit and of the doctrines of present-day Soviet Russian Dialectical Materialism ('Diamat'), i.e. of the philosophical foundations of Marxism Leninism. It is scarcely necessary to stress the usefulness of a short outline of this kind, as Russian sources are not easily accessible in the West and as it is of considerable interest to know the doctrines which make up the faith of the Communists* in all countries. The material for this book was first made public in a series of lectures at the University of Fribourg (Switzerland), first in French in the summer term of 1949, later in English at the Summer School in the same year. The French text, slightly expanded, was translated into German by Miss M. Hoerkens, Dipl. rer. pol. Various imperfections in the wording of the text and in the bibliography can be explained by the process of formation of this book. The author hopes that such imperfections will not prove disturbing.
This 2005 volume provides an extensive translation of the notes and fragments that survived Kant's death in 1804. These include marginalia, lecture notes, and sketches and drafts for his published works. They are important as an indispensable resource for understanding Kant's intellectual development and published works, casting fresh light on Kant's conception of his own philosophical methods and his relations to his predecessors, as well as on central doctrines of his work such as the theory of space, time and categories, the refutations of scepticism and metaphysical dogmatism, the theory of the value of freedom and the possibility of free will, the conception of God, the theory of beauty, and much more.