"These sixteen essays by Arnold Isenberg "bring wide-ranging connoiseurship, intricate analysis, and epigrammatic literacy to bear on a number of glib and fuzzy oppositions between form and content, description and interpretation, perception and meaning, technique and substance, and belief and expression, articulating provocative strategies for illuminating the canon of the arts and the organ of criticism. . . . Any thoughtful lover of the arts could read this book with profit and inspiration."—Choice
An exceptional resource, this 1988 book provides a comprehensive anthology in English of the major texts of German literary and aesthetic theory between Lessing and Hegel. The texts are crucial to an understanding not only of the Romantic period itself, but also of the foundational arguments of literary theory.
This study analyses the emergence of aesthetic theory in eighteenth-century Germany in relation to contemporary theories of the nature of language and signs. As well as being extremely relevant to the discussion of literary theory, this perspective casts much light on Enlightenment aesthetics. The central text under consideration shows that the extended comparison of poetry and the plastic arts contained in that major work of aesthetic criticism rests upon a theory of signs and constitutes a complex and global theory of aesthetic signification. His analysis of Laocoon is preceded by chapters which establish the underlying structure and influence of the Enlightenment metasemiotic - that is, the place and function of the sign concept in the culture of the early eighteenth century. As an important reinterpretation of Lessing's Laocoon and of the development of German aesthetic theory, this book will be of special interest to students and scholars of German literature. Moreover, as a significant chapter in the history of semiotics, it will be read with profit by all those concerned with the history of literary criticism and aesthetic theory.
Althusser and Art offers a reading of Althusserianism as a meta-mediation on the question concerning the aesthetics of theory. Fardy shows that Althusserian theory is part of a larger genealogy of thought, stretching from Korsch through Laruelle, that has been primarily concerned with the search for a form of theory, an aesthetic of theorizing, capable of transcending the theory-practice dialectic.
Developing a concept briefly introduced in Counterrevolution and Revolt, Marcuse here addresses the shortcomings of Marxist aesthetic theory and explores a dialectical aesthetic in which art functions as the conscience of society. Marcuse argues that art is the only form or expression that can take up where religion and philosophy fail and contends that aesthetics offers the last refuge for two-dimensional criticism in a one-dimensional society.
By defining what happens during the act of reading, that is, how aesthetic experience is initiated, develops, and functions, Iser's book provides the first systematic framework for assessing the communicatory function of a literary text within the context from which it arises. It is an important work that will appeal to those interested in the reading process, aesthetic theory, literary criticism, and basic theoretical aspects of the novel. Book jacket.
This book-length treatment of György Lukács' major achievement, his Marxist aesthetic theories. Working from the thirty-one volumes of Lukács' works and twelve separately published essays, speeches, and interviews, Bela Kiralyfalvi provides a full and systematic analysis for English-speaking readers. Following an introductory chapter on Lukács' philosophical development, the book concentrates on the coherent Marxist aesthetics that became the basis for his mature literary criticism. The study includes an examination of Lukács' Marxist philosophical premises; his theory of the origin of art and the relationship of art to life, science, and religion; and his theory of artistic reflection and realism. Later chapters treat the concepts of type and totality in Lukács' category of specialty, the distinctions between allegory and symbolism in his theory of the language of art, and Lukács' understanding of aesthetic effect and form and content in art. There is a separate chapter on Lukács' dramatic theory. This lucid and readable account of Lukács' aesthetic theories will be of special interest to students of literature, aesthetics, and drama. In addition, it will be appreciated by those generally concerned with Marxist theory. Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
This volume assembles the work of leading international scholars in a comprehensive history of Russian literary theory and criticism from 1917 to the post-Soviet age. By examining the dynamics of literary criticism and theory in three arenas—political, intellectual, and institutional—the authors capture the progression and structure of Russian literary criticism and its changing function and discourse. For the first time anywhere, this collection analyzes all of the important theorists and major critical movements during a tumultuous ideological period in Russian history, including developments in émigré literary theory and criticism. Winner of the 2012 Efim Etkind Prize for the best book on Russian culture, awarded by the European University at St. Petersburg, Russia.
What is art? The contributors to Theories of Art Today address the assertion that the term “art” no longer holds meaning. They explore a variety of issues including: aesthetic and institutional theories of art, feminist perspectives on the philosophy of art, the question of whether art is a cluster concept, and the relevance of tribal art to philosophical aesthetics. Contributors to this book include such distinguished philosophers and historians as Arthur Danto, Joseph Margolis, and George Dickie.
The most important aesthetics of the century, this is a long-awaited work, the culmination of a lifetime's investigation. Among the twelve major sections are Art, Society, Aesthetics; the Categories of the Ugly, the Beautiful, the Technics; Natural Beauty; Coherence and Subject-Object; Towards a Theory of the Artwork.
Galvano Della Volpe was the dominant philosopher of Italian Marxism for twenty years after the Liberation. His most important book was a work of aesthetic theory—Critique of Taste. Della Volpe, proponent of a robust materialism in all his writings, was concerned to rehabilitate the inherently rational and intellectual nature of art. Opposing both the sociological reductionism of Plekhanov or Lukács, and the formalist irrationalism of Croce or New Criticism, Della Volpe's aim was to demonstrate that conceptual meaning is always inseparable from aesthetic effect. Whether he is discussing Pindar or Góngora, Cleanth Brooks or Roland Barthes, Goethe or Mallarmé, Della Volpe is always challenging, always illuminating. Critique of Taste represents one of the major crossroads of twentieth-century aesthetics.
This collection brings together classic and contemporary writings on the philosophy of art. All of the various artistic genres are addressed, with sections on film, dance and architecture as well as music, literature and the visual arts.
In this unprecedented collection, over twenty of the world's most prominent thinkers on the subject including Arthur Danto, Stephen Melville, Wendy Steiner, Alexander Nehamas, and Jay Bernstein ponder the disconnect between these two disciplines. The volume has a radically innovative structure: it begins with introductions, and centres on an animated conversation among ten historians and aestheticians. That conversation was then sent to twenty scholars for commentary and their responses are very diverse: some are informal letters and others full essays with footnotes. Some think they have the answer in hand, and others raise yet more questions. The volume ends with two synoptic essays, one by a prominent aesthetician and the other by a literary critic. This stimulating inaugural volume in the Routledge The Art Seminar series presents not one but many answers to the question; Does philosophy have anything to say to art history?