336,168 research outputs found

    The primitivism debate and modern art

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    Supposedly ‘primitive’ works of art in their various forms always had a great appeal in Western culture. Since the eighteenth century (and also before) there has been a consistent tendency in European Art and Literature to attribute superior virtue to primitive people. In this paper I will introduce first the notion of primitivism and the theoretical aspects presented by two American scholars, Arthur O. Lovejoy and George Boas who became the pioneers of the history and theorisation of primitivism when they published their seminal work on Classical literature and philosophy, Primitivism and Related Ideas in Antiquity, (1935). I will also discuss the central question why modern artists turned to primitive art for inspiration. And I will be referring to the seminal work published by Robert Goldwater in 1938, Primitivism in Modern Art. Although Goldwater seemed to be more concerned with the thematic approach, he stressed a common characteristic of primitivism in modern art, namely the search for ‘simplicity’. The controversial exhibition, “Primitivism” in 20th Century Art: Affinity of the Tribal and the Modern held at the Museum of Modern Art in New York in 1984 helps us to understand better the difference between works created by the ‘primitives’ and the works made by modern artists within a different context. The ‘Primitive’ is not only found in modern art but also traced in other categories like the art of children, peasants, and the insane and even women.peer-reviewe

    The Fear of Aesthetics in Art and Literary Theory

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    Is aesthetics, as has recently been claimed, now able to meet the accusations often levelled against it? This essay examines counters to three of the most common: that aesthetics is based around overly narrow conceptions of "art" and "the aesthetic"; that aesthetics is politically disengaged; and that aesthetics fails to engage with actual art objects and their histories

    Aesthetics into the Twenty-first Century

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    The new concerns facing aestheticians in the twenty-first century require serious attention if the discipline is to maintain continued viability as an intellectual discipline. Just as art changes as cultures develop, so must aesthetics. In support of this view is a personal account of evolving engagement with aesthetics and the factors that led to embracing change and a plurality of practices as essential to the health of aesthetic today. A brief examination of the state of aesthetics as it has evolved in the American Society for Aesthetics since its inception in the 1940s will follow. These two lines of development, one idiosyncratic and personal, and the other focusing on the aims and outcomes of one prominent national society, will perhaps offer some useful background for understanding the current state of aesthetics and the problems confronting the discipline today. Following these considerations will be a look at some of the main concerns reflected in the social and political aesthetics and the expansion of aesthetics to include the popular arts which again challenges aesthetics to move beyond its historic boundaries

    Why Does Feminism Matter To Aesthetics?

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    Peter Lamarque recently reported on current trends in aesthetics in the Postgraduate Journal of Aesthetics. Noticeably absent from his list, however, is the emergence and acceptance of feminist approaches in aesthetics, especially among analytic philosophers. Yet feminism is an important movement, one that should have been included among those he discusses. Indeed, my goal is to convince you that feminism should have made it onto Lamarque’s list. Rather than criticize him, however, I want to use his oversight to ask why feminist philosophers working in analytic aesthetics have trouble getting the recognition they deserve. My suggestion will be that the specificity of feminist critiques in aesthetics is often what makes it difficult for philosophers to appreciate their significance. I will also argue that it is precisely because of this specificity that feminism is a uniquely important movement in contemporary aesthetics

    Garden as Symbol: Nature/City

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    My approach .to environmental aesthetics here begins with reflections on previous encounters with the subject, focusing initially on aesthetics of the city. Then follows a brief look at current theories of environmental aesthetics as they relate to nature aesthetics. The final section will consider garden as a symbolic link of nature/city. Nelson Goodman \u27s theory of exemplification will serve as an account of garden as a symbol linking nature and city

    Western Dance Aesthetics

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