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It becomes clear that the problem of non-conceptual natural beauty is always present in any discussion of ugliness.
This article looks at the discourse of obscenity in mid- to late nineteenth-century German legal and aesthetic thought and its implications for both historical and contemporary hermeneutical practices.
The article proceeds genealogically Within this genealogy, the obscene emerges as a concept that extends far beyond either legal pragmatics or emotional susceptibility to delineate a particularly suspect play of exposure and concealment, isolation and integration, presence and significance, absorption and theatricality. For the aesthetic thinkers of the late nineteenth century, art and literature must be perpetually on their guard against a certain gratuitous form of sensual spectacle, which not only violates moral conventions, but also threatens a particular idea of the human being and its relationship to the external world in a way that is not merely historical, but continues to be relevant to literary and philosophical debates today.
Aesthetic value of Ugliness. Beauty is the ground Beauty is the ground of the photography program, its main subject and one of the biggest problems of photography. Sontag raises this topic when she is analyzing the shots of Diana Arbus, she writes on borders and landmarks of the photoprogramm of beauty.
Besides, the problem of beauty and ugliness, principles of they relations forms one more idea — the idea of norm. Parameters of standard, as well as the way to define it is one of the main problems of art theory and it allows to see concepts of beauty and ugliness as ethic intentions. Disgusting in the discourse of love: the philosophical and aesthetic look in Russian. The article attempts to analyze the manifestations of disgusting in love from the perspective of philosophical and aesthetic discourse.
The author emphasizes that although love is not ontologically linked with all sorts of ugly, The author emphasizes that although love is not ontologically linked with all sorts of ugly, including and disgusting, but at the same time, the object of love can be a "marker" that is perfect, and that's disgusting. Also, in this paper we propose a differentiation hideous manifestation within the discourse of loving. Keywords: disgusting, vile, rude, ugly, empty, dead, aesthetic love.
This article examines three notions of The ugly in the field of the history of aesthetics: the aesthetics of the eighteenth century referring to the British school and Kant , the position of Hegel consisting of a philosophy of art, This article examines three notions of The ugly in the field of the history of aesthetics: the aesthetics of the eighteenth century referring to the British school and Kant , the position of Hegel consisting of a philosophy of art, which combines attention the factual and practical scope on art with the speculative one, relative to its insertion in the Absolute Spirit and Rosenkranz which largely represents a return to the metaphysical notion, which regarded the beauty as a transcendental attribute.
Karl Rosenkranz, Aesthetics of Ugliness. A Critical Edition. In this key text in the history of art and aesthetics, Karl Rosenkranz shows ugliness to be the negation of beauty without being reducible to evil, materiality, or other negative terms used it's conventional condemnation. This insistence This insistence on the specificity of ugliness, and on its dynamic status as a process afflicting aesthetic canons, reflects Rosenkranz's interest in the metropolis - like Walter Benjamin, he wrote on Paris and Berlin - and his voracious collecting of caricature and popular prints.
The struggle with modernization and idealist aesthetics makes Aesthetics of Ugliness, published four years before Baudelaire's Fleurs du Mal, hugely relevant to modernist experiment as well as to the twenty-first century theoretical revival of beauty.
Translated into English for the first time, Aesthetics of Ugliness is an indispensable work for scholars and students of modern aesthetics and modernist art, literary studies and cultural theory, which fundamentally reworks conceptual understandings of what it means for a thing to be ugly. The contrast with the beautiful can be a distinct way of illuminating that notion, and with it the ideal of art as such.
Karl Rosenkranz's Aesthetics of Ugliness, here carefully edited, lucidly introduced, and elegantly translated by Andrei Pop and Mechtild Widrich, shows us in detail how one might understand this contrast, illuminating fundamental issues in aesthetics and in the self-understanding of modernity along the way — a very valuable contribution to any discussion.
Andrei Pop. An den Grenzen von G. Hegels System. Michelet, K. Rosenkranz und V. Related Topics. Phenomenology of Touch. Follow Following. Behavioral Geography.
Performance Techniques from the Social Rites of Persuasion. American Christian History. Conflict Languages and Linguistics. Artificial Biologic Natural Selection Systems--human devised new nature-located natural selection processes.
Ambiguity Aversion. East Asian Theology. Animal Theology. Ads help cover our server costs. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up.
Ästhetik des Häßlichen
Important User Information: Remote access to EBSCO's databases is permitted to patrons of subscribing institutions accessing from remote locations for personal, non-commercial use. However, remote access to EBSCO's databases from non-subscribing institutions is not allowed if the purpose of the use is for commercial gain through cost reduction or avoidance for a non-subscribing institution. Source: Contrastes: Revista Internacional de Filosofia. Abstract: This text focuses on the changing role played by Beauty in the long course of Western aesthetic thought, and on the heavy consequences of this mutation on the European aesthetic taste from post-Renaissance time onwards.
Aesthetics of Ugliness
The very selection of the name, as if it were an acronym for a multinational corporation, communicates the work strategy of these artists. Under the expressive, seductive guise of advertising language and full of references to mannerist and baroque art, their works never avoid politically-incorrect themes such as childhood manipulation, violence, the clash of civilizations or the behavior of the new oligarchies. The Dystopian Arcadia , a luxury hotel in the midst of a heavenly island, where The Feast of Trimalchio now takes place, is an amalgam of digitally recreated oriental and neoclassic architecture. Assorted personages roam through it. They are polyphonously related and their poses emulate the iconographic archetypes of mannerist painting as well as the frozen and distant gestures of high fashion models. This has become the stylistic hallmark of this collective of artists.