Radikale Reflexion–Phänomenologie der Kunst bei Merleau-Ponty

2010 ◽  
Vol 55 (2) ◽  
pp. 115-125
Author(s):  
Frank Ruda
Keyword(s):  
Works Of Art ◽  
The Arts ◽  
Phenomenology Of Perception

Der Beitrag untersucht Merleau-Pontys Phänomenologie der Wahrnehmung als eine Phänomenologie der Kunst. Die dominante Rolle, die Beispiele aus den Künsten in dem Text einnehmen, läßt sich zunächst daraus erklären, daß Kunstwerke eben diejenige Dynamik und Verfaßtheit eines Reflexionsgeschehens zeigen, die das phänomenologische Projekt als solches zu entfalten sucht. Darüber hinaus wird es durch die Konfrontation mit künstlerischen Werken über sich selbst hinaus – oder besser: zu einer Reflexion seiner selbst getrieben. Dieser von der Kunst ausgehend entwickelte »neue Stil« der Reflexivität wird als »ästhetische Inkorporation« diskutiert.<br><br>The paper discusses Merleau-Ponty’s Phenomenology of Perception as a phenomenology of art. The prevalence of examples from the arts in his text indicates that works of art possess the very same dynamic of reflexivity that the phenomenological project as a whole seeks to develop. Furthermore, by way of confrontation with works of art, the project is driven to transcend itself – or more precisely: to reflect itself. This »new style« of reflexivity may be discussed as »aesthetic incorporation.«

Religious Art and Architecture in 18th-Century Europe

2021 ◽  
Author(s):  
Sean DeLouche
Keyword(s):  
French Revolution ◽  
18Th Century ◽  
Cultural Tradition ◽  
Religious Art ◽  
Spiritual Power ◽  
Grand Tour ◽  
Gothic Revival ◽  
Works Of Art ◽  
The Arts ◽  
Art And Architecture

The 18th century was an era of transition for the arts and religion. Monarchs continued to commission religious art and architecture for a variety of reasons, including fulfillment of vows, expressions of faith and piety, and celebrations of dynastic power. The period saw simultaneous trends toward sumptuous decoration and sober display, as well as the rise of new artistic styles, including the Rococo, Neoclassicism, and the Gothic Revival. The Grand Tour brought many northern European Protestants to the seat of Catholicism. Protestant attitudes toward “popish” art softened in the 18th century, due in part to the increasing contact between Catholic and Protestant culture in Rome and to the perception that Catholicism was no longer a plausible threat. As the temporal and spiritual power of Rome declined in the 18th century, the papacy sought to reestablish itself as a cultural authority. The papacy embellished Rome with a number of archaeological and architectural initiatives, linking the popes with classical civilization and casting themselves as the custodians of the shared Western cultural tradition. With a growing art market and the consumer revolution, the populace had expanding access to religious imagery, from fine religious canvases collected by Catholic and Protestant elites, to reproducible prints that were available to nearly every member of society. However, the Enlightenment brought a profound questioning of religion. Religious works of art faced a loss of context in private displays and in the official Salon exhibitions, where they were intermixed with secular and erotic subjects and judged not on the efficacy of their Christian message or function but rather on aesthetic terms in relation to other works. The century ended with the French Revolution and brought violent waves of de-Christianization and iconoclasm. In order to save France’s Christian heritage, religious works of art had to be stripped of their associations with church and crown.

Breaking through the Ordinary: The Arts and Future Possibility

1980 ◽  
Vol 162 (3) ◽  
pp. 18-26 ◽  
Author(s):  
Maxine Greene
Keyword(s):  
Vantage Point ◽  
Musical Piece ◽  
Future Possibility ◽  
Works Of Art ◽  
The Arts ◽  
The World ◽  
Opening Up ◽  
Common Action

Informed and active engagements with works of art make new experimential openings visible as they turn attention to the concreteness of the world. The ordinary and the taken-for-granted must be bracketed out if a poem or a painting or a musical piece is to be achieved. Viewed within the brackets and from an unfamiliar vantage point, reality may become questionable, in need of interpretation, perhaps in need of repair. If learners are provided opportunities for understanding their part in realizing illusioned worlds, they may come to confront their contributions to the construction of their social realities. Teachers who create situations that permit this to happen will be opening up their classrooms, not only to a new sense of the totality, but to a consciousness of what might be, what is not yet. And this, in turn, may provide a ground for common action, for desired change.

scholarly journals Affect, Belief, and the Arts

2021 ◽  
Vol 12 ◽  
Author(s):  
Rami Gabriel
Keyword(s):  
Social Practices ◽  
Direct Perception ◽  
Tertiary Level ◽  
Cooperative Groups ◽  
Cognitive Capacities ◽  
Works Of Art ◽  
The Arts ◽  
The Social ◽  
The World ◽  
Self Knowledge

The cultural project is a therapeutic melding of emotion, symbols, and knowledge. In this paper, I describe how spiritual emotions engendered through encounters in imaginative culture enable fixation of metaphysical beliefs. Evolved affective systems are domesticated through the social practices of imaginative culture so as to adapt people to live in culturally defined cooperative groups. Conditioning, as well as tertiary-level cognitive capacities such as symbols and language are enlisted to bond groups through the imaginative formats of myth and participatory ritual. These cultural materializations can be shared by communities both synchronically and diachronically in works of art. Art is thus a form of self-knowledge that equips us with a motivated understanding of ourselves in the world. In the sacred state produced through the arts and in religious acts, the sense of meaning becomes noetically distinct because affect infuses the experience of immanence, and one's memory of it, with salience. The quality imbued thereby makes humans attentive to subtle signs and broad “truths.” Saturated by emotions and the experience of alterity in the immanent encounter of imaginative culture, information made salient in the sacred experience can become the basis for belief fixation. Using examples drawn from mimetic arts and arts of immanence, I put forward a theory about how sensible affective knowledge is mediated through affective systems, direct perception, and the imagination.

An Iskandarnāma of Nizami Produced for Ibrahim Sultan

2014 ◽  
Vol 30 (1) ◽  
pp. 235-253 ◽  
Author(s):  
Lâle Uluç
Keyword(s):  
Art History ◽  
Historical Context ◽  
Visual Data ◽  
Military Leader ◽  
Basic Task ◽  
Works Of Art ◽  
The Arts ◽  
Insight Into ◽  
The Way

This paper introduces a copy of the Iskandarnāma of Nizami dated 1435 and dedicated to the Timurid prince Ibrahim Sultan, grandson of the eponymous founder of the Timurid dynasty. It discusses the various features of the manuscript together with comparable examples from the same period, and also focuses on Abu al-Fath Ibrahim Sultan ibn Shah Rukh and his role as both a military leader and a patron of the arts during his tenure as the governor of the provinces of Fars, Kirman, and Luristan (1414–35). Utilizing the visual data together with the historical context of the period, this essay interprets one of the illustrations of the Iskandarnāma, hoping to fulfill what David Summers called “the most basic task of art history,” which he says “is to explain why works of art look the way they look.” The addition of this Iskandarnāma manuscript to the surviving corpus of works that can be connected to Ibrahim Sultan will provide a further insight into the important patronage of this Timurid prince.

Introduction

2017 ◽  
Author(s):  
Ellen Lockhart
Keyword(s):  
Art Music ◽  
Detailed Account ◽  
Works Of Art ◽  
The Arts ◽  
The World ◽  
History Of ◽  
Historical Phenomenon ◽  
The Rich ◽  
Musical Canon

This book considers the history of aesthetics by taking into account not only theories of the arts but also the rich fabric of practices relating to the world of performing bodies onstage and the music that sounded alongside them and was made by them—the works of art, music, and theater that were conspicuously about art-objecthood. The introduction sketches the broader fashion for animated statues described in the book, asking what readers can hope to gain from a detailed account of this historical phenomenon that was situated at (or near) the emergence of modern aesthetic thought, as well as the birth of a musical canon.

scholarly journals Architecture and organic unity = Arquitectura y unidad orgánica

2019 ◽  
Vol 32 ◽  
pp. 91
Author(s):  
John Hyman
Keyword(s):  
18Th Century ◽  
Fine Arts ◽  
Decorative Arts ◽  
Organic Unity ◽  
Organic Unities ◽  
Works Of Art ◽  
The Arts

Abstract: Buildings and monuments are among the most important works of art. But the conception of the arts that emerged in the 18th century, and remained the orthodoxy in philosophy for about two centuries, either excludes architecture from the fine arts or relegates it to the intermediate or decorative arts. This essay addresses this puzzle, assesses the truth in certain formalist doctrines about architecture, and advances the view that works of art are organic unities, i.e. integrated sets of solutions to various problems, some aesthetic and others technical, mathematical, theological, political, etc.Key words: art, architecture, aesthetics, formalism.Resumen: Los edificios y monumentos se encuentran entre las obras de arte más importantes. Pero la concepción de las artes que surgió en el siglo XVIII y permaneció como la ortodoxia en la filosofía durante aproximadamente dos siglos excluye la arquitectura de las bellas artes, o la relega a las artes intermedias o decorativas. El presente ensayo aborda este enigma, evalúa la verdad en ciertas doctrinas formalistas sobre la arquitectura, y avanza la opinión de que las obras de arte son unidades orgánicas, es decir, conjuntos integrados de soluciones a diversos problemas, algunos estéticos y otros técnicos, matemáticos, teológicos, políticos, etc.Palabras clave: arte, arquitectura, estética, formalismo.

scholarly journals Educating Engineering Students in the Arts

2013 ◽  
Author(s):  
Ken Tallman
Keyword(s):  
Engineering Students ◽  
Applied Science ◽  
Science And Engineering ◽  
University Of Toronto ◽  
Works Of Art ◽  
The Arts ◽  
Original Works ◽  
Elective Course ◽  
The University

The presentation will discuss a third-year engineering elective course, Engineering and Science inthe Arts, offered by the Faculty of Applied Science and Engineering at the University of Toronto. The presentation will detail the unique course deliverables, which require the engineering students to, first, create original works of art, and, secondly, to explain how these works connect to engineering and/or science. A key objective in the course was that the students eradicate the boundaries separating engineers and artists, and this presentation will consider the course’s success in this regard.

Creativity in Art

2009 ◽  
Author(s):  
Philip Alperson
Keyword(s):  
Characteristic Feature ◽  
Common Sense ◽  
Academic Disciplines ◽  
Necessary Condition ◽  
Creative Activity ◽  
Artistic Practice ◽  
Artistic Creativity ◽  
Artistic Creation ◽  
Works Of Art ◽  
The Arts

Perhaps no other concept seems as fundamental to common thinking about the arts as the concept of artistic creativity. This is not because creativity seems to most people to be unique to art. Quite the contrary: we speak freely of creative activity in the sciences, in academic disciplines, in cooking, in sports, and, indeed, in virtually every area of human productive endeavour. Nor is this surprising. Creating and making are closely associated etymologically (from the Latin creare) and in the popular mind, and it does no violence to common sense to say that what can be made or done can be made or done creatively. Nevertheless, creativity, if not a necessary condition of artistic practice, seems at least a hallmark or a characteristic feature of art generally. And so we think of artists as creating their works, we think of works of art (including physical things, performances, events, and conceptual objects and structures) as artistic creations, and we praise artists, their works, and even entire artistic epochs for their creativity. Many people take artistic creation to be the quintessential human creative activity.

Introduction

2020 ◽  
pp. 1-8
Author(s):  
Catherine Brown ◽  
Susan Reid
Keyword(s):  
Working Class ◽  
Queer Theory ◽  
Frankfurt School ◽  
Artistic Practice ◽  
Works Of Art ◽  
The Arts ◽  
Art Forms

The Introduction to The Edinburgh Companion to D. H. Lawrence and the Arts summarises the volume’s aims and findings. It presents Lawrence as engaged with a wide variety of art forms, often simultaneously, and not just as a practitioner but also as a critic; it therefore qualifies a received view of him as anti-aesthetic. Likewise, apprehension of his engagement with the work and themes of his fellow modernist artists allows him to be more comfortably classed as ‘modernist’ than has hitherto been the case, although he departed from several of them in his greater validation of Romanticism’s engagement with the emotions. He is presented as perpetually in flux, in both his artistic practice and ideology, allowing different works to influence each other as he reworked them simultaneously, and forbidding conclusive statements about his positions, even his famed rejection of technology. He is in several respects presented as progressive, with more sympathy for his native working class than is sometimes remembered, and as proleptic of the ideas of the Frankfurt School, of queer theory, and of modern ecological concerns. His ongoing relevance is attested by works of art, responding to his own, created in many media between his death and the present.

DEVELOPMENTAL POTENTIAL OF ARTISTIC SYNTHESIS IN THE ART EDUCATION OF A FUTURE TEACHER

2020 ◽  
pp. 61-69
Author(s):  
Olena Malytska
Keyword(s):  
Art Education ◽  
Modern Art ◽  
Modern Society ◽  
Future Teacher ◽  
Developmental Potential ◽  
Artistic Creation ◽  
Methodological Basis ◽  
Works Of Art ◽  
The Arts ◽  
Artistic Training

The synthesis of the arts is not the latest concept, but at the beginning of the XXI century it acquired a unique, compared to other eras, role in the artistic culture of modern society. Modern artistic practices are characterized by new synthetic properties, and therefore approaches to the mastery of modern teachers of modern art forms should take into account the relevant features of perception of works of art and synesthetic features of the process of artistic creation. Updating the technologies of art education and its methodological basis in the context of artistic synthesis is a factor in effectively solving the problems of artistic training of future teachers.

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