Abstract In this article, the writer discusses the interrelationship between ethics, aesthetics, criticism, and art. The writer describes how criticism interacts closely with each of the other aspects.
From the Paper "W J Bate xiii commented that the great justification of criticism at any time is that it can help to bring into focus and emphasize the function of the arts and of the humanities themselves. Inevitably, criticism enjoys close synergies with both aesthetics and ethics, as well as with a group of four principal players, artist performer, critic ,evaluator, audience, market and manager entrepreneur and a set of four outer forces culture and society law and politics economics and finance and science technology ... "
Abstract The psychoanalytic approach to aesthetics enables us to understand the artists' aesthetic experiences as he or she conjures up his perception and response thereof, interpretation and meaning and his or her thoughts and feelings. The paper explains that, primarily divided into applied psychoanalysis and clinical psychoanalysis, the discipline of psychoanalytic aesthetics has been studied and commented upon by many famous psychoanalysts and clinicians over the years. This paper focuses on the comments of clinician Hanna Segal's psychoanalytic approach to aesthetics in general and particularly her quotes on creation and recreation. It examines her comment: ?The essence of the aesthetic creation is a resolution of the central depressive situation and that the main factor in the aesthetic experience is the identification with this process." (H. Segal, 1981).
From the Paper "According to Segal, one of the main aims of the artists is to create a world of his own, as Winnicott (1971) also held that the need to create something out of nothing is the main impulse. Segal says that though the artist believes that he is engaged in reproducing the external world, the fact is that the artist is using the external world to rebuild his own inner self. One of the themes used by Segal is of recovering the past and the defragmentation of the pieces."
Tags: Adrian, Strokes, Sigmund, Freud, symptom, building
Abstract When discussing the philosophy of art, the issue of forgeries is a standard component. Oftentimes this component includes the component of whether or not forgeries have any sort of aesthetic merit. A work of art, forged or not, could have some element of beauty, and therefore have some aesthetic value. This paper questions whether the knowledge that it is a forgery detracts from this value and whether the fact that a piece of art is a forgery immediately removes it from aesthetic consideration. The paper also questions in what ways forgeries and fakes are detrimental to the art market and whether fakes and forgeries offer any intrinsic benefits for the market.
Paper Outline:
Introduction
Aesthetics Defined
Ethics Defined
Does Forgery Affect the Aesthetic Value of a Piece of Visual Artwork?
Forgeries and Their Effect on the Art Market
Conclusion
References
From the Paper "A forgery is typically created to attribute a piece of artwork to a person who did not create it, in hopes of making money. The primary fault with forgeries is that they not only misrepresent the piece of art's origin, but also misrepresent the achievement of the artist's performance (Dutton, 1979). It is not that the forgery artist's work is not worthy of aesthetic value, it indeed may be as in the case of van Meegeren, however the level of achievement must be adjusted for the individual challenges, or lack of challenges, that that particular artist faced in the creation of the forgery, to determine its value."
Abstract In this work, Oscar Wilde's plays are partially taken into deep consideration as an analysis of his playwright identity. In the process of the discovery of his decadent resentment of the late nineteenth century orders, the influential figures of the new movement are also indicated. Oscar Wilde and Walter Pater have important parallels among their Epistemologies, ethics and aesthetics. The writer uses extensive examples primarily regarding to Pater's first book, Marius The Epicurean: His Sensations and Ideas (1885) and Wilde's plays of 1894, An Ideal Husband, and The Importance of Being Earnest, to display their aesthetic ideology to demonstrate the precise link between the two, for it has never been convincingly interjected. The main question underlying this paper is of how Wilde perceives art. While exploring his conception of art, dandy-ism is comprehensibly touched in order to reveal his aesthetic identity. However, this paper discusses his aesthetic ideology in the context of individualism through the referencing of some of his works, particularly his aforementioned plays. The question at the basis of this preoccupation is of how Wilde displays the expressing of individuality and idiosyncrasies through art and in particular the value of art.
From the Paper "The use of Puns is another concept that pars to both the aesthetic identity of Walter Pater as well as the aesthetic identity of Oscar Wilde. In this play "The Importance of Being Earnest", the pun, which is generally believed to be the lowest structure of oral humor, is hardly ever just a humor on words. The duality of the title in itself is proof of that. One example of such a notion lies in the earnest/Ernest humor that is utilized to hit the very truth of all the Victorian ideas and rules regarding propriety and responsibility. Gwendolen wants to be betrothed to a man named Ernest, without giving a thought to whether the man bearing such a name bears its qualities too or not. She, nevertheless, immediately exonerates Jack's dishonesty in personifying a man who is originally neither "earnest" nor "Ernest," and who, because of forces stronger than his own power, consequently develops both "earnest" and "Ernest." Jack is a perfect paradox and a compound emblem of Victorian duplicity."
Abstract In this article, the writer refutes the claim that the sociology of taste undermines Kant's theory of pure aesthetic judgment. The writer describes Bourdieu's claim that there is no such thing as disinterested judgment because all judgments are sociologically motivated. The essay goes on to point out that Bourdieu is discussing sociology, which does not encroach on Kant's epistemology at all. Kant acknowledges that aesthetic judgment will be guided by taste, but this will not explain why one is actually moved by beauty, and for this reason he posits the existence of pure aesthetic judgment. The essay analyses Monet's paintings "Impression, Sunrise" and "Blue Water Lilies" in order to illustrate the theme.
From the Paper "Kant is a philosopher, and he scarcely encroaches on the field of sociology. Of course a philosopher cannot ignore society. Kant alludes to society when he calls something practical, or contingent. Aesthetic judgment takes place in the context of society, as far as it is motivated by determinate ends. Only that part of it which transcends all determinate ends, and prefigures beauty, in its purity, and in its inexplicableness, may be said to be beyond the bounds of society. The object of Kant's metaphysics is to point out how the contingent is ruled by the transcendental. Therefore, in his epistemology he makes out practical reason to be ruled by pure reason, and in his critique of morality he describes duty as being ruled by the categorical imperative."
This paper explores the role of the aesthetic in theories and representations of modernity through an examination of Virginia Woolf's "To the Lighthouse" and Martin Heidegger's "The Origin of the Work of Art".
Abstract The paper discusses how the aesthetic form, even that of language, played a highly important role in terms of modernity's exploration of the nature of representation. The paper explains how it played an important role as an alternative to language, as a mode of both perceiving and expressing experience. The paper examines Woolf's "To the Lighthouse" and Heidegger's "Work of Art" and shows how the aesthetic is presented, in both theories and representations of modernity, as highly important for the perception and expression of experience as a meaningful unity.
From the Paper "Allyson Booth notes in Postcards from the Trenches that expressionist architects, in their handling of 'glass in a way that encourages us not to see through glass but to see glass' opened up, in modernity, a 'self-consciousness about the nature of representation'. Being primarily a post-war phenomenon, this mode of aesthetic representation was contemporary in 1927 when Virginia Woolf published her novel To the Lighthouse. It can thus be seen as significant that she opens this novel with part one entitled, 'The Window'. By means of its obvious reference to glass, Woolf immediately establishes a connection between the aesthetic use of glass in the expressionist architecture of modernity and the thematic concerns of To the Lighthouse. This connection indicates that Woolf, like the architects of her time, wished to direct her readers towards a consideration of language as a material of construction and, like the expressionist architect, demanded that her structural material was itself examined rather than merely looked through."
Abstract The paper investigates the aesthetic and moral principles that have had a major influence on historic photographers. It looks at the issues of photographing an unsolicited subject and the artistic right of free speech.
From the Paper "Photographic images of unaware subjects have had a significant impact on society. Some of those images have artistic quality, and some have created public outrage. This photographic method of capturing reality can be has both aesthetic and ethical implications.
Capturing reality is not a new idea. Jean-Baptiste-Sim?on Chardin (1699-1779) recorded the plainer features and rituals of life unlike his contemporaries. Chardin's paintings of common objects were a ?healthy antidote to the dreamy ephemera of Bouccher and Fragonard (which tended to shut out political, economic, and social realities)? (Cole 200)."
Abstract Some people are of the view that man's perception of beauty is partially clouded by biology by it is not entirely true. With evolution man gained knowledge and was ale to distinguish himself from other species because of his thinking and reasoning faculties, this has also markedly influenced his aesthetic sense as his perception of beauty has changed. It is true that culture and environment play an important role, but with knowledge and exposure man has learned to develop his individual opinion.
Abstract This essay discusses the aesthetic choices the Coen Brothers made throughout their career. It studies the films "Raising Arizona" for creative lens use in a farce, "Miller's Crossing" for camera angles in a gangster film, "Fargo" for long takes in a police thriller and "The Man Who Wasn't There" for lighting in a film noir. The paper argues that through the use of aesthetics the Coens shape each genre they try with their own signature auteur style.
From the Paper "In a world where big-budget studios control most of what is seen in theatres, the Coen Brothers have managed to make independent features that they write, produce and direct as a team, and have had some moderate success. Their scripts often focus on unlikely heroes; they choose completely average people and places to become the focus of their quirky dialogue and situational comedy. Their charismatic "normal" characters have attracted a number of top actors and actresses to their projects, such as Holly Hunter, Nicholas Cage, John Goodman, Steve Buscemi, John Turturro, and Francis McDormand. In fact, with a reputation for making quality films, although often commercial failures, some of Hollywood's most respected actors have lowered their usual salaries to appear in Coen films. Tim Robbins appeared with Paul Newman in The Hudsucker Proxy, between projects of his own in the early nineties, Jeff Bridges took the leading role in The Big Lebowski with Julianne Moore in a supporting part, George Clooney followed up his success on ER with the main role in Oh Brother, Where Art Thou, and the Coens recruited Billy Bob Thorton and James Gandolfini for The Man Who Wasn?t There. These stars have helped the brothers propel their own names into stardom, despite the only moderate success of their feature films, and have made their pictures well-known cult classics."
Abstract This philosophy paper discusses the implications of an aphorism written by Nietszche. The aphorism is concerned with art and aesthetics, and the analysis here considers the value of art and aesthetics in relation to Nietzsche's writings, and German romanticism.
Abstract This paper outlines the principle features of Richard Wagner's operatic aesthetic, and illustrates its practical realization with reference to the operas "Tristan", "Isolde" and "Parsifal". The author conveys an understanding of Wagner's operatic aesthetic and illustrates its practical implications in the writing of "Tristan" "Isolde" and "Parsifal" through examples from the operas and the inclusion of citations from a variety of written and Internet sources.
A discussion on how the power of "The Color Purple" arises equally from Alice Walker's radical political aims and her desire to create something that is impressive in literary and aesthetic terms.
Abstract This paper examines how, in literary terms, "The Color Purple" is innovative and groundbreaking and how Alice Walker's desire as a black woman to create an impressive literary and aesthetic work to challenge the established canon, could in itself be described as political. It looks at how political concerns such as racism and its treatment were equally as important to her as her literary and aesthetic aims and how the novel enables her to introduce and contrast similar issues in America and Africa making it an extremely powerful work on many levels.
From the Paper "Walker's inclusion of the African sections in the novel can be viewed as superfluous to the main story of Celie and therefore a distraction only included to forward her political aims. The African element does seem to be almost mythical, its culture and history summed up rather briefly in Nettie's letters, with occasional references to art, social practices and language which seem to be included merely as tokens or symbols of the full picture. This could be construed as weakening the main narrative, that of Celie. However, I believe that the epistolary form allows the African sense to be incorporated in a convincing way, and the refreshing contrast in language structure between the two sisters reinforces the political messages from both continents."
Abstract This paper describes the use of a chrome auto hubcap as three art works, illustrating the aesthetic transfiguration of an item. The hubcap as a found item that can be manipulated to produce an aesthetic image or statement is discussed
From the Paper "Edward Lucie-Smith described the period after as encompassing the late modern and further noted that two major trends could be observed in this era ..."
Abstract The paper explains that the use of organic architecture allows man and nature to live side by side in a cohesive manner. The paper shows how organic architecture benefits society by its aesthetic looks and preservation of natural resources. The paper discusses how preserving resources is now necessary not only from an aesthetic point of view but also from a practical need standpoint for future generations. The paper includes a photo of the famous Fallingwater design, an example of the use of organic architecture.
Outline:
Introduction
What It Is
How It Benefits Society
Conclusion
From the Paper "Since the beginning of time mankind has searched out ways to live in harmony with nature. Whether it was using products that are environmentally friendly, being careful not to destroy resources that can be left alone or blending in to the scenery to create atheistic environments mankind has tried to maintain a peaceful partnership with nature. The use of organic architecture allows man and nature to live side by side in a cohesive manner."
Abstract This paper presents an examination of acient Buddhism and how its philosophical position impacted the aesthetic values of the period. The paper explores the Buddhist faith to understand what the aesthetic values were at that time and then relates them to that period in society and how they correlate.
Outline:
Introduction
One Man's Tale
Bringing it All Together
Conclusion
From the Paper "Years ago when the Mafia was in its height it was rumored if one received the gift of a black rose in the mail or in person it signaled the receiver's impending death. The color of White in the Buddhist ancient faith has to do with rest and thinking. It is interesting to note that this still carries true across geographic and societal boundaries. Marketing companies have capitalized on this belief through the use of marketing products such as "White Linen" as being restful and peaceful as well.
The Buddhist faith believes that the color Yellow has to do with restfulness and nourishment."
Tags: Western, cultures, belief, faith, five, colors, spiritual, character, element
