Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
63
result(s) for
"Rush, Fred"
Sort by:
Philosophy of Sculpture
Sculpture has been a central aspect of almost every art culture, contemporary or historical. This volume comprises ten essays at the cutting edge of thinking about sculpture in philosophical terms, representing approaches to sculpture from the perspectives of both Anglo-American and European philosophy. Some of the essays are historically situated, while others are more straightforwardly conceptual. All of the essays, however, pay strict attention to actual sculptural examples in their discussions. This reflects the overall aim of the volume to not merely “apply” philosophy to sculpture, but rather to test the philosophical approaches taken in tandem with deep analyses of sculptural examples.
There is an array of philosophical problems unique to sculpture, namely certain aspects of its three-dimensionality, physicality, temporality, and morality. The authors in this volume respond to a number of challenging philosophical questions related to these characteristics. Furthermore, while the focus of most of the essays is on Western sculptural traditions, there are contributions that feature discussion of sculptural examples from non-Western sources. Philosophy of Sculpture is the first full-length book treatment of the philosophical significance of sculpture in English. It is a valuable resource for advanced students and scholars across aesthetics, art history, history, performance studies, and visual studies.
eBook
Wittgenstein and the Craft of Reading: On Reckoning with the Imagination: Wittgenstein and the Aesthetics of Literary Experience, By Charles Altieri
[...]when rendered in sentential form, such utterances are not statements at all; they are expressive in the way that gesture, posture, or mien might manifest emotion (for pain: a hand moved quickly to the forehead; doubling over at the waist; a grimace) (pp. 96–112). Unlike Marjorie Perloff, who also argues for the precedence of a certain kind of poetry on Wittgensteinian grounds, Altieri is after nothing less than a general account of the aesthetics of the experience of reading and, with it, a general argument for why that should matter most of all to literary theory and the philosophy of literature.3 Over and against Perloff's intention to construct a philosophical undergirding for William Carlos Williams's \"no ideas but in things,\" Altieri wants an account of art's \"ways of talking about concreteness that emphasize meaningfulness rather than the materiality of the medium\" (p. 6). [...]I am not sure how much this distinguishes Altieri from at least some forms of New Criticism. [...]critics like John Crowe Ransom or Cleanth Brooks had no quarrel with Edmund Wilson or Lionel Trilling, so long as the latter recognized that what they were writing was sociology of literature or literary history and not first-order criticism.
Journal Article
Diabolus in dialectica
Adorno’s Drei Studien zu Hegel (Hegel: Three Studies, 1963) offers his most focused treatment of what he took to be the core principles of Hegelian dialectic. Moreover, the book professes the central importance of Hegel for Adorno’s own development. As such, it is a pivotal document that simultaneously looks back towards Adorno’s most sustained personal work, Minima Moralia (1951), and ahead to what he took to be his most important systematic work, Negative Dialectics (1966). Adorno’s interpretation of Hegel is critical and unique in both its tone and substance. Although there are many cross-cutting lines of argumentation, the one that stands out is Adorno’s understanding of determinate negation in Hegel and his own suggestion for improving that concept. This paper reconstructs Adorno’s main arguments in this domain, assesses them as interpretations of Hegel and investigates their importance for Adorno’s emerging conception of ‘negative dialectics’.
Journal Article
Cloudcuckooland: Adorno's Musical Utopianism
Theodor W. Adorno has a complex attitude toward utopian thought. Although he views as destructive and dangerous fascist and “vulgar” Marxist strands of utopianism and has a subtle diagnostic critique of their attractions and deficiencies, he finds the proper use of utopian imagination essential for human freedom. He writes copiously about the perils of prior ideological constraint not only of the content of imagination but also of the possible forms that imagination might take, political and otherwise. This article joins an analysis of Adorno's thought on utopianism with an exposition and critique of his interpretation of Gustav Mahler's symphonic practice. It argues that Adorno's discussion of Mahler both takes precedence in his thought on artistic utopianism and clarifies his treatment of the continuing salience of utopian thought more generally.
Journal Article
Bernhard, Suffering, and the Value of Language
It is almost a truism to say that twentieth-century philosophy has been concerned to a large degree with the question of the relation of language to meaning. Much of the concern has had to do with making more precise or more perspicuous the relation of language to thought and to the world. The twentieth century was also a time of immense human suffering, but the relation of suffering, as both a dimension of the world and as an aspect of thought, to its linguistic expression has received less philosophical attention. This paper forwards select works from across the writings of the Austrian novelist and dramatist Thomas Bernhard as investigations of these topics. In setting out and evaluating some of Bernhard's signal artistic considerations of the topic, I argue that understanding his work as a literary equivalent to Wittgenstein's more philosophical treatment of some of the same issues does not limn the deepest structure of Bernhard's thought—even though Bernhard often encourages this identification. Bernhard is even more pessimistic than Wittgenstein on a number of core issues; consideration of Bernhard's work in light of Schopenhauer—also a thinker important for Wittgenstein—is more revealing.
Journal Article