Results for ' Art and mythology'

966 found
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  1.  17
    Art and Its Mythologies: A Relativist View.Michael Krausz - 1986 - In Joseph Margolis, Michael Krausz & Richard M. Burian (eds.), Rationality, relativism, and the human sciences. Boston: M. Nijhoff. pp. 189--208.
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  2.  15
    Ovid, Art, and Eros.Paul Barolsky - 2019 - Arion 27 (2):169-176.
    In lieu of an abstract, here is a brief excerpt of the content:Ovid, Art, and Eros PAUL BAROLSKY OVIDIO, AMORI, miti e altre storie or Ovid: Loves, Myths, and Other Stories is the copiously illustrated catalogue to the monumental exhibition mounted in 2008–2009 at the Scuderie del Quirinale, in Rome, in celebration of the great Roman poet and his world. This handsome tome is many books in one: a beautiful album of color plates illustrating a wide range of fascinating objects, (...)
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  3.  20
    Art and Islamic Themes and Content.Mahdi Bahrami - 2018 - Proceedings of the XXIII World Congress of Philosophy 17:7-11.
    What has been noticed during the history of human thought and human life is that forms, figure, feelings of pleasure and aesthetic perception, are not the only subjects that belong to the sphere of art. In fact, art includes other aspects, such as themes and content. As a matter of fact, each art work could be considered as outstanding, not only because of its form, but because of its theme and content, as well. However, art works in the western classical (...)
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  4.  20
    Art, Mythology and Cyborgs.Ana Nolasco - 2015 - Dialogue and Universalism 25 (1):104-111.
    We aim to understand how different conceptions of the world coexisted, were created and maintained, and to understand the differences between classical and contemporary mythology in the art context. Are we living in post-mythological times? Is there a pattern or a semblance of structure in both classical mythology and contemporary myths such as the cyborg? Can we stretch the definition of mythology so that it encompasses everything that in some way tries to imbue a sense of order (...)
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  5. Physics and Astronomy in 18th Century Painting in the Context of Religious and Mythological Thinking of the Epoch.Агратина Е.Е - 2025 - Philosophy and Culture (Russian Journal) 1:40-51.
    The Age of Enlightenment was characterized by passionate scientific discussions, which involved not only scientists, but also representatives of various social circles. Sciences such as physics and astronomy are becoming a hobby and entertainment, scientific experiments are being conducted at home, friends and acquaintances are invited to conduct them, and amateur scientific courses are being organized. The article highlights how these processes were reflected in the painting of the XVIII century. Science is considered not only as a widespread subject in (...)
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  6.  58
    Art histories from nowhere: on the coloniality of experiments in art and artificial intelligence.Mashinka Firunts Hakopian - 2024 - AI and Society 39 (1):29-41.
    This paper considers recent experiments in art and artificial intelligence that crystallize around training algorithms to generate artworks based on datasets derived from the Western art historical canon. Over the last decade, a shift towards the rejection of canonicity has begun to take shape in art historical discourse. At the same time, algorithmically enabled practices in the US and Europe have emerged that entrench the Western canon as a locus and guarantor of aesthetic value. Operating within the epistemic framework of (...)
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  7.  25
    Rewriting Mythology: Tautegory, Ontology, and the Novel.Deborah Casewell - 2022 - Epoché: A Journal for the History of Philosophy 27 (1):119-141.
    In Schelling’s Lectures on the Philosophy of Art, he outlines an aesthetic theory of the novel and how it communicates truth, based around his Identitätssystem. In doing so, he understands truth as symbolic, where the symbolic is tautegorical. In his later lectures on mythology he instantiates a new understanding of ontology and mythology as tautegorical, and makes gestures towards how to understand aesthetic forms based on these new accounts. This paper explores how that new aesthetic understanding of truth, (...)
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  8.  9
    The aesthetics of grace: philosophy, art, and nature.Raffaele Milani - 2013 - New York: Peter Lang.
    In The Aesthetics of Grace: Philosophy, Art, and Nature, Raffaele Milani traces the fascinating history of the idea of 'grace' from ancient times to the 1700s. Although this term has been displaced by other concepts with the advent of modernism and postmodernism, the complex ideas related to the notion of 'grace' remain an important aesthetic category, and Milani presents an impressive panorama of reflections on and interpretations of the subject. The subtitle of the work indicates the broad scope of a (...)
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  9.  23
    The Mythology of Reason in “Das älteste Systemprogramm”: A Hegelian Project?Martina Barnaba - 2023 - Human Affairs 33 (4):403-415.
    The paper aims to investigate the thesis of the so-called Neue Mythologie within the fragment entitled “Das älteste Systemprogramm des deutschen Idealismus” [“The Oldest Systematic Program of German Idealism”]. The latter presents a revolutionary project of social pedagogy linked to the use of the aesthetic character of myth and poetry in the formation of the conscience and the intellect of the people. The program, therefore, formulates a fertile dialogue between the emancipatory potential of the Enlightenment and Jena Romanticism, in that (...)
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  10. Mythologies of Tribal Art.Denis Dutton - unknown
    Forty years ago Roland Barthes defined a mythology as those “falsely obvious” ideas which an age so takes for granted that it is unaware of its own belief. An illustration of what he meant can be seen in his 1957 critique of the photographic exhibition, The Family of Man . Barthes declares that the myth it promotes stresses exoticism, complacently projecting a Babel of human diversity over the globe. From this image of diversity a pluralistic humanism “is magically produced: (...)
     
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  11.  13
    Mythology and theology. Second article.V. M. Naydysh - 2019 - RUDN Journal of Philosophy 23 (2):210-221.
    The concept of interpretation is applicable to any forms of knowledge, including systems of religious knowledge, designing the ideal model of the subject of religious veneration. The author analyzes the epistemological features of theology as a form of spiritual culture, its formation in ancient culture. It is shown that the epistemological basis for overcoming mythological consciousness was the decentralization of thinking, i.e. development of the ability of consciousness in the construction of the image, the picture of the world to correct (...)
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  12. ‘A Lady on the Street but a Freak in the Bed’: On the Distinction Between Erotic Art and Pornography.A. W. Eaton - 2018 - British Journal of Aesthetics 58 (4):469-488.
    How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function (...)
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  13. The Art of Indian Asia: Its Mythology and Transformations.Heinrich Zimmer & Joseph Campbell - 1956 - Philosophy and Phenomenological Research 17 (2):269-271.
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  14.  22
    The mythology of transgression: homosexuality as metaphor.Jamake Highwater - 1997 - New York: Oxford University Press.
    Jamake Highwater is a master storyteller and one of our most visionary writers, hailed as "an eloquent bard, whose words are fire and glory" (Studs Terkel) and "a writer of exceptional vision and power" (Ana"is Nin). Author of more than thirty volumes of nonfiction, fiction, and poetry, Highwater--considered by many to be the intellectual heir of Joseph Campbell--has long been intrigued by how our mythological legacies have served as a foundation of modern civilization. Now, in The Mythology of Transgression, (...)
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  15.  12
    Arte e mito.Ernesto Grassi - 1996 - Napoli: La città del sole. Edited by C. Gentili.
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  16. Western Desert Iconography: Rock art mythological narratives and graphic vocabularies.J. McDonald & P. Veth - 2011 - Diogenes 58 (3):7-21.
  17.  12
    Transfixed by prehistory: an inquiry into the art and times of moderns.Maria Stavrinaki - 2022 - New York: Zone Books. Edited by Jane Marie Todd & Maria Stavrinaki.
    Prehistory is an invention of the later nineteenth century. It was in this moment of technological progress and the acceleration of production and circulation, that three major Western narratives about time took shape. One after another, these new fields of inquiry delved into the obscure immensity of the past: first, to reckon the age of the Earth; second, to find a point of emergence of human beings; and third, to ponder the age of art. Maria Stavrinaki's Transfixed by Prehistory considers (...)
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  18.  26
    Freedom and Nature in Schelling's Philosophy of Art.Devin Zane Shaw - 2010 - New York, NY, USA: Bloomsbury.
    Schelling is often thought to be a protean thinker whose work is difficult to approach or interpret. Devin Zane Shaw shows that the philosophy of art is the guiding thread to understanding Schelling's philosophical development from his early works in 1795-1796 through his theological turn in 1809-1810. -/- Schelling's philosophy of art is the 'keystone' of the system; it unifies his idea of freedom and his philosophy of nature. Schelling's idea of freedom is developed through a critique of the formalism (...)
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  19.  45
    Art, Myth and Society in Hegel's Aesthetics.David James - 2009 - Continuum.
    Introduction -- The symbolic form of art -- Kant's theory of the mathematical sublime and the boundlessness of the symbolic form of art -- The classical sublimity of Judaism -- The classical form of art -- The original epic -- The ideal -- The transition to the revealed religion and the romantic form of art -- The revealed religion -- Representational thought and the romantic form of art -- Traces of left-hegelianism in Hegel's lectures on aesthetics -- The end of (...)
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  20.  25
    The artful universe.John D. Barrow - 1995 - New York: Oxford University Press.
    Our likes and dislikes--our senses and sensibilities--did not fall ready-made from the sky, argues internationally acclaimed author John D. Barrow. We know we enjoy a beautiful painting or a passionate symphony, but what we don't necessarily understand is that these experiences conjure up latent instincts laid down and perpetuated over millions of years. Now, in The Artful Universe, Barrow explores the close ties between our aesthetic appreciation and the basic nature of the Universe, challenging the commonly held view that our (...)
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  21.  26
    El arte como "punto medio" Y su clasicismo.Klaus Vieweg - 2005 - Estudios de Filosofía (Universidad de Antioquia) 32:99-108.
    Debido al interés de Hegel por la función histórica del arte como factor de cultura, su filosofía del arte es inseparable de su filosofía de la historia. Las formas universales del arte (simbólica, clásica y romántica), corresponden al proceso de formación y realización de la subjetividad humana y su libertad en el mundo oriental, el antiguo o griego, y el moderno. El articulo se concentra en la forma clásica, o sea el mundo de la cultura griega. Su clasicismo es un (...)
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  22.  39
    On the Way to Ethical Culture: The Meaning of Art as Oscillating between the Other, Il y a, and the Third.Rossitsa Varadinova Borkowski - 2016 - Levinas Studies 11 (1):195-211.
    In lieu of an abstract, here is a brief excerpt of the content:On the Way to Ethical CultureThe Meaning of Art as Oscillating between the Other, Il y a, and the ThirdRossitsa Varadinova Borkowski (bio)Who can suppose that a poet capable of effectively introducing into his scenes rhetoricians, generals and various other characters, each displaying some peculiar excellence, was nothing more than a droll or juggler, capable only of cheating or flattering his hearer, and not of instructing him?Are we all (...)
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  23. The Waterfowl of Etruria: A Study of Duck, Goose, and Swan Iconography in Etruscan Art.Randall L. Skalsky - 1997 - Dissertation, Florida State University
    Waterfowl--ducks, geese, and swans--are a pervasive, ubiquitous element in Etruscan art, just as they are in well-watered Etruria itself. From the formative Villanovan Period though the terminus of Etruscan culture, waterfowl are regularly depicted in a variety of plastic and glyphic media: pottery, painting, metalwork, and stone. Waterfowl are particularly frequent in funerary contexts. Minimal attention, however, has been accorded this unique branch of avians; waterfowl are generally assumed to have little more than decorative value in the present literature, Nonetheless, (...)
     
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  24.  31
    Art Language through Selected Signs and Symbols of the Yoruba People of Nigeria.Sunday James - 2023 - European Journal of Philosophy Culture and Religion 7 (1):79-87.
    Many secret signs and symbols area associated with the Yoruba as we have it amongst many tribes in Nigeria. Some of these signs and symbols have deep meanings and have connotations amongst the tribe. They form the everyday language of the people and a thorough understanding of them is key in their relationship with one another as a people. The objective of this study is to express the cultural connotations of selected symbols in relation to the Yoruba people of Nigeria. (...)
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  25.  39
    Cosmic Beavers: queer counter-mythologies through speculative songwriting.Kathryn Yusoff, David Ben Shannon & Sarah E. Truman - 2023 - Angelaki 28 (6):84-96.
    In this article, the authors introduce the concept of a “queer counter-mythology.” They do so by discussing a speculative song they wrote as an enactment of research-creation. Research-creation names an interdisciplinary scholarly praxis where artist-scholars create the artefacts they want to think-with, rather than analysing existing cultural productions. The song discussed in this article, “Cosmic Beavers,” proposes a queer counter-mythology that reimagines the historical, colonial archive by foregrounding the stories of giant, trans-dimensional beavers who shred Lewis and Clark (...)
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  26.  14
    Arte, metafísica e mitologia: Colóquio Luso-Alemão de Filosofia ; [9, 10 e 11 de novembro de 2006].Carlos João Correia (ed.) - 2008 - Lisboa: Centro de Filosofia da Universidade de Lisboa..
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  27. Writing, Myth and Creativity in Pharaonic Egypt.Marina Scriabine & Rosanna Rowland - 1976 - Diogenes 24 (93):46-66.
    The first term in the title of this study might give some surprise. As I hope to prove, however, hieroglyphic writing happens to be the only key enabling us to gain entry to the Egyptian universe. Not only art and mythology, but also the laws, institutions and even daily life itself were “thought hieroglyphically” on the banks of the Nile.
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  28.  29
    The artful universe expanded.John D. Barrow (ed.) - 2005 - New York: Oxford University Press.
    Our love of art, writes John Barrow, is the end product of millions of years of evolution. How we react to a beautiful painting or symphony draws upon instincts laid down long before humans existed. Now, in this enhanced edition of the highly popular The Artful Universe, Barrow further explores the close ties between our aesthetic appreciation and the basic nature of the Universe. Barrow argues that the laws of the Universe have imprinted themselves upon our thoughts and actions in (...)
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  29.  42
    Classical Mythology in Context.Lisa Maurizio - 2015 - Oxford University Press USA.
    Classical Mythology in Context encourages students to directly encounter and explore ancient myths and to understand them in broader interpretative contexts. Featuring a modular structure that coincides with the four main components of a classical mythology course--history, theory, comparison, and reception--each chapter is built around one central figure or topic. Classical Mythology in Context provides: A sustained discussion of religious practices and sacred places that offers a key approach to the historical contextualization of Greek myths An introduction (...)
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  30.  24
    Gender, ‘Race’, Ethnicity in Art Practice in Post-Apartheid South Africa: Annie E. Coombes and Penny Siopis in Conversation.Annie E. Coombes - 1997 - Feminist Review 55 (1):110-129.
    Siopis has always engaged in a critical and controversial way with the concepts of ‘race’ and ‘ethnicity’ in South Africa. For politically sensitive artists whose work has involved confronting the injustices of apartheid, the current post-apartheid situation has forced a reassessment of their practice and the terms on which they might engage with the fundamental changes which are now affecting all of South African society. Where mythologies of race and ethnicity have been strategically foregrounded in the art of any engaged (...)
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  31.  5
    Richard Wagner: Theory and Theatre.Stewart Spencer (ed.) - 1991 - Clarendon Press.
    Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, (...)
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  32.  7
    Mythologies of Time in the West.Jean-Jacques Wunenburger - 2024 - Dialogue and Universalism 34 (2):55-65.
    This paper presents the result of researching the mythical conceptions of history in the West, which shed light on numerous cultural and political data that entered the sphere of the imaginary reflected in religions, utopias, and finally, in art. The study is structured in three parts, namely: the three scenarios of universal history; the significant myths of great narratives; the problems of the myth of unique time. These aspects bring into question and demonstrate the importance of the imaginary for the (...)
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  33.  64
    The Transition from Art to Religion in Hegel's Theory of Absolute Spirit.David James - 2007 - Dialogue 46 (2):265-286.
    I relate the aesthetic mediation of reason and the identity of religion and mythology found in theEarliest System-Programme of German Idealismto Hegel's account of the transition from the ancient Greek religion of art to the revealed religion (Christianity) in his theory of absolute spirit. While this transition turns on the idea that the revealed religion mediates reason more adequately in virtue of its form (i.e., representational thought), I argue that Hegel's account of the limitations of religious representational thought, when (...)
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  34.  32
    El tránsito de la filosofía de la historia a la filosofía Del arte.Klaus Vieweg & Margarita Schwarz - 2005 - Estudios de Filosofía (Universidad de Antioquia) 32:89-97.
    Debido al interés de Hegel por la función histórica del arte como factor de cultura, su filosofía del arte es inseparable de su filosofía de la historia. Las formas universales del arte (simbólica, clásica y romántica), corresponden al proceso de formación y realización de la subjetividad humana y su libertad en el mundo oriental, el antiguo o griego, y el moderno. El articulo se concentra en la forma clásica, o sea el mundo de la cultura griega. Su clasicismo es un (...)
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  35.  15
    Ethnographic motif in the decorative and applied art of Krasnoyarsk. History and modernity.Anastasiya Petrovna Grishchenko - 2022 - Философия И Культура 4:126-133.
    The article deals with the professional decorative and applied art of Krasnoyarsk from the 50s of the twentieth century to the present. The aspect of consideration is the use of the ethnographic motif of the Krasnoyarsk Territory and the features of its embodiment in the products of Krasnoyarsk artists of decorative and applied art. Using the example of the creativity of N.V. Kasatkina, A.G. Tkachev, A.S. Moskvitin, A.S. Migas, S.E. Anufriev and E.A. Krasnova, the aspects of the use of the (...)
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  36.  18
    Jane Davidson Reid, The Oxford Guide To Classical Mythology in The Arts, 1300-1990S.Julius M. Moravcsik - 1996 - Journal of Aesthetics and Art Criticism 54 (3):300-300.
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  37.  35
    (1 other version)Profane Mythology: The Savage Mind of the Cinema.Lorraine Mortnier - 1984 - Telos: Critical Theory of the Contemporary 1984 (61):215-226.
    As work on the subject proliferates, it becomes increasingly apparent that little of theoretical value will be produced until cineastes abandon their defensive posture over this “bastard child” of the arts. Despite the expectations of early film theorists, film has retained much of its early stigma. Yet, attempts to legitimate the medium are prone to assert its status for serious consideration by claiming for it qualities and powers that no technical medium nor art form can have. Consequently, we are left (...)
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  38.  11
    White musical mythologies: sonic presence in modernism.Edmund Mendelssohn - 2023 - Stanford, California: Stanford University Press.
    Examining a series of modernist thinkers and composers who engaged with non-European cultures as they pursued pure sound as a privileged presence, White Musical Mythologies pairs Erik Satie with Bergson, Edgard Varèse with Bataille, Pierre Boulez with Artaud, and John Cage with Derrida to offer an ambitious intellectual history of the colonial roots of modernist musical thought. Each of the musicians studied in this book re-created or appropriated non-European forms of expression as they conceived music ontologically, often thinking music as (...)
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  39.  17
    Symbol and Myth in Sociology.Jean-Pierre Sironneau - 2011 - Iris 32:11-27.
    Sociology was obviously created for studying images, symbols or values related to social action, which is its main purpose. However, the imaginary field was very lately called up in sociology studies. Across the emergence of a sociology of the imaginary from Émile Durkheim to Gilbert Durand and Pierre Bourdieu. Jean-Pierre Sironneau draws and distinguishes several fields of this sociology: religion, beliefs, tradition, mythology and cultural expressions (literature, art and media). Social imaginary has become a fundamental issue as far as (...)
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  40.  10
    Ernst Bloch and the Greek Mythology. 김진 - 2017 - Journal of the New Korean Philosophical Association 87:509-533.
    에른스트 블로흐가 제시한 희망철학의 기본정신은 그의 프로메테우스 해석으로부터 나온 것이다. 희망의 가능 근거는 미래 시간의 지평이며, 그로부터 우리는 ‘아직-아님’이라는 시간성의 계기를 발견할 수 있다. 블로흐는 역사의 참된 창조는 세계의 시초에 있는 것이 아니라 그 마지막에 있다고 보았다. 세계 종말에서의 참된 창조는 기존의 것에 대한 부정에 그치지 않고 새롭게 하는 혁명적 사건에 의해서 실현된다. 블로흐는 이를 수행할 수 있는 인간상을 프로메테우스 신화에서 찾았다. 다른 그리스의 신들과는 달리 프로메테우스는 인간에게 불과 기술을 전수하려고 했음에도 불구하고 종교적 신앙의 대상이 되지 못했다.BR 프로메테우스는 운명과 죽음 (...)
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  41.  11
    Venus and Liberty.Fons Elders - 1998 - Dialogue and Universalism 8 (11):121-129.
    The common root of the humanist and mythological traditions is the projection of a cosmological and spiritual desire, reflected in mythic archetypes such as Venus or the Statue of Liberty in the harbor of New York City. The philosophical companion of Renaissance Venus is Eros as the all-compassing force in nature, and the philosophical correlate of the Statue of Liberty is Immanuel Kant's das Ding an sich. I focus on the intimate reladonship between the domain of artistic imagination and philosophical (...)
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  42.  8
    Symbol and intuition: comparative studies in Kantian and Romantic-period aesthetics.Helmut Hühn & James Vigus (eds.) - 2013 - London: Maney.
    That a symbolic object or work of art participates in what it signifies, as a part within a whole, was a controversial claim discussed with particular intensity in the wake of Immanuel Kant's Critique of Judgment. It informed the aesthetic theories of a constellation of writers in Jena and Weimar around 1800, including Moritz, Goethe, Schelling and Hegel. Yet the twin concepts of symbol and intuition were not only tools of literary and mythological criticism: they were integral even to questions (...)
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  43.  51
    Richard Wagner: Theory and Theatre.Dieter Borchmeyer - 1991 - Clarendon Press.
    Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, (...)
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  44.  15
    Eternal echoes: Erich Neumann's timeless relevance to consciousness, creativity, and evil.Nancy Swift Furlotti - 2023 - Asheville, North Carolina: Chiron Publications.
    Erich Neumann (1905-1960) was a student, close collaborator, and life-long friend of C. G. Jung's. He moved from Berlin to Palestine in 1934 where he endured WW11 with much distress. This provoked intense and depthful research into topics such as evil, consciousness, and creativity that would occupy his attention for the rest of his life- as well as challenge his friend's (Jung) thinking in many ways. His writings are still valuable and ever so pertinent for our understanding of human nature (...)
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  45.  73
    Mythologies.Roland Barthes & Annette Lavers - 1973 - Journal of Aesthetics and Art Criticism 31 (4):563-564.
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  46.  22
    'Os Capitães da Areia' e a coragem dos Erês: Notas sobre o imbricamento da arte, música e religião | 'Os Capitães da Areia' and the courage of the Erês: notes on the overlap of art, music and religion.Lia Machado dos Santos & Rosângela Fachel de Medeiros - 2021 - Revista Philia Filosofia, Literatura e Arte 3 (1):116-136.
    ResumoAs práticas culturais fundem, a todo o momento, diferentes relações entre sistemas culturais (EVEN-ZOHAR, 1990) que antes eram separados. Tais manifestações híbridas reconfiguram e desterritorializam processos simbólicos. Nesse sentido, o presente artigo realiza uma análise comparatista das relações intertextuais presentes na configuração artística do álbum Esú, do rapper brasileiro Baco Exu do Blues, em especial na faixa “Capitães de Areia” em relação ao romance quase homônimo de Jorge Amado, às referências à mitologia dos Erês, e à série fotográfica Laróyè, de (...)
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  47.  27
    Sociology, religion, and grace.Árpád Szakolczai - 2007 - New York: Routledge. Edited by Ann Brooks.
    For the first time in book format, the sociology or grace (or enchantment) is explained and explored in some detail. Grace is a central concept of theology, while the term also has a wide range of meanings in many fields. The results of this study are fascinating. The author's writings on this topic take the reader on an intriguing journey which traverses subjects ranging from theology, through the history of art, archaeology and mythology to anthropology. As such, this volume (...)
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  48.  22
    Non-human labyrinths: Roots and additional other than human formation methods.André Sier - 2019 - Technoetic Arts 17 (1):5-23.
    Within the context of exploring new electronic arts' aesthetic regions and unexampled connections between generative art, games and mythology, my practical artistic research was led to focus on labyrinthine structures as exquisite legendary spatial gaming devices and as possible pathways to gain deeper humane insights, resulting into discoveries of original methods of labyrinth formation by means other than human. Labyrinths and mazes are inextricable paths, human made millennial structures that provide spatial challenges often connected with feedback, compression, entanglement and (...)
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  49. The art of teaching in the museum.Rika Burnham & Elliott Kai-Kee - 2005 - Journal of Aesthetic Education 39 (1):65-76.
    In lieu of an abstract, here is a brief excerpt of the content:The Art of Teaching in the MuseumRika Burnham (bio) and Elliott Kai-Kee (bio)A class is studying a small painting by Rembrandt in the galleries of the J. Paul Getty Museum in Los Angeles. The museum educator has been inviting the assembled visitors to look ever more closely, guiding the class toward an understanding both of the painting itselfand of our reasons for studying it. The class has been anything (...)
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  50.  37
    Children in the Visual Arts of Imperial Rome (review).Jenifer Neils - 2007 - American Journal of Philology 128 (2):289-292.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Children in the Visual Arts of Imperial RomeJenifer NeilsJeannine Diddle Uzzi. Children in the Visual Arts of Imperial Rome. Cambridge: Cambridge University Press, 2005. xiv + 252 pp. 75 black-and-white ills. Cloth, $80.As anyone who has looked at images of the Christ Child in early medieval art or Baroque portraits of young royalty knows, the imagery of children is highly constructed and a minefield of interpretive challenges. In (...)
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