This article uses Hegel’s analysis of the Romantic form to elucidate the relationship between aesthetic space and subjectivity in modernist painting (Paul Klee) and cinema (Sergei Eisenstein). The movement that brings art to realization in Hegel thus includes genres and modalities of art that did not exist in his time: in cinema and modernist painting, the Idea or truth of art evolves and brings itself to completion. Plasticity, the movement of aesthetic form toward self-expression, abandons the rigid substantiality it achieves (...) in the Classical era and acquires unprecedented range, depth and resilience. In the Romantic form, the dynamism of the concept surfaces in full force and aesthetic boundaries expand. The emergence here of a new type of visual space is determined by a subjectivity that abandons the concrete, corporeal individuality associated with sculpture (most explicitly in Classical art) and imparts on sensuous form the fluidity of inner life. Music and poetry converge in the visual object which now assumes cinematic modality, a modality that also finds expression in modernist painting. (shrink)

(or not oveA-complete.) . Let * be a unary operator defined on the set F of formulas of the language £ (ie, if A is a formula of £, then *A is also a ...

Offering a field-defining survey of the topic, this is the first book to engage all the key figures in the social imaginaries field. It offers new perspectives on the productive tension between social imaginaries and the creative imagination, providing the first programmatic approach to the field as a whole.

Provability, Computability and Reflection.

(Statement of Responsibility) by C.A. Stephens ; illustrated.

This volume contains the selected discourses of four seventeenth-century philosophers, carefully chosen to illustrate the tenets characteristic of the influential movement known as Cambridge Platonism. Fundamental to their beliefs is the statement most clearly voiced by Benjamin Whichcote, their leader by common consent, that the spiritual is not opposed to the rational, nor Grace to nature. Religion is based on reason, even in the presence of 'mystery'. Free will and Grace are not mutually exclusive. The editor's comprehensive introduction delineates the (...) main principles of the Cambridge Platonists, in the light of their heritage. It compares their attitude to contemporary thought, stressing their mistrust both of institutionalised religion and of the rising tide of materialism. The sermons are reprinted from the original texts and fully annotated with comparisons and references to a wide range of works. The editor also includes a useful list for further reading, biographical notes and a comprehensive index. (shrink)