Título: 3 ó 4 conferencias Autor: Isidoro Valcárcel Medina ISBN/ISSN: 978-84-7719-782-9 Depósito legal: Dimensiones: 15x22cm Nº de páginas: 159 Año: 2002

This book presents a cultural history of Promethean Horror in the modern age, tracing the rise of a sub-genre of gothic fiction in the twentieth-century and examining post-modern revisions of Modernist Promethean tropes in an eclectic range of gothic, fantasy and SF writing.

Among the ancients the fundamental theory of the beautiful was connected with the notions of rhythm, symmetry, harmony of parts, in short, with the general formula of unity in variety. Among the moderns we find that more emphasis is laid on the idea of significance, expressiveness, the utterance of all that life contains, in general, that is to say, on the conception of the characteristic. -from Definition of Beauty T.H. Green called him the most gifted man of his generation. Certainly he was one of the most popular and most influential British idealists of the early 20th century, and an intellectual cousin of Ludwig Wittgenstein and Bertrand Russell. In this definitive work, first published in 1892, Bernard Bosanquet explores the realm of aesthetics-the philosophy of art-from a romantic, almost mystical perspective, discussing how the appreciation of art exposes the spirituality of humanity, and why it is a vital component to any metaphysical understanding of the universe. From the earliest Greek poetry and Latin comedy to very modern ideas about ugly beauty and the impact of science on art, Bosanquet will change the way you look at art. British scholar and philosopher BERNARD BOSANQUET (1848-1923) also wrote, among his many works, Logic, or the Morphology of Knowledge (1888), The Civilization of Christendom and Other Studies (1893), and Social and International Ideals

Estando ya próximo el bicentenario de la muerte de Friedrich Schiller (1759-1805), uno de los referentes básicos de la cultura alemana contemporánea, este libro aspira, en primer término, a remediar la carencia hasta ahora casi total en lengua española de estudios consagrados, no ya al pensamiento de Schiller, sino a su obra en general. El objetivo ultimo del libro consiste en mostrar a esta luz como Friedrich Schiller, situado a caballo entre la Ilustracion y el Romanticismo, refleja ejemplarmente toda su epoca y lleva a cabo un muy agudo diagnostico critico del hombre moderno, del hombre que en buena medida aun somos.

This book seeks to understand culture through the lens of scenes, analyzing them aesthetically and culturally as well as understanding them through the frameworks of gender, social networks, and art

This book seeks to understand culture through the lens of scenes, analyzing them aesthetically and culturally as well as understanding them through the frameworks of gender, social networks, and art

Connecting poetry and philosophy of language, Philip Mills bridges the continental and analytical divide by bringing together the writings of Nietzsche and Wittgenstein. Through an expressivist philosophy of poetry, he argues that we can understand some of the core questions in the philosophy of language.Mills highlights the continuity of poetic language with ordinary language, and positions Nietzsche and Wittgensteins thinking as the clearest way to expand the philosophy of poetry. By tracing the expressivist tradition of philosophy of language, this study locates its roots in German Romanticism right through to the work of contemporary expressivists such as Huw Price and Robert Brandom. Where poetry has been difficult to grasp with the traditional philosophical tools used by aestheticians, A Poetic Philosophy of Language operates at the crossroads between philosophy of art and language, proposing a new philosophy of poetry with wide-ranging potentialities.

Connecting poetry and philosophy of language, Philip Mills bridges the continental and analytical divide by bringing together the writings of Nietzsche and Wittgenstein. Through an expressivist philosophy of poetry, he argues that we can understand some of the core questions in the philosophy of language.Mills highlights the continuity of poetic language with ordinary language, and positions Nietzsche and Wittgensteins thinking as the clearest way to expand the philosophy of poetry. By tracing the expressivist tradition of philosophy of language, this study locates its roots in German Romanticism right through to the work of contemporary expressivists such as Huw Price and Robert Brandom. Where poetry has been difficult to grasp with the traditional philosophical tools used by aestheticians, A Poetic Philosophy of Language operates at the crossroads between philosophy of art and language, proposing a new philosophy of poetry with wide-ranging potentialities.

Arguing that we ought to look to psychedelic aesthetics of the 1960s in relation to current crises in liberal democracy, this book emphasizes the intersection of European thought and the psychedelic. The first half of the book focuses on philosophical influences of Herbert Marcuse and Antonin Artaud, while the second half shifts toward literary and theoretical influences of Aldous Huxley on psychedelic aesthetics. Framed within an emergent discourse of political theology, it suggests that taking a postsecular approach to psychedelic aesthetics helps us understand deeper connections between aesthetics and politics.

Abhandlung Von Der Fhigkeit Der Erpfindung Des Schnen In Der Kunst Und Dem Unterrichte In Derselben explores the capacity for invention of beauty in art and its instruction. This treatise delves into the theoretical and practical aspects of artistic creation, examining the principles that underlie the conception and execution of beautiful works. It offers insights into the methods and techniques used to cultivate artistic talent and foster a deeper understanding of aesthetic principles. This work provides valuable perspectives on the nature of art and the process of artistic development.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Abhandlung Von Der Fhigkeit Der Erpfindung Des Schnen In Der Kunst Und Dem Unterrichte In Derselben explores the capacity for invention of beauty in art and its instruction. This treatise delves into the theoretical and practical aspects of artistic creation, examining the principles that underlie the conception and execution of beautiful works. It offers insights into the methods and techniques used to cultivate artistic talent and foster a deeper understanding of aesthetic principles. This work provides valuable perspectives on the nature of art and the process of artistic development.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Abisal, libro inclasificable, extraño, nigromántico, hipnótico, expresionista y neo-romántico, sin modelos conocidos, erudito, lírico, heterodoxo, a ratos divertidísimo y disparatado, a ratos terrorífico o grotesco, a ratos profundo y paradojico, recubre con un halo de misterio precisamente lo mas cercano, enrareciendolo, y convoca los grandes titulos de las letras de todas las epocas de una manera organica, viva y arbitraria. En este libro se habla sobre la poesia de las escaleras, la poesia de los dobles, la poesia de los paramos, la poesia de los perros y de las maquinas, la poesia de los pasillos de las casas o de las azoteas segun la sencilla ley de asociacion imaginativa. Innumerables escritores, clasicos y modernos, circulan por estas paginas al tiempo que tiene lugar una caminata. Abisal, libro de zonas y de figuras, es un ensayo en marcha. Dante, la pelicula RoboCop, el mundo de Baroja, el de David Lynch, Edgar Allan Poe, Arthur Machen, Angelica Liddell, Chateaubriand, Lord Dunsany, Schelling, las peliculas de zombies, David Cronenberg, Zuloaga, Francisco Ferrer Lerin, Novalis, Palefato, Vasari, Galdos, Tacito, Faulkner, el film El Resplandor, Jacques Tourneur, Plotino, Proclo, Delibes, Platon, Massaccio, Coledrige, Lovecraft, Unamuno, John Carpenter, Homero, James Joyce, Cervantes, Houellebecq, o los cuentos populares de los hermanos Grimm se suceden y se mezclan con los pasos de flaneur, como en medio de una noche neblinosa.

Esta obra constituye un aporte fundamental para las actuales discusiones sobre filosofía práctica y estética en el ámbito iberoamericano, de parte de uno de los más originales filósofos alemanes de las últimas décadas. Presenta un conjunto de ensayos del filósofo alemán, el más importante heredero de Hans- Georg Gadamer, y uno de los mayores críticos de la Escuela de Frankfurt y la Teoría Crítica.

Esta obra es un ensayo sobre la creatividad desde distintos puntos de vista. El libro empieza planteando en qué situaciones puede emerger la creatividad, que necesariamente ha de venir de la percepcion y tiene que darse en un contexto de libertad. Con unas explicaciones que en cierto sentido son poeticas, el lugar en que somos creativos es visto a modo de utopia, el no lugar. El autor, Daniel Yacubovich, es artista, profesor y diseñador. Desde estas actividades se plantea las relaciones del arte y el diseño como elementos de gran valor creativo para la sociedad. Nos habla de arte utilizado politicamente, de productos y consumismo, de creatividad limitada, etc. Otro elemento fundamental del libro es la vertiente y la funcion que la escuela deberia desempeñar a la hora de promover la creatividad, que en este ambito se esta perdiendo. La segunda parte del libro funciona a modo de homenaje a la diseñadora Ray Kaizer Eames. Se exponen algunos objetos de mobiliario y sillas diseñados por ella. Los asientos, debido a su presencia y, por otra parte, por su plano sugerente de una ausencia, se tornan un argumento central para explorar espacios diversos, que se manifiestan como espacios utopicos. Este libro se adentra en algunas formas de entrenar a personas corredoras de fondo de la creatividad.

Los años noventa del siglo pasado fueron testigo de un florecimiento notable de las reflexiones estéticas consagradas a la estética. Lo más sorprendente es que estos debates encontraron al menos durante cierto tiempo un eco publico mas alla de la esfera de la filosofia profesional, sobre todo en los que se ha dado en llamar "el mundo del arte". De ahi a creer en un renadimiento de la propia doctrina estetica no hay mas que un paso, que algunos filosofos se han apresurado a dar.El objeto de este ensayo es mostrar el caracter ilusorio de una creencia asi -incluso de una esperanza asi-.

It has been both a pleasure and an honor to edit this book. The pleasure has been in interacting with the gifted authors who wrote the chapters for this volume and the honor has been in knowing that the book is dedicated to a great man and a brilliant psychologist-Daniel E. Berlyne. All the contributors to this book have been touched, at some time, by Dan Berlyne and his ideas. Whether as his teachers, his colleages, his peers, his students, or his friends and arguing partners, we have all felt his presence and been improved by it. The list of contributors to this volume is large and could have been much larger, for a number of people, in fact, contacted me for the oppor tunity to contribute when they heard about the purpose of this book. It is also an international list, for Dan Berlynes contacts were international. The diversity in content and style is also intentional. The authors were invited to contribute an original paper in the field in which they are presently engaged, whether theoretical or a report of empirical work, and to indicate the contribution that Dan Berlyne had made to their work. As the reader will note, contributions range from personal and contact in a laboratory to ideas that elicit controversy, argument, and intensive re search. Daniel Ellis Berlyne was born in Selford, England, a suburb of Man chester,in 1924, and died in Toronto, Canada, on November 2, 1976.