Art Theory: An Historical Introduction

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Emotion in Aesthetics. Warren A. Shibles - - Kluwer Academic Publishers. Modern Aesthetics: An Historical Introduction. Aesthetics: Key Concepts in Philosophy. Daniel Alan Herwitz - - Continuum. Introduction to Aesthetics: An Analytic Approach. George Dickie - - Oxford University Press. Helena Lorenzova - - Estetika Hepburn - - British Journal of Aesthetics 9 4 Knox ed.

Michael Sprinker - - Verso. Aesthetics in the Modern World. Added to PP index Total views 72, of 2,, Recent downloads 6 months 10 95, of 2,, How can I increase my downloads? Sign in to use this feature. This article has no associated abstract. In particular it considers the relationship between Nietzsche's critique of metaphysics as the manifestation of an ascetic 'will to truth' and Heidegger's project of 'dismantling' and 'overcoming' metaphysics in light of a renewal of the question of being. Each year this module focusses on a study of a different selection of Freud's major and minor works, mining them for their philosophical significance and reflecting on the implications of psychoanalysis for philosophy, particularly in relation to the philosophical notion of the subject.

Where appropriate the module will discuss the critical development of this theoretical framework by psychoanalysts such as Jacques Lacan and Jean Laplanche, its reception and deployment in the tradition of Freudo-Marxist critical theory, and the theoretical transformation and political critique of Freudian theory in feminist and queer theory. This module focuses on the question 'what is involved in a philosophical thinking of the history of art? The first concerns the temporality proper to art's history; the second concerns the way in which the individual work of art presents history and the operation of time.

The module will concentrate on three figures central to a philosophical thinking of the work of art: Walter Benjamin, Alois Riegel and Aby Warburg. To conclude, we will examine, in detail, three works of contemporary art, traversing painting, sculpture and photography.

This module involves guided study of one or more major works of modern political philosophy. Texts and themes vary from year to year, but possible topics include: power, class, the state, sovereignty, government, organisation, institution, constitution, representation, democracy, ideology, property, mode of production, capitalism, colonialism, slavery, violence, subjection, nature, citizenship, law, rights, difference, justice, legitimacy, insurrection, insurgency, revolution, resistance, and so on.

This module involves guided study of two or three major works of twentieth-century French philosophy, focusing each year on the work of two related thinkers. Possible topics include: Sartre or de Beauvoir's existentialism, Levinasian ethics, Merleau-Ponty's theory of embodied perception, Foucault's theory of power, Derrida's practice of deconstruction, Deleuze's conception of difference, Badiou's concepts of the subject and truth.

The module will explore the tension in Italian philosophy between the claims of theology and radical politics, one expressed in the turn to bio-philosophy and bio-politics during the s. Each year this module involves guided study of major works from the tradition of Modern European Philosophy, focussing either on a single text or on a range of texts in relation to a theme. Past topics have included Althusser, the dispute over humanism and the idea of a philosophical anthropology and the reception of Das Kapital in the Western Marxist Tradition.

The content of the module changes each year, determined by the research expertise of the module tutor. You will have the opportunity to study a foreign language, free of charge, during your time at the University as part of the Kingston Language Scheme.

We aim to ensure that all courses and modules advertised are delivered. However in some cases courses and modules may not be offered. For more information about why, and when you can expect to be notified, read our Changes to Academic Provision. Regulations governing this course are available here. Details of term dates for this course can be found here. Calls to this number from mobiles are normally deductible from your inclusive minutes. This course is taught at Penrhyn Road. Department of Humanities.

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50 Inspiring Books About Art History

Facebook Twitter. Aesthetics and Art Theory: Attendance and timetables Entry requirements Course features Research areas Facilities Learning support After you graduate Events and lectures Who teaches this course Course fees and funding Apply for this course. The course builds on the critical and technical issues raised in Studio Honors I. Prerequisites: VIS M. A critical review of the principal strategies of investigation in past and present art-historical practice, a scrutiny of their contexts and underlying assumptions, and a look at alternative possibilities.

The various traditions for formal and iconographic analysis as well as the categories of historical description will be studied. Required for all art history and criticism majors. Prerequisites: VIS 23 and one upper-division art history course; two recommended. This is a seminar course.

Recommended preparation: two upper-division art history courses. VIS BN. The principal theories of art and criticism from symbolism until formalism and modernism, abstraction, surrealism, Marxism, and social art histories, phenomenology, existentialism. Recommended preparation: VIS or two upper-division courses in art history strongly recommended. Recent approaches to the image in art history and visual culture: structuralism, semiotics, psychoanalysis, poststructuralism, postmodernism, feminism, postcolonialism, cultural studies. This seminar treats landscape as site, image, symbol, and ideal through a historical examination of the major themes and issues in the forms and functions of landscape and its representation in the European and, to a certain extent, the American tradition from antiquity to the present day.


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These historical discussions will also form a framework for observations on and analyses of contemporary landscape, both as experienced and as an idea. This course presumes no prior knowledge of the field. This course fulfills the theory requirement and seminar requirement in the art history program. Recommended preparation: VIS This seminar focuses on the dynamic and at times contentious relationship between antiquity and the Middle Ages as it played out in various environments—physical, social, cultural, and intellectual—from Rome to Constantinople to Venice, Pisa, and Florence.

After considering classic and contemporary formulations of the problem, it turns to in-depth examination of the architecture, images, objects, and techniques at sites in the history of art, where fragments were deployed and displayed. This course studies important developments in the arts of China in the context of contemporary cultural phenomena.

Prerequisites: upper-division standing or consent of instructor and departmental approval. This seminar will address and critique various approaches to studying the art of non-Western societies with respect to their own aesthetic and cultural systems. Students are encouraged to explore comparative philosophies of art and test paradigms of Western aesthetic scholarship. Recommended preparation: VIS 21A or 21B or or two upper-division courses in art history strongly recommended.

Examines the philosophical debates that locate the Americas in relation to the modern world. This seminar will examine key moments in the interaction between the world of art and the world of ideas; the goal is to start students thinking about the entire theory-practice relation as it connects with their own projects and research. Performance art and masquerade will be analyzed within a non-Western framework.

Art Theory: An Historical Introduction, 2nd Edition

Recommended preparation: VIS 21A. Greek classical civilization was a turning point in the history of humanity. Within a new kind of society, the idea of the individual as free and responsible was forged, and with it the invention of history, philosophy, tragedy, and science. The arts that expressed this cultural explosion were no less revolutionary.

The achievements of Greek art in architecture, sculpture, and painting will be examined from their beginnings in the archaic period, to their epoch-making fulfillment in the classical decades of the fifth century BC, to their diffusion over the entire ancient world in the age of Alexander and his successors. Out of their Italic tradition and the great inheritance of Greek classic and Hellenistic art, the Romans forged a new language of form to meet the needs of a vast empire, a complex and tumultuous society, and a sophisticated, intellectually diverse culture.

An unprecedented architecture of shaped space used new materials and revolutionary engineering techniques in boldly functional ways for purposes of psychological control and symbolic assertion.

Art Theory: An Historical Introduction

Sculpture in the round and in relief was pictorialized to gain spatial effects and immediacy of presence, and an extraordinary art of portraiture investigated the psychology while asserting the status claims of the individual. Extreme shifts of style, from the classicism of the age of Augustus to the expressionism of the third century AD, are characteristic of this period. The new modes of architecture, sculpture, and painting, whether in the service of the rhetoric of state power or of the individual quest for meaning, were passed on to the medieval and ultimately to the modern West.

During the later centuries of the Roman Empire, the ancient world underwent a profound crisis. Beset by barbarian invasions, torn by internal conflict and drastic social change, inflamed with religious passion that was to lead to a transformed vision of the individual, the world, and the divine, this momentous age saw the conversion of the Roman world to Christianity, the transfer of power from Rome to Constantinople, and the creation of a new society and culture.

Out of this ferment, during the centuries from Constantine to Justinian, there emerged new art forms fit to represent the new vision of an otherworldly reality: a vaulted architecture of diaphanous space, a new art of mosaic, which dissolved surfaces in light, a figural language both abstractly symbolic and urgently expressive.

The great creative epoch transformed the heritage of classical Greco-Roman art and laid the foundations of the art of the Christian West and Muslim East for the next thousand years. Recommended preparation: VIS 20 or B. This survey course follows the parallel tracks of the sacred and secular in art and architecture from Constantine to the Crusades. Highlights include the emergence of Christian art, visual culture of the courts, development of monasteries, fall and rise of towns and cities, and arts of ritual.

Western Art and Art History

The thematic juxtaposition of different media and medieval people speaking in their own voices yields a multidimensional image of society in which the medieval experience is made as concrete as possible. VIS B. Studying the role of religion in the formation of artistic styles will show a dynamic interaction between the visual cultures of Christianity and Islam. This course will look at the many different ways the Bible was deployed in medieval visual culture from images to architecture and from narrative and symbolism to ritual.

Our path will be charted by the major monuments of medieval art that take up our theme of the Bible, which will serve as exemplary guideposts in our trajectory through the Middle Ages. This seminar explores movement and exchange between Mediterranean cities with diverse political, social, ethnic, and religious roots and the new modes of art, architecture, and intellectual discourse that this diversity fostered.

In addition to medieval sources, readings include art historical and theoretical texts from a variety of periods and fields that frame the implications of multiculturalism for historical and contemporary categories of perception and for the analysis of visual culture. Italian artists and critics of the fourteenth through sixteenth centuries were convinced that they were participating in a revival of the arts unparalleled since antiquity. Focusing primarily on Italy, this course traces the emergence in painting, sculpture and architecture, of an art based on natural philosophy, optical principles, and humanist values, which embodied the highest intellectual achievement and deepest spiritual beliefs of the age.

This course will explore the baroque, through the lens of the lives of artists and architects who made it great: Rembrandt, Vermeer, Velasquez, Bernini, and Caravaggio, as well as the artists of the sixteenth century who served as a source of inspiration and point of departure for the great work of the baroque. The lives of these people interlocked on a number of different levels in order to create a visual culture that many regard as fundamental to the modern world. An in depth look at the art of Leonardo da Vinci with special emphasis on his training in Florence, interactions with Bramante, and the response to his work by Raphael.