Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Aesthetics, American --- Arts --- Democracy --- United States --- Civilization.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The British Aesthetic Tradition: From Shaftesbury to Wittgenstein is the first single volume to offer readers a comprehensive and systematic history of aesthetics in Britain from its inception in the early eighteenth century to major developments in Britain and beyond in the late twentieth century. The book consists of an introduction and eight chapters, and is divided into three parts. The first part, The Age of Taste, covers the eighteenth-century approaches of internal sense theorists, imagination theorists and associationists. The second, The Age of Romanticism, takes readers from debates over the picturesque through British Romanticism to late Victorian criticism. The third, The Age of Analysis, covers early twentieth-century theories of Formalism and Expressionism to conclude with Wittgenstein and a number of views inspired by his thought.

Aesthetics, British --- Aesthetics, American --- History --- Esthétique --- Histoire --- History. --- Histoire. --- American aesthetics --- Aesthetics, English --- British aesthetics --- English aesthetics --- Arts and Humanities --- Philosophy --- Aesthetics, British - History --- Aesthetics, American - History

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

What do we really mean when we call something "graphic"? In American Graphic, Rebecca Clark examines the "graphic" as a term tellingly at odds with itself. On the one hand, it seems to evoke the grotesque; on the other hand, it promises the geometrically streamlined in the form of graphs, diagrams, and user interfaces. Clark's innovation is to ask what happens when the same moment in a work of literature is graphic in both ways at once. Her answer suggests the graphic turn in contemporary literature is intimately implicated in the fraught dynamics of identification. As Clark reveals, this double graphic indexes the unseemliness of a lust—in our current culture of information—for cool epistemological mastery over the bodies of others. Clark analyzes the contemporary graphic along three specific axes: the ethnographic, the pornographic, and the infographic. In each chapter, Clark's explication of the double graphic reads a canonical author against literary, visual and/or performance works by Black and/or female creators. Pairing works by Edgar Allan Poe, Vladimir Nabokov, and Thomas Pynchon with pieces by Mat Johnson, Kara Walker, Fran Ross, Narcissister, and Teju Cole, Clark tests the effects and affects of the double graphic across racialized and gendered axes of differences. American Graphic forces us to face how closely and uncomfortably yoked together disgust and data have become in our increasingly graph-ick world.

Aesthetics, American --- Affect (Psychology) in literature --- American fiction --- Grotesque in literature --- History and criticism --- Aesthetics, American. --- Affect (Psychology) in literature. --- Grotesque in literature. --- LITERARY CRITICISM / American / General. --- affect. --- comics. --- ethnographic. --- graphic. --- grotesque. --- infographic. --- pornographic. --- postmodernism. --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Aesthetics, American --- Aesthetics, Modern --- Pluralism (Social sciences) --- Cultural pluralism --- Cultural diversity --- Diversity, Cultural --- Diversity, Religious --- Ethnic diversity --- Pluralism, Cultural --- Religious diversity --- American aesthetics --- Culture --- Cultural fusion --- Ethnicity --- Multiculturalism --- Aesthetics, American - Congresses. --- Aesthetics, Modern - 20th century - Congresses. --- Pluralism (Social sciences) - United States - Congresses.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

An artistic discussion on the critical potential of African American expressive cultureIn a major reassessment of African American culture, Phillip Brian Harper intervenes in the ongoing debate about the “proper” depiction of black people. He advocates for African American aesthetic abstractionism—a representational mode whereby an artwork, rather than striving for realist verisimilitude, vigorously asserts its essentially artificial character. Maintaining that realist representation reaffirms the very social facts that it might have been understood to challenge, Harper contends that abstractionism shows up the actual constructedness of those facts, thereby subjecting them to critical scrutiny and making them amenable to transformation.Arguing against the need for “positive” representations, Abstractionist Aesthetics displaces realism as the primary mode of African American representational aesthetics, re-centers literature as a principal site of African American cultural politics, and elevates experimental prose within the domain of African American literature. Drawing on examples across a variety of artistic production, including the visual work of Fred Wilson and Kara Walker, the music of Billie Holiday and Cecil Taylor, and the prose and verse writings of Ntozake Shange, Alice Walker, and John Keene, this book poses urgent questions about how racial blackness is made to assume certain social meanings. In the process, African American aesthetics are upended, rendering abstractionism as the most powerful modality for Black representation.

African American arts --- Abstraction. --- African American aesthetics. --- Aesthetics, African American --- Afro-American aesthetics --- Aesthetics, American --- Abstract thought --- Cognition --- Logic --- Thought and thinking --- Afro-American arts --- Arts, African American --- Negro arts --- Ethnic arts --- Themes, motives.