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"The Invention of Taste provides a detailed overview of the development of taste, from ancient times to the present. At the heart of the book is an intriguing question: why did the sensory attribute of human taste become a social metaphor and aesthetic value for judging cultural qualities of art, fashion, cuisine and other social constructions? Unique amongst the senses, taste is at once a biologically derived sense, private, personal and individual, yet also a sensibility which can be acquired, shared, and communicated. Exploring the many factors that defined the evolution of taste -- from medieval morals and medicine to social and cultural philosophy, the rise of aesthetics, birth of fashion, branding trends, and luxury worship in the age of mass consumption -- Luca Vercelloni's ambitious text provides readers with an outstanding introduction to the subject, making it the cultural history of taste. Now available for the first time in English, Taste features a new final chapter and a preface by series editor David Howes. Rich in detail and examples, this interdisciplinary work is an important read for students and researchers in sensory studies, philosophy, sociology and cultural studies, as well as gastronomy, fashion, design, and branding."--Bloomsbury Publishing.
Aesthetics --- History. --- Radio broadcasting Aesthetics --- Aesthetics - History --- Taste - Social aspects --- Culture --- Taste --- Culture. --- Aesthetics. --- Social aspects.
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Volume 26 of 1650–1850: Ideas, Aesthetics, and Inquiries in the Early Modern Era travels beyond the usual discussions of power, identity, and cultural production to visit the purlieus and provinces of Britain’s literary empire. Bulging at its bindings are essays investigating out-of-the-way but influential ensembles, whether female religious enthusiasts, annotators of Maria Edgeworth’s underappreciated works, or modern video-based Islamic super-heroines energized by Mary Wollstonecraft’s irreverance. The global impact of the local is celebrated in studies of the personal pronoun in Samuel Johnson’s political writings and of the outsize role of a difficult old codger in catalyzing the literary career of Charlotte Smith. Headlining a volume that peers into minute details in order to see the outer limits of Enlightenment culture is a special feature on metaphor in long-eighteenth-century poetry and criticism. Five interdisciplinary essays investigate the deep Enlightenment origins of a trope usually associated with the rise of Romanticism. Volume 26 culminates in a rich review section containing fourteen responses to current books on Enlightenment religion, science, literature, philosophy, political science, music, history, and art. About the annual journal 1650-1850 1650-1850 publishes essays and reviews from and about a wide range of academic disciplines: literature (both in English and other languages), philosophy, art history, history, religion, and science. Interdisciplinary in scope and approach, 1650-1850 emphasizes aesthetic manifestations and applications of ideas, and encourages studies that move between the arts and the sciences—between the “hard” and the “humane” disciplines. The editors encourage proposals for special features that bring together five to seven essays on focused themes within its historical range, from the Interregnum to the end of the first generation of Romantic writers. While also being open to more specialized or particular studies that match up with the general themes and goals of the journal, 1650-1850 is in the first instance a journal about the artful presentation of ideas that welcomes good writing from its contributors. ISSN 1065-3112. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Aesthetics, Modern. --- Civilization, Modern. --- English literature --- Enlightenment --- Idea (Philosophy) --- Literature and society --- History and criticism. --- History. --- History --- Great Britain --- Intellectual life --- Enlightenment, Restoration, Augustan, Aesthetics, History of ideas.
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Aesthetic disgust is a key component of most classic works of drama because it has much more potential than to simply shock the audience. This first extensive study on dramatic disgust places this sensation among pity and fear as one of the core emotions that can achieve katharsis in drama. The book sets out in antiquity and traces the history of dramatic disgust through Kant, Freud, and Kristeva to Sarah Kane's in-yer-face theatre. It establishes a framework to analyze forms and functions of disgust in drama by investigating its different cognates (miasma, abjection, etc.). Providing a concise argument against critics who have discredited aesthetic disgust as juvenile attention-grabbing, Sarah J. Ablett explains how this repulsive emotion allows theatre to dig deeper into what it means to be human.
Drama; Aesthetic Theory; Disgust; Abjection; Sarah Kane; Aesthetics; History of Theatre; Literary Studies; Literature; Theatre; Theatre Studies --- Abjection. --- Aesthetic Theory. --- Aesthetics. --- Disgust. --- History of Theatre. --- Literary Studies. --- Literature. --- Sarah Kane. --- Theatre Studies. --- Theatre.
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Poetry of the Revolution tells the story of political and artistic upheavals through the manifestos of the nineteenth and twentieth centuries. Ranging from the Communist Manifesto to the manifestos of the 1960s and beyond, it highlights the varied alliances and rivalries between socialism and repeated waves of avant-garde art. Martin Puchner argues that the manifesto--what Marx called the "poetry" of the revolution--was the genre through which modern culture articulated its revolutionary ambitions and desires. When it intruded into the sphere of art, the manifesto created an art in its own image: shrill and aggressive, political and polemical. The result was "manifesto art"--combinations of manifesto and art that fundamentally transformed the artistic landscape of the twentieth century. Central to modern politics and art, the manifesto also measures the geography of modernity. The translations, editions, and adaptations of such texts as the Communist Manifesto and the Futurist Manifesto registered and advanced the spread of revolutionary modernity and of avant-garde movements across Europe and to the Americas. The rapid diffusion of these manifestos was made "possible by networks--such as the successive socialist internationals and international avant-garde movements--that connected Santiago and Zurich, Moscow and New York, London and Mexico City. Poetry of the Revolution thus provides the point of departure for a truly global analysis of modernism and modernity.
Arts -- Political aspects. --- Arts, Modern -- 20th century. --- Avant-garde (Aesthetics) -- History -- 19th century. --- Avant-garde (Aesthetics) -- History -- 20th century. --- Revolutionary literature --- Arts, Modern --- Arts --- Avant-garde (Aesthetics) --- Literature --- Aesthetics --- Modernism (Art) --- Political aspects --- History --- History and criticism --- Marx, Karl, --- Engels, Friedrich, --- Political aspects. --- History and criticism. --- Marx, Karl, 1818-1883. Das Manifest der kommunistischen Partei --- Manifestes (art) --- Littérature et révolution --- Avant-garde (esthétique) --- Arts et politique --- Littérature révolutionnaire --- 20e siècle --- Aspect politique --- Histoire et critique
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How Dada is to break its cultural accommodation and containment today necessitates thinking the historical instances through revised application of critical and theoretical models. The volume Dada Culture: Critical Texts on the Avant-Garde moves precisely by this motive, bringing together writings which insist upon the continuity of the early twentieth-century moment now at the start of the twenty-first. Engaging the complex and contradictory nature of Dada strategies, instanced in the linguistic gaming and performativity of the movement’s initial formation, and subsequently isolating the specific from the general with essays focusing on Ball, Tzara, Serner, Hausmann, Dix, Heartfield, Schwitters, Baader, Cravan and the exemplary Duchamp, the political philosophy of the avant-garde is brought to bear upon our own contemporary struggle through critical theory to comprehend the cultural usefulness, relevance, validity and effective (or otherwise) oppositionality of Dada’s infamous anti-stance. The volume is presented in sections that progressively point towards the expanding complexity of the contemporary engagement with Dada, as what is often exhaustive historical data is forced to rethink, realign and reconfigure itself in response to the analytical rigour and exercise of later twentieth-century animal anarchic thought, the testing and cultural placement of thoughts upon the virtual, and the eventual implications for the once blissfully unproblematic idea of expression. From the opening, provocative proposition that historically Dada may have been the falsest of all false paths , the volume rounds to dispute such condemnation as demarcation continues not only of Dada’s embeddedness in western culture, but more precisely of the location of Dada culture . Ten critical essays – by Cornelius Partsch, John Wall, T. J. Demos, Anna Schaffner, Martin I. Gaughan, Curt Germundson, Stephen C. Foster, Dafydd Jones, Joel Freeman and David Cunningham – are supplemented by the critical bibliography prepared by Timothy Shipe, which documents the past decade of Dada scholarship, and in so doing provides a valuable resource for all those engaged in Dada studies today.
Dadaism --- Avant-garde (Aesthetics) --- Human figure in art --- History --- Influence --- Human figure in art. --- History. --- Influence. --- Art --- Comparative literature --- Philosophy and psychology of culture --- anno 1900-1999 --- Human body in art --- Composition (Art) --- Figurative art --- Anatomy, Artistic --- Figure drawing --- Figure painting --- Dada --- Tabu-Dadaism --- Arts, Modern --- Aesthetics --- Modernism (Art) --- Dadaism - History --- Dadaism - Influence --- Avant-garde (Aesthetics) - History - 20th century --- Dadaïsme
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À la Renaissance, les inventions techniques comme la boussole, les lunettes ou l'imprimerie, mais aussi les cabinets de curiosité, les monstres, les merveilles ou les grotesques fascinent les esprits. Les amateurs de surprise et de nouveauté se recrutent aussi bien parmi les souverains et leur cour que parmi les lettrés, les humanistes, ou dans le peuple épris de fêtes et de spectacles. Les récits de voyages, les jardins, les réalisations architecturales qui se multiplient alors donnent l'impression d'un foisonnement de choses inédites, voire insolites, où l'innovation, mais aussi l'exagération, ont leur part. Avec Shakespeare, Ben Jonson et bien d'autres, la scène élisabéthaine va s'efforcer de répondre à ce goût grandissant pour la nouveauté, dont elle donne parfois une image grinçante et satirique. Au XXe siècle, après la remise en cause du drame bourgeois par Antonin Artaud qui redécouvre en France le théâtre élisabéthain, les mises en scène audacieuses de Patrice Chéreau (Hamlet) ou de Peter Sellars (Le Marchand de Venise) font apparaître la nouveauté de ces textes. Les différents parcours proposés dans ce recueil sont à lire comme autant d'invitations à voir ailleurs ou autrement, à s'ouvrir à ce qui apparaît bien comme autant d'expériences et d'esthétiques de la nouveauté. Ce terme parfois décrié à la Renaissance prend donc ici tout son sens et ouvre clairement la voie vers la modernité.
European literature --- New and old --- Littérature européenne --- Ancien et nouveau --- History and criticism --- Histoire et critique --- Modernity in literature --- Aesthetics --- History --- Littérature européenne --- Aesthetics - History --- European literature - Renaissance, 1450-1600 - History and criticism --- Literature, British Isles --- Medieval & Renaissance Studies --- Renaissance --- technique --- esthétiques --- nouveauté --- inventions
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L’irruption du postmodernisme a favorisé la critique des avant-gardes artistiques du XXe siècle, des idéologies qui les avaient portées et même des œuvres qu’elles avaient produites. Ces mises en cause ont occulté autant que révélé un ensemble de questions théoriques et historiographiques. Que signifie la fin des avant-gardes ? De quelle histoire celles-ci relèvent-elles ? Comment évaluer la force durable des œuvres, indépendamment des discours qui ont accompagné leur création ? Que nous disent-elles de notre modernité ? Ce livre prolonge l’ultime préoccupation du philosophe Rainer Rochlitz (1946-2002) dans le domaine de l’esthétique : repenser les relations entre l’art, la société et le politique. Réunis initialement au sein d’un séminaire à l’EHESS, les auteurs de ce volume, spécialistes des arts plastiques, de la photographie, de la musique, de la littérature ou de l’esthétique, proposent une réflexion sur les modes d’attribution de sens et de valeur à l’art moderne et aux avant-gardes historiques.
Art, Modern --- Avant-garde (Aesthetics) --- Aesthetics, Modern --- Art --- Avant-garde (Esthétique) --- Esthétique moderne --- Philosophy --- History --- Philosophie --- Histoire --- Rochlitz, Rainer. --- Rochlitz, Rainer --- Avant-garde (Esthétique) --- Esthétique moderne --- Art, Modern - 20th century - Philosophy --- Avant-garde (Aesthetics) - History - 20th century --- Aesthetics, Modern - 20th century --- Arts, Modern --- avant-garde --- histoire de l’art --- art moderne
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In Stambeli, Richard C. Jankowsky presents a vivid ethnographic account of the healing trance music created by the descendants of sub-Saharan slaves brought to Tunisia during the eighteenth and nineteenth centuries. Stambeli music calls upon an elaborate pantheon of sub-Saharan spirits and North African Muslim saints to heal humans through ritualized trance. Based on nearly two years of participation in the musical, ritual, and social worlds of stambeli musicians, Jankowsky’s study explores the way the music evokes the cross-cultural, migratory past of its originators and their encounters with the Arab-Islamic world in which they found themselves. Stambeli, Jankowsky avers, is thoroughly marked by a sense of otherness—the healing spirits, the founding musicians, and the instruments mostly come from outside Tunisia—which creates a unique space for profoundly meaningful interactions between sub-Saharan and North African people, beliefs, histories, and aesthetics. Part ethnography, part history of the complex relationship between Tunisia’s Arab and sub-Saharan populations, Stambeli will be welcomed by scholars and students of ethnomusicology, anthropology, African studies, and religion.
Spirit possession --- Black people --- Music --- Sṭambālī (Rite) --- Rites and ceremonies. --- History and criticism. --- Religious aspects. --- music, musical studies, trance, tunisia, tunisian, ethnography, ethnographic research, healing trances, sub-saharan, north africa, muslims, religion, religious study, faith, islam, ritualized, ritualization, social worlds, migration, migratory, otherness, spirits, instruments, cultural, culture, aesthetics, history, historical, arab, rites, ceremony, possession, slave trade, slavery, movement, pilgrimage, vocality, displacement, emplacement.
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Arts, Modern --- Aesthetics, Modern --- Avant-garde (Aesthetics) --- History --- 7.01 "19" --- -Avant-garde (Aesthetics) --- -R.J.Sanders --- kunst --- twintigste eeuw --- situationisten --- situationistische Internationale --- avant-garde --- Cobra --- Constant --- New Babylon --- Jorn Asger --- kunsttijdschriften --- Nederland --- mei 68 --- Frankfurter Schule --- Marcuse Herbert --- Baudrillard jean --- Socialisme ou Barbarie --- 7.038 --- Aesthetics --- Modernism (Art) --- Modern arts --- Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst--20e eeuw. Periode 1900-1999 --- -Aesthetics, Modern --- -7.01 "19" --- 7.01 "19" Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst--20e eeuw. Periode 1900-1999 --- R.J.Sanders --- Arts, Modern - 20th century. --- Aesthetics, Modern - 20th century. --- Avant-garde (Aesthetics) - History - 20th century.
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Though much beloved and widely produced, Molière's satirical comedies pose a problem for those reading or staging his works today: how can a genre associated with biting caricature and castigation deliver engaging theater? Instead of simply dismissing social satire as a foundation for Molière's theater, as many have done, Larry F. Norman takes seriously Molière's claim that his satires are first and foremost effective theater. Pairing close readings of Molière's comedies with insightful accounts of French social history and aesthetics, Norman shows how Molière conceived of satire as a "public mirror" provoking dynamic exchange and conflict with audience members obsessed with their own images. Drawing on these tensions, Molière portrays characters satirizing one another on stage, with their reactions providing dramatic conflict and propelling comic dialogue. By laying bare his society's system of imagining itself, Molière's satires both enthralled and enraged his original audience and provide us with a crucial key to the classical culture of representation.
Molière --- Criticism and interpretation --- Moli re, - 1622-1673 - Criticism and interpretation. --- Moli©9·re, - 1622-1673 - Criticism and interpretation. --- Authors, French. --- French authors --- Molière, --- Molière, J.-P. B. --- Poquelin, Jean-Baptiste --- Criticism and interpretation. --- Molière --- Molière, J.-B. P. --- Molière, J.-B. P. de --- Poquelin de Molière, Jean Baptiste, --- Molʹer, Zhan-Batist, --- Mo-li-ai, --- Moliai, --- Molyér, --- Molière, Jean Baptiste Poquelin, --- Moliere, I. B. P. de, --- Molʹer, Zh.-B. --- Molieros, --- Moliyer, --- Molʹer, --- Mollierŭ, --- Molyer, Zshan Poḳlen, --- Мольер, --- Moriēru, --- מאליער --- מולייר --- מולייר, ב׳אן בטיסט --- מולייר, פ. --- מולייר, --- מולירה --- موليير --- 莫里哀, --- モリエール, --- depiction, depicting, jean-baptiste poquelin, moliere, satire, satirical comedy, literature, literary studies, playwright, social commerce, society, genre, caricature, castigation, theater, theatre, effectiveness, comedies, france, french writings, insightful, aesthetics, history, historical contexts, images, imagery, stage, performance, dramatic conflict, comic dialogue, representation, criticism, interpretation, reflexivity, dramaturgy.
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