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Philosophy of language --- Aesthetics --- Language and languages --- Aesthetics. --- Langage et langues --- Esthétique --- Philosophy --- Philosophie --- 1 HEIDEGGER, MARTIN --- Filosofie. Psychologie--HEIDEGGER, MARTIN --- 1 HEIDEGGER, MARTIN Filosofie. Psychologie--HEIDEGGER, MARTIN --- Esthétique --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Psychology --- Radio broadcasting Aesthetics --- Language and languages - Philosophy --- Ontologie. --- Sprachphilosophie. --- Ästhetik.

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The potentiality of phenomenological aesthetics is enormous, many figures have contributed to it during a time span of over a century, but this is the first work thoroughly to show its breadth, depth, and continuing fecundity. Moritz Geiger, Roman Ingarden, Fritz Kaufmann, Jean-Paul Sartre, Maurice Merleau-Ponty, and Mikel Dufrenne are the central figures and receive substantial treatment. A score of other influential individuals, including Antonio Banfi, Simone de Beauvoir, Oskar Becker, Jacques Derrida, Hans-Georg Gadamer, Martin Heidegger, Michel Henry, Dietrich von Hildebrand, Maurice Natanson, Nishida Kitaro, Jose Ortega y Gasset, Jan Patocka, Paul Ricoeur, Heinrich Rombach, Max Scheler, Alfred Schutz, Gustav Spet, and France Veber also have entries devoted to them. In addition, there are over two dozen entries on such topics such as dream, empathy, enjoyment, imagination, sensation, on style, ecology, gender, and interculturality, and then on areas including architecture, film, and theater. The introduction includes an extensive sketch of the history of phenomenological investigation in this sub-discipline of philosophy. All entries are written by the best relevant specialists, all the entries have bibliographies, and a selected bibliography for the whole is appended. This handbook will be the foundation for many more decades of investigation.

Theory of knowledge --- Aesthetics --- Phenomenology --- Phénoménologie --- Esthétique --- EPUB-LIV-FT LIVHUMAI SPRINGER-B --- Philosophy, Modern --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Psychology --- Aesthetics. --- Phenomenology. --- Phenomenology . --- Philosophy. --- Modern philosophy. --- Philosophy, general. --- Modern Philosophy. --- History of Philosophy. --- Modern philosophy --- Mental philosophy --- Humanities --- Radio broadcasting Aesthetics --- Phénoménologie --- Esthétique --- Philosophy, Modern. --- Early Modern Philosophy. --- History.

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Narziss ist eine viel genannte Schlüsselfigur der literarischen Dekadenz. Doch welche theoretischen Überlegungen, Analogien und Umkehrschlüsse zwischen Mythologie, Ästhetik und Psychologie verbinden sich mit und in ihm? Es lässt sich hinsichtlich des westeuropäischen Theaters der Jahrhundertwende und der Zeit zwischen den Weltkriegen davon ausgehen und erkunden, wie Künstlerfiguren dieser Epoche eine Aura und eine Charakterisierung eingeräumt werden, die sich an der sozialen Realität orientieren - oder von dieser mitunter stark divergieren. Die im 19. Jahrhundert noch weit verbreiteten Gattungen des Künstlerdramas und -romans weichen zu Beginn des 20. Jahrhunderts zudem neuen Formen und Spielarten von "Gesamtkunstwerken" und der Selbst-Inszenierung. Den gemeinhin bekannten "Narzissten" wie Oscar Wilde oder André Gide stehen Dramatiker und Opernkomponisten wie J. M. Barrie oder Franz Schreker gegenüber, die Künstlerleben zwischen Selbsthass und -zerstörung auf die Bühne bringen.

Aesthetics. --- Narcissism. --- Musical theater --- Music --- Performing arts. --- Show business --- Arts --- Performance art --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Lyric theater --- Theater --- Ego erotism --- Erotism, Ego --- Narcism --- Egoism --- Psychology, Pathological --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- History and criticism. --- Philosophy and aesthetics. --- Psychology --- Radio broadcasting Aesthetics --- Gide, André. --- Literary Studies. --- Shaw, George Bernhard. --- Theater Studies. --- Weininger, Otto.

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Representation is a concern crucial to the sciences and the arts alike. Scientists devote substantial time to devising and exploring representations of all kinds. From photographs and computer-generated images to diagrams, charts, and graphs; from scale models to abstract theories, representations are ubiquitous in, and central to, science. Likewise, after spending much of the twentieth century in proverbial exile as abstraction and Formalist aesthetics reigned supreme, representation has returned with a vengeance to contemporary visual art. Representational photography, video and ever-evolving forms of new media now figure prominently in the globalized art world, while this "return of the real" has re-energized problems of representation in the traditional media of painting and sculpture. If it ever really left, representation in the arts is certainly back. Central as they are to science and art, these representational concerns have been perceived as different in kind and as objects of separate intellectual traditions. Scientific modeling and theorizing have been topics of heated debate in twentieth century philosophy of science in the analytic tradition, while representation of the real and ideal has never moved far from the core humanist concerns of historians of Western art. Yet, both of these traditions have recently arrived at a similar impasse. Thinking about representation has polarized into oppositions between mimesis and convention. Advocates of mimesis understand some notion of mimicry (or similarity, resemblance or imitation) as the core of representation: something represents something else if, and only if, the former mimics the latter in some relevant way. Such mimetic views stand in stark contrast to conventionalist accounts of representation, which see voluntary and arbitrary stipulation as the core of representation. Occasional exceptions only serve to prove the rule that mimesis and convention govern current thinking about representation in both analytic philosophy of science and studies of visual art. This conjunction can hardly be dismissed as a matter of mere coincidence. In fact, researchers in philosophy of science and the history of art have increasingly found themselves trespassing into the domain of the other community, pilfering ideas and approaches to representation. Cognizant of the limitations of the accounts of representation available within the field, philosophers of science have begun to look outward toward the rich traditions of thinking about representation in the visual and literary arts. Simultaneously, scholars in art history and affiliated fields like visual studies have come to see images generated in scientific contexts as not merely interesting illustrations derived from "high art", but as sophisticated visualization techniques that dynamically challenge our received conceptions of representation and aesthetics. "Beyond Mimesis and Convention: Representation in Art and Science" is motivated by the conviction that we students of the sciences and arts are best served by confronting our mutual impasse and by recognizing the shared concerns that have necessitated our covert acts of kleptomania. Drawing leading contributors from the philosophy of science, the philosophy of literature, art history and visual studies, our volume takes its brief from our title. That is, these essays aim to put the evidence of science and of art to work in thinking about representation by offering third (or fourth, or fifth) ways beyond mimesis and convention. In so doing, our contributors explore a range of topics-fictionalism, exemplification, neuroaesthetics, approximate truth-that build upon and depart from ongoing conversations in philosophy of science and studies of visual art in ways that will be of interest to both interpretive communities. To put these contributions into context, the remainder of this introduction aims to survey how our communities have discretely arrived at a place wherein the perhaps-surprising collaboration between philosophy of science and art history has become not only salubrious, but a matter of necessity. .

Philosophy of science --- Aesthetics --- Philosophy of language --- Science --- Representation (Philosophy) --- Science and the arts --- Philosophy --- Representation (Philosophy). --- Philosophy. --- Philosophy and science. --- Aesthetics. --- History. --- Arts. --- Epistemology. --- Philosophy of Science. --- History of Science. --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Annals --- Auxiliary sciences of history --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Epistemology --- Theory of knowledge --- Psychology --- Science and philosophy --- Normal science --- Arts and science --- Arts --- Representationalism (Philosophy) --- Representationism (Philosophy) --- Culture --- Arts, Primitive --- Radio broadcasting Aesthetics --- Science - Philosophy --- Science and the arts - Philosophy

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Aesthetics --- Theory of knowledge --- Kant, Immanuel --- Knowledge, Theory of --- Epistemology --- Philosophy --- Psychology --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Kant, Immanuel, --- Kant, Emmanuel --- Kant, Emanuel --- Kant, Emanuele --- Kant, I. --- Kānt, ʻAmmānūʼīl, --- Kant, Immanouel, --- Kant, Immanuil, --- Kʻantʻŭ, --- Kant, --- Kant, Emmanuel, --- Ḳanṭ, ʻImanuʼel, --- Kant, E., --- Kant, Emanuel, --- Cantơ, I., --- Kant, Emanuele, --- Kant, Im. --- קאנט --- קאנט, א. --- קאנט, עמנואל --- קאנט, עמנואל, --- קאנט, ע. --- קנט --- קנט, עמנואל --- קנט, עמנואל, --- كانت ، ايمانوئل --- كنت، إمانويل، --- カントイマニユエル, --- Kangde, --- 康德, --- Kanṭ, Īmānwīl, --- كانط، إيمانويل --- Kant, Manuel, --- Radio broadcasting Aesthetics