Listing 1 - 10 of 2088 | << page >> |
Sort by
|
Choose an application
The book meticulously analyses the history of the critical reception of avantguard art through the interpretations received by one of its greatest emblems, Les Demoiselles d'Avignon by Picasso, 1907. Since Les Demoiselles has been considered over this century the true paradigm of Modern Art, this book is, fundamentally, a sort of synthesis of the discourses about Modernism from formalism, iconology, Leo Steinberg's 'Other Criteria', sociological, the biographical and psychoanalytical theses, cultural and historicist and lastly, the impact of post-structuralism and the feminist, post-colonialist and transnational interpretations. The final chapter deals with the artistic versions of Les Demoiselles d'Avignon made by artists. It is an essay on the different versions and identities of Modern Art and Modernism that have been produced throughout the last century.
Choose an application
Choose an application
Choose an application
The book meticulously analyses the history of the critical reception of avantguard art through the interpretations received by one of its greatest emblems, Les Demoiselles d'Avignon by Picasso, 1907. Since Les Demoiselles has been considered over this century the true paradigm of Modern Art, this book is, fundamentally, a sort of synthesis of the discourses about Modernism from formalism, iconology, Leo Steinberg's 'Other Criteria', sociological, the biographical and psychoanalytical theses, cultural and historicist and lastly, the impact of post-structuralism and the feminist, post-colonialist and transnational interpretations. The final chapter deals with the artistic versions of Les Demoiselles d'Avignon made by artists. It is an essay on the different versions and identities of Modern Art and Modernism that have been produced throughout the last century.
Choose an application
Choose an application
Mikhail Lifshitz is a major forgotten figure in the tradition of Marxist philosophy and art history. A significant influence on Lukács, and the dedicatee of his The Young Hegel , as well as an unsurpassed scholar of Marx and Engels’s writings on art and a lifelong controversialist, Lifshitz’s work dealt with topics as various as the philosophy of Marx and the pop aesthetics of Andy Warhol. The Crisis of Ugliness (originally published in Russian by Iskusstvo, 1968), published here in English for the first time, and with a detailed introduction by its translator David Riff, is a compact broadside against modernism in the visual arts that nevertheless resists the dogmatic complacencies of Stalinist aesthetics. Its reentry into English debates on the history of Soviet aesthetics promises to re-orient our sense of the basic coordinates of a Marxist art theory.
Choose an application
The book meticulously analyses the history of the critical reception of avantguard art through the interpretations received by one of its greatest emblems, Les Demoiselles d'Avignon by Picasso, 1907. Since Les Demoiselles has been considered over this century the true paradigm of Modern Art, this book is, fundamentally, a sort of synthesis of the discourses about Modernism from formalism, iconology, Leo Steinberg's 'Other Criteria', sociological, the biographical and psychoanalytical theses, cultural and historicist and lastly, the impact of post-structuralism and the feminist, post-colonialist and transnational interpretations. The final chapter deals with the artistic versions of Les Demoiselles d'Avignon made by artists. It is an essay on the different versions and identities of Modern Art and Modernism that have been produced throughout the last century.
Choose an application
Choose an application
The author of this chapter discusses the psychological concept of free will and attempts to answer the following questions: First, what are the psychological roots of our concept of free will? Second, how might progress on the first question contribute to progress regarding normative debates about the proper concept of free will? In sections 2 and 3 I address the first question. Section 2 discusses recent work in the experimental philosophy of free will and motivates the study I report in section 3. Section 4 reflects on the second question in light of the reported results.To preview, the results suggest that the psychological structure of our concept of free will is sensitive to three independent features: Liberty, Ensurance, and Consciousness. I argue this supports the view that our concept is incompatibilist more than the view that our concept is compatibilist, and I discuss two proposals regarding the normative upshot. On one proposal, these results might be taken to offer some support to incompatibilism about the proper concept. A second proposal, however, makes room for a much different upshot.
Choose an application
The author of this chapter discusses the psychological concept of free will and attempts to answer the following questions: First, what are the psychological roots of our concept of free will? Second, how might progress on the first question contribute to progress regarding normative debates about the proper concept of free will? In sections 2 and 3 I address the first question. Section 2 discusses recent work in the experimental philosophy of free will and motivates the study I report in section 3. Section 4 reflects on the second question in light of the reported results.To preview, the results suggest that the psychological structure of our concept of free will is sensitive to three independent features: Liberty, Ensurance, and Consciousness. I argue this supports the view that our concept is incompatibilist more than the view that our concept is compatibilist, and I discuss two proposals regarding the normative upshot. On one proposal, these results might be taken to offer some support to incompatibilism about the proper concept. A second proposal, however, makes room for a much different upshot.
Listing 1 - 10 of 2088 | << page >> |
Sort by
|