Paul Crowther
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780199244973
- eISBN:
- 9780191697425
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199244973.003.0006
- Subject:
- Philosophy, Aesthetics
This chapter explores Heidegger's aesthetic theory. Heidegger's response to the question of aesthetics is to be found mainly in Volume One of his Nietzsche study, and the well-known essay ‘The Origin ...
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This chapter explores Heidegger's aesthetic theory. Heidegger's response to the question of aesthetics is to be found mainly in Volume One of his Nietzsche study, and the well-known essay ‘The Origin of the Work of Art’. Section I begins by expounding and elaborating Heidegger's position in the Nietzsche study, and picking out some areas of difficulty. Section II discusses the salient aspects of Heidegger's theory in ‘The Origin of the Work of Art’ and, after considering its merits, relates it back to the most important issue in the areas of difficulty noted in Section I.Less
This chapter explores Heidegger's aesthetic theory. Heidegger's response to the question of aesthetics is to be found mainly in Volume One of his Nietzsche study, and the well-known essay ‘The Origin of the Work of Art’. Section I begins by expounding and elaborating Heidegger's position in the Nietzsche study, and picking out some areas of difficulty. Section II discusses the salient aspects of Heidegger's theory in ‘The Origin of the Work of Art’ and, after considering its merits, relates it back to the most important issue in the areas of difficulty noted in Section I.
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9780804761253
- eISBN:
- 9780804772990
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804761253.003.0005
- Subject:
- Philosophy, Aesthetics
This chapter analyzes Martin Heidegger's interpretation of Paul Klee's works based on his essay The Origin of the Work of Art, explaining that Heidegger described Klee's works as he did the Greek ...
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This chapter analyzes Martin Heidegger's interpretation of Paul Klee's works based on his essay The Origin of the Work of Art, explaining that Heidegger described Klee's works as he did the Greek temples and claimed that, in Klee, something has happened that none of us yet grasps. It also mentions Heidegger's discussion with Shinichi Hisamatsu in 1958, where he declared that he valued Klee higher than Pablo Picasso. The chapter also discusses Heidegger's condemnation of surrealism, abstract art, and objectless art to the failures of metaphysics, and highlights his belief that Klee is something of an exception to this.Less
This chapter analyzes Martin Heidegger's interpretation of Paul Klee's works based on his essay The Origin of the Work of Art, explaining that Heidegger described Klee's works as he did the Greek temples and claimed that, in Klee, something has happened that none of us yet grasps. It also mentions Heidegger's discussion with Shinichi Hisamatsu in 1958, where he declared that he valued Klee higher than Pablo Picasso. The chapter also discusses Heidegger's condemnation of surrealism, abstract art, and objectless art to the failures of metaphysics, and highlights his belief that Klee is something of an exception to this.
Koenraad Claes
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474426213
- eISBN:
- 9781474453776
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474426213.003.0001
- Subject:
- Literature, 19th-century and Victorian Literature
In the late Victorian era, as in every period, the realm of the aesthetic was affirmed and kept within bounds by bordering non-artistic phenomena (moral, political, commercial) considered as setting ...
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In the late Victorian era, as in every period, the realm of the aesthetic was affirmed and kept within bounds by bordering non-artistic phenomena (moral, political, commercial) considered as setting off its limits, and on which it must not encroach. What unites the diverse artists and authors currently grouped under the heading of ‘Aestheticism’ is that they sought to integrate these surroundings into their aesthetic project as well. This led to the development of expansive art projects that are commonly known as ‘Total Works of Art’, influencing even seemingly ephemeral print media such as little magazines. Late-Victorian little magazines in different ways strove towards an integration of form and content and thereby to become periodical Total Works of Art that would not be contaminated by the worldly interests that they purported to defy. However, the dichotomy between art and commerce on which it relies is ultimately untenable.Less
In the late Victorian era, as in every period, the realm of the aesthetic was affirmed and kept within bounds by bordering non-artistic phenomena (moral, political, commercial) considered as setting off its limits, and on which it must not encroach. What unites the diverse artists and authors currently grouped under the heading of ‘Aestheticism’ is that they sought to integrate these surroundings into their aesthetic project as well. This led to the development of expansive art projects that are commonly known as ‘Total Works of Art’, influencing even seemingly ephemeral print media such as little magazines. Late-Victorian little magazines in different ways strove towards an integration of form and content and thereby to become periodical Total Works of Art that would not be contaminated by the worldly interests that they purported to defy. However, the dichotomy between art and commerce on which it relies is ultimately untenable.
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9780804761253
- eISBN:
- 9780804772990
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804761253.003.0007
- Subject:
- Philosophy, Aesthetics
This chapter analyzes the connection of Paul Klee's art and writings to the work of Martin Heidegger. It explains that many believed that Heidegger's thought was disconnected not only from the ...
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This chapter analyzes the connection of Paul Klee's art and writings to the work of Martin Heidegger. It explains that many believed that Heidegger's thought was disconnected not only from the artists of his time but from the reality of his time. The chapter also discusses the opinion of Theodor Adorno that Klee's work contradicted Heidegger's idealizing tendencies and the views of Will Grohmann that Klee's was work closer to the Romantics and not Heidegger's search for a new beginning in “The Origin of the Work of Art.”Less
This chapter analyzes the connection of Paul Klee's art and writings to the work of Martin Heidegger. It explains that many believed that Heidegger's thought was disconnected not only from the artists of his time but from the reality of his time. The chapter also discusses the opinion of Theodor Adorno that Klee's work contradicted Heidegger's idealizing tendencies and the views of Will Grohmann that Klee's was work closer to the Romantics and not Heidegger's search for a new beginning in “The Origin of the Work of Art.”
Gabriel Riera
- Published in print:
- 2006
- Published Online:
- March 2011
- ISBN:
- 9780823226719
- eISBN:
- 9780823235315
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823226719.003.0003
- Subject:
- Philosophy, Philosophy of Language
This chapter discusses the contribution of German philosopher Martin Heidegger to literary theory. In his book Being and Time, Heidegger has provided important insights into ...
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This chapter discusses the contribution of German philosopher Martin Heidegger to literary theory. In his book Being and Time, Heidegger has provided important insights into the metaphysics of being and the contents of the book are ideal materials for addressing the problematic articulation or dialogue between poetic saying and thinking. This chapter examines other relevant works of Heidegger, including his courses on Friedrich Holderlin and Friedrich Nietzsche, and “The Origin of the Work of Art”.Less
This chapter discusses the contribution of German philosopher Martin Heidegger to literary theory. In his book Being and Time, Heidegger has provided important insights into the metaphysics of being and the contents of the book are ideal materials for addressing the problematic articulation or dialogue between poetic saying and thinking. This chapter examines other relevant works of Heidegger, including his courses on Friedrich Holderlin and Friedrich Nietzsche, and “The Origin of the Work of Art”.
Adrian Daub
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780226082134
- eISBN:
- 9780226082271
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226082271.001.0001
- Subject:
- Music, Opera
In the late nineteenth century, Richard Wagner dominated the German opera stage not just aesthetically, in terms of the way opera was written and performed, but also philosophically, providing the ...
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In the late nineteenth century, Richard Wagner dominated the German opera stage not just aesthetically, in terms of the way opera was written and performed, but also philosophically, providing the historical, political and metaphysical framework by which to judge what opera could accomplish and needed to accomplish. Tristan’s Shadow provides a history of German opera written in the fifty years after Wagner’s death, with a view not just to Wagner’s legacy as a composer, but his legacy as a theoretician. Specifically, Tristan’s Shadow investigates the way in which the Wagnerian philosophy of sex (judged by Wagner himself to be his most innovative set of ideas) provided a way for his heirs to articulate responses and critiques of Wagner’s broader aesthetic, philosophical and political project. In different ways, these composers interrogated the way Wagner brought sexuality onto the opera stage as a means of interrogating a far broader range of aesthetic issues in Wagner’s oeuvre.Less
In the late nineteenth century, Richard Wagner dominated the German opera stage not just aesthetically, in terms of the way opera was written and performed, but also philosophically, providing the historical, political and metaphysical framework by which to judge what opera could accomplish and needed to accomplish. Tristan’s Shadow provides a history of German opera written in the fifty years after Wagner’s death, with a view not just to Wagner’s legacy as a composer, but his legacy as a theoretician. Specifically, Tristan’s Shadow investigates the way in which the Wagnerian philosophy of sex (judged by Wagner himself to be his most innovative set of ideas) provided a way for his heirs to articulate responses and critiques of Wagner’s broader aesthetic, philosophical and political project. In different ways, these composers interrogated the way Wagner brought sexuality onto the opera stage as a means of interrogating a far broader range of aesthetic issues in Wagner’s oeuvre.
Koenraad Claes
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781474426213
- eISBN:
- 9781474453776
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474426213.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
Fed up with the commercial and moral restrictions of the mainstream press of the late Victorian era, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new ...
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Fed up with the commercial and moral restrictions of the mainstream press of the late Victorian era, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new genre of periodicals in which to propagate their principles and circulate their work. Such periodicals are known as ‘little magazines’ for their small-scale production and their circulation among limited audiences, and during the late Victorian period they were often conceptualized as integrated design project or ‘Total Works of Art’ in order to visually and materially represent the ideals of their producers. Little magazines like the Pre-Raphaelite Germ, the Arts & Crafts Hobby Horse and the Decadent Yellow Book launched the careers of innovative authors and artists and provided a site for debate between minor contributors and visiting grandees from Matthew Arnold to Oscar Wilde. This book offers detailed discussions of the background to thirteen little magazines of the Victorian Fin de Siècle, situating these within the periodical press of their day and providing interpretations of representative content items. In doing so, it outlines the earliest history of this enduring publication genre, and of the Aesthetic Movement that developed along with it.Less
Fed up with the commercial and moral restrictions of the mainstream press of the late Victorian era, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new genre of periodicals in which to propagate their principles and circulate their work. Such periodicals are known as ‘little magazines’ for their small-scale production and their circulation among limited audiences, and during the late Victorian period they were often conceptualized as integrated design project or ‘Total Works of Art’ in order to visually and materially represent the ideals of their producers. Little magazines like the Pre-Raphaelite Germ, the Arts & Crafts Hobby Horse and the Decadent Yellow Book launched the careers of innovative authors and artists and provided a site for debate between minor contributors and visiting grandees from Matthew Arnold to Oscar Wilde. This book offers detailed discussions of the background to thirteen little magazines of the Victorian Fin de Siècle, situating these within the periodical press of their day and providing interpretations of representative content items. In doing so, it outlines the earliest history of this enduring publication genre, and of the Aesthetic Movement that developed along with it.
Gundula Kreuzer
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780520279681
- eISBN:
- 9780520966550
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520279681.003.0001
- Subject:
- Music, Opera
Starting with the Metropolitan Opera’s paradoxical emphasis on both authenticity and technological innovation in its 2010–12 Ring cycle, the introduction highlights the longstanding dissociation in ...
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Starting with the Metropolitan Opera’s paradoxical emphasis on both authenticity and technological innovation in its 2010–12 Ring cycle, the introduction highlights the longstanding dissociation in European thought of the technical and the cultural, a distinction that influenced both the aesthetics and the study of nineteenth-century opera. A post-revolutionary appetite for realism and spectacle was fed by the ever more advanced stage technologies that composers deployed to realize their creative visions. But, as Richard Wagner championed in his 1849 essay “The Art-Work of the Future,” the artificiality of these supplementary machineries had to be veiled so that they might appear a natural part of the illusionist stage image. Novel “Wagnerian technologies” were designed to be perceived as media interfaces and thus to promote opera’s intended seamless multimediality. The study of their application and reception over time sheds new light on the materiality, ephemerality, and historicity of operatic staging.Less
Starting with the Metropolitan Opera’s paradoxical emphasis on both authenticity and technological innovation in its 2010–12 Ring cycle, the introduction highlights the longstanding dissociation in European thought of the technical and the cultural, a distinction that influenced both the aesthetics and the study of nineteenth-century opera. A post-revolutionary appetite for realism and spectacle was fed by the ever more advanced stage technologies that composers deployed to realize their creative visions. But, as Richard Wagner championed in his 1849 essay “The Art-Work of the Future,” the artificiality of these supplementary machineries had to be veiled so that they might appear a natural part of the illusionist stage image. Novel “Wagnerian technologies” were designed to be perceived as media interfaces and thus to promote opera’s intended seamless multimediality. The study of their application and reception over time sheds new light on the materiality, ephemerality, and historicity of operatic staging.
Gundula Kreuzer
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780520279681
- eISBN:
- 9780520966550
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520279681.003.0002
- Subject:
- Music, Opera
This chapter explicates how the opening Venusberg scenes of Wagner’s Tannhäuser allegorically anticipate the composer’s ideal of the Gesamtkunstwerk,as well as its limitations. Both the Venusberg and ...
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This chapter explicates how the opening Venusberg scenes of Wagner’s Tannhäuser allegorically anticipate the composer’s ideal of the Gesamtkunstwerk,as well as its limitations. Both the Venusberg and Wagner’s Festspielhaus in Bayreuth are removed from civilization, elevated on a mountain, hermetically closed, artificially lit, and accessible only to the initiate. By micromanaging her grotto, Venus choreographs an overwhelming medial crescendo of the sort demanded by Wagner in “The Art-Work of the Future.” The Venusberg thus illustrates the desired stage appearance of Wagner’s ideals and how to realize it: Venus is Wagner’s total director. Parallels between Venus and Wagner are reinforced by their shared personal obsessions and underlined in recent productions of Tannhäuser. However, Wagner’s Tannhäuser flees the Venusberg, with his rejection of Venus’s magic (or technologies) presaging Nietzsche’s critique of Wagner’s total medial immersion. Wagner may have intimated the unattainability of his multimedia ideals from their inception.Less
This chapter explicates how the opening Venusberg scenes of Wagner’s Tannhäuser allegorically anticipate the composer’s ideal of the Gesamtkunstwerk,as well as its limitations. Both the Venusberg and Wagner’s Festspielhaus in Bayreuth are removed from civilization, elevated on a mountain, hermetically closed, artificially lit, and accessible only to the initiate. By micromanaging her grotto, Venus choreographs an overwhelming medial crescendo of the sort demanded by Wagner in “The Art-Work of the Future.” The Venusberg thus illustrates the desired stage appearance of Wagner’s ideals and how to realize it: Venus is Wagner’s total director. Parallels between Venus and Wagner are reinforced by their shared personal obsessions and underlined in recent productions of Tannhäuser. However, Wagner’s Tannhäuser flees the Venusberg, with his rejection of Venus’s magic (or technologies) presaging Nietzsche’s critique of Wagner’s total medial immersion. Wagner may have intimated the unattainability of his multimedia ideals from their inception.
Sozita Goudouna
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474421645
- eISBN:
- 9781474444927
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474421645.003.0009
- Subject:
- Literature, 20th-century Literature and Modernism
The book concludes by focusing on Beckett’s ‘aesthetics of failure’ in his final piece of discursive writing “The Three Dialogues,” and considers the exhaustion of possibilities as a fundamental ...
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The book concludes by focusing on Beckett’s ‘aesthetics of failure’ in his final piece of discursive writing “The Three Dialogues,” and considers the exhaustion of possibilities as a fundamental artistic strategy, as well as the tension between abstraction and expression, the dilemma of artistic expression and the impossibility of expression in painting. Adding to this, the endnotes encourage multiple perspectives on health, art and life and offer original methods of understanding the role that respiration plays in our sensory, emotional and spiritual life.Less
The book concludes by focusing on Beckett’s ‘aesthetics of failure’ in his final piece of discursive writing “The Three Dialogues,” and considers the exhaustion of possibilities as a fundamental artistic strategy, as well as the tension between abstraction and expression, the dilemma of artistic expression and the impossibility of expression in painting. Adding to this, the endnotes encourage multiple perspectives on health, art and life and offer original methods of understanding the role that respiration plays in our sensory, emotional and spiritual life.
Xing Fan
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9789888455812
- eISBN:
- 9789888455164
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888455812.003.0005
- Subject:
- History, Asian History
Time: fall 1963 to 1976. China saw an increasingly intense struggle over literature and art, with modern jingju as a primary battlefield. The 1964 Festival of Modern Jingju Performances for Emulation ...
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Time: fall 1963 to 1976. China saw an increasingly intense struggle over literature and art, with modern jingju as a primary battlefield. The 1964 Festival of Modern Jingju Performances for Emulation reconfirmed the priority of modern plays in xiqu creation, reinforced the significance of modern jingju in literature and art, and firmly established Jiang Qing as the leader of this movement. Model works were designated as the exemplar of socialist culture construction, exemplifying such creative principles as the Basic Task, the Combination of Revolutionary Realism and Revolutionary Romanticism, and the Three Prominences. Chapter 4 includes a close analysis of Jiang Qing’s controversial role in supervising modern jingju creation and an analytical chronicle of five major versions of Taking Tiger Mountain by Strategy—from the first version in 1958 to the final model version in 1970—as an illustration of changes in plotting and characterization during the creative process of model jingju development.Less
Time: fall 1963 to 1976. China saw an increasingly intense struggle over literature and art, with modern jingju as a primary battlefield. The 1964 Festival of Modern Jingju Performances for Emulation reconfirmed the priority of modern plays in xiqu creation, reinforced the significance of modern jingju in literature and art, and firmly established Jiang Qing as the leader of this movement. Model works were designated as the exemplar of socialist culture construction, exemplifying such creative principles as the Basic Task, the Combination of Revolutionary Realism and Revolutionary Romanticism, and the Three Prominences. Chapter 4 includes a close analysis of Jiang Qing’s controversial role in supervising modern jingju creation and an analytical chronicle of five major versions of Taking Tiger Mountain by Strategy—from the first version in 1958 to the final model version in 1970—as an illustration of changes in plotting and characterization during the creative process of model jingju development.
