{"product_id":"the-bloomsbury-anthology-of-aesthetics-9781441138262","title":"The Bloomsbury Anthology of Aesthetics","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe Bloomsbury Anthology of Aesthetics provides teachers and students with a new perspective on the history and present of aesthetic theory. It contains a comprehensive survey of the field of aesthetics, with selections drawn from ancient, medieval, renaissance, modern, and contemporary sources. It provides readers with a radically new perspective on the genesis and development of aesthetic theory by including an expanded section on early modern aesthetics. The Anthology likewise pays special attention to the interdisciplinary nature of aesthetics, reconstructing some of the dialogues in literary theory and art criticism that gave rise to philosophy''s more systematic efforts. It introduces readers to contemporary debates by including a number of thinkers not yet anthologized. It contextualizes these positions by situating them in terms of the history to which they are responding. In short, The Bloomsbury Anthology of Aesthetics brings course materials up-to-date with the state of the \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e…the anthology is valuable; it not only presents a captivating account of the history of aesthetics, but also, as promised by the editors, ‘redraws the picture of aesthetics’ so that a richer landscape emerges. Summing Up: Recommended. Lower-division undergraduates through researchers\/faculty; general readers. -- E. Millin, DePaul University * CHOICE *\u003cbr\u003eThis ambitious anthology on the aesthetics of Bloomsbury editions will preferably to PhD students of English who are seeking various writings on art, in a decidedly philosophical perspective, which means highly distinct from the art history or sociology of art. -- Yves Laberge * Symposium *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cstrong\u003eGeneral Introduction\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eAcknowledgements\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eI. Introduction to Ancient Aesthetics\u003c\/strong\u003e\u003cbr\u003e1. Plato, \u003cem\u003eRepublic\u003c\/em\u003e\u003cbr\u003e2. Aristotle, \u003cem\u003ePoetics \u003c\/em\u003e\u003cbr\u003e3. Plotinus, \u003cem\u003eEnneads\u003c\/em\u003e\u003cbr\u003e4. Longinus, \u003cem\u003eOn the Sublime\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eII. Introduction to Medieval and Renaissance Aesthetics\u003c\/strong\u003e\u003cbr\u003e5. Augustine, \u003cem\u003eThe Confessions\u003c\/em\u003e\u003cbr\u003e6. Pseudo-Dionysius, \u003cem\u003eThe Divine Names\u003c\/em\u003e\u003cbr\u003e7. Thomas Aquinas, \u003cem\u003eSumma Theologica\u003c\/em\u003e\u003cbr\u003e8. Petrarch, \u003cem\u003eOn the Nature of Poetry\u003c\/em\u003e\u003cbr\u003e9. Giorgio Vasari, \u003cem\u003eLives of the Most Eminent Painters, Sculptors, and Architects\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eIII. Introduction to Early Modern Aesthetics\u003c\/strong\u003e\u003cbr\u003e10. Nicolas Boileau-Despréaux, \u003cem\u003eThe Art of Poetry\u003c\/em\u003e\u003cbr\u003e11. Jean-Baptiste DuBos, \u003cem\u003eCritical Reflections on Poetry and Painting\u003c\/em\u003e\u003cbr\u003e12. Francis Hutcheson, \u003cem\u003eAn Inquiry into the Original of Our Ideas of Beauty and Virtue\u003c\/em\u003e\u003cbr\u003e13. Johann Christoph Gottsched, \u003cem\u003eCritical Poetics\u003c\/em\u003e\u003cbr\u003e14. Charles Batteux, \u003cem\u003eThe Fine Arts\u003c\/em\u003e\u003cbr\u003e15. Alexander Gottlieb Baumgarten, \u003cem\u003eAesthetics\u003c\/em\u003e\u003cbr\u003e16. Edmund Burke, \u003cem\u003eA Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful\u003c\/em\u003e\u003cbr\u003e17. David Hume, \u003cem\u003eOf the Standard of Taste\u003c\/em\u003e\u003cbr\u003e18. Gotthold Ephraim Lessing, \u003cem\u003eLaocoön\u003c\/em\u003e\u003cbr\u003e19. Moses Mendelssohn, \u003cem\u003eOn the main principle of the fine arts and sciences\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eIV. Introduction to Modern Aesthetics\u003c\/strong\u003e\u003cbr\u003e20. Immanuel Kant, \u003cem\u003eCritique of Judgment\u003c\/em\u003e\u003cbr\u003e21. Friedrich Schiller, \u003cem\u003eOn the Aesthetic Education of Man\u003c\/em\u003e\u003cbr\u003e22. Schelling, Hegel, Hölderlin, \u003cem\u003eOldest Programme For a System of German Idealism\u003c\/em\u003e\u003cbr\u003e23. F. W. J. Schelling, \u003cem\u003eSystem of Transcendental Idealism\u003c\/em\u003e\u003cbr\u003e24. Novalis, \u003cem\u003eMiscellaneous Observations and Logical Fragments\u003c\/em\u003e\u003cbr\u003e25. G. W. F. Hegel, \u003cem\u003eLectures on the Philosophy of Art\u003c\/em\u003e\u003cbr\u003e26. Arthur Schopenhauer, \u003cem\u003eThe World as Will and Representation\u003c\/em\u003e\u003cbr\u003e27. Friedrich Nietzsche, \u003cem\u003eThe Birth of Tragedy\u003c\/em\u003e\u003cbr\u003e28. Friedrich Nietzsche, \u003cem\u003eThe Will to Power as Art\u003c\/em\u003e\u003cbr\u003e29. Charles Baudelaire, \"The Dandy,\" from \u003cem\u003eThe Painter of Modern Life\u003c\/em\u003e\u003cbr\u003e30. Martin Heidegger, \u003cem\u003eThe Origin of the Work of Art \u003c\/em\u003e\u003cbr\u003e31. Meyer Schapiro, \u003cem\u003eThe Still Life as Personal Object\u003c\/em\u003e\u003cbr\u003e32. Paul Valéry, \u003cem\u003eThe Idea of Art \u003c\/em\u003e\u003cbr\u003e33. Walter Benjamin, \u003cem\u003eThe Work of Art in the Age of Its Technological Reproducibility\u003c\/em\u003e\u003cbr\u003e34. Clement Greenberg, \u003cem\u003eAvant-Garde and Kitsch\u003c\/em\u003e\u003cbr\u003e35. Herbert Marcuse, \u003cem\u003eThe Aesthetic Dimension\u003c\/em\u003e\u003cbr\u003e36. Maurice Merleau-Ponty, \u003cem\u003eEye and Mind \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eV. Introduction to Contemporary Aesthetics\u003c\/strong\u003e\u003cbr\u003e37. Michel Foucault, \u003cem\u003eThis is not a Pipe\u003c\/em\u003e\u003cbr\u003e38. Jacques Derrida, \u003cem\u003eRestitutions\u003c\/em\u003e\u003cbr\u003e39. Jean-Luc Nancy, \u003cem\u003eThe Image-the Distinct\u003c\/em\u003e\u003cbr\u003e40. Cornel West, \u003cem\u003eThe New Politics of Cultural Difference\u003c\/em\u003e\u003cbr\u003e41. Jean-François Lyotard, \u003cem\u003eThe Sublime and the Avant-Garde \u003c\/em\u003e\u003cbr\u003e42. Arthur Danto, \u003cem\u003eThree Decades After the End of Art\u003c\/em\u003e\u003cbr\u003e43. Alexander Nehamas, \u003cem\u003eAn Essay on Beauty and Judgment\u003c\/em\u003e\u003cbr\u003e44. Christine Battersby, \u003cem\u003eThe Male Gift\u003c\/em\u003e\u003cbr\u003e45. Rita Felski, \u003cem\u003eWhy Feminsim Doesn't Need an Aesthetic (And Why It Can't Ignore Aesthetics)\u003c\/em\u003e\u003cbr\u003e46. Laura Mulvey, \u003cem\u003eVisual Pleasure and Narrative Cinema\u003c\/em\u003e\u003cbr\u003e47. Gilles Deleuze and Félix Guattari, \u003cem\u003ePercept, Affect, and Concept\u003c\/em\u003e\u003cbr\u003e48. Alain Badiou, \u003cem\u003eArt and Philosophy\u003c\/em\u003e\u003cbr\u003e49. Jacques Rancière, \u003cem\u003eThe Aesthetic Revolution and Its Outcomes\u003c\/em\u003e","brand":"Bloomsbury Publishing Plc","offers":[{"title":"Default Title","offer_id":51769646547287,"sku":"9781441138262","price":37.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781441138262.jpg?v=1758722041","url":"https:\/\/bookcurl.com\/products\/the-bloomsbury-anthology-of-aesthetics-9781441138262","provider":"Book Curl","version":"1.0","type":"link"}