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A Visual Guide to Classical Art Theory for Drawing and Painting Students. by Mantle, Eric.; Chamberlin, Mr Johnnie.;
Acknowledgments -- Preface -- Contents -- Chapter 1. Linear Perspective -- Chapter 2. Color -- Chapter 3. Light & Shade -- Chapter 4. Atmospheric Perspective -- Glossary -- Index.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2018. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
Subjects: Electronic books.; Aesthetics;
On-line resources: CGCC online access;
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The Dehumanization of Art and Other Essays on Art, Culture, and Literature. by Ortega y Gasset, José.;
Cover -- Title Page -- Copyright Page -- CONTENTS -- FOREWORD -- THE DEHUMANIΖATION OF ART -- NOTES ON THE NOVEL -- ON POINT OF VIEW IN THE ARTS -- IN SEARCH OF GOETHE FROM WITHIN -- THE SELF AND THE OTHER.Description based on publisher supplied metadata and other sources.
Subjects: Electronic books.; Aesthetics.;
On-line resources: CGCC online access;
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The Introduction to Hegel's Philosophy of Fine Art. by Bosanquet, Bernard.; Bosanquet, Bernard.;
Cover -- Half Title -- Title Page -- Copyright Page -- Original Title Page -- Original Copyright Page -- TRANSLATOR'S PREFACE -- Table of Contents -- PREFATORY ESSAY BY THE TRANSLATOR -- CHAPTER I. THE RANGE OF ÆSTHETIC DEFINED, AND SOME OBJECTIONS AGAINST THE PHILOSOPHY OF ART REFUTED (37-61) -- [a. Æsthetic confined to Beauty of Art -- β. Does-Art merit Scientific Treatment? -- γ. Is Scientific Treatment appropriate to Art? -- δ. Answer to β -- ԑ. Answer to γ.] -- CHAPTER II. METHODS OF SCIENCE APPLICABLE TO BEAUTY AND ART (62-78) -- [1. Empirical Method-Art-scholarship -- (a) Its Range -- (b) It generates Rules and Theories -- (c) The Rights of Genius -- 2. Abstract Reflection -- 3. The Philosophical Conception of Artistic Beauty, general notion of] -- CHAPTER III. THE PHILOSOPHICAL CONCEPTION OF ARTISTIC BEAUTY, BEGINNING WITH CURRENT IDEAS OF ART (79-142) -- PART I.-The Work of Art as Made and as Sensuous -- 1. Work of Art as Product of Human Activity -- [(a) Conscious Production by Rule -- (b) Artistic Inspiration -- (c) Dignity of Production by Man -- (d) Man's Need to produce Works of Art] -- 2. Work of Art as addressed to Man's Sense -- [(a) Object of Art-Pleasant Feeling? -- (b) Feeling of Beauty-Taste -- (c) Art-scholarship -- (d) Profounder Consequences of Sensuous Nature of Art -- (α) Relations of the Sensuous to the Mind -- (αα) Desire -- (ββ) Theory -- (γγ) Sensuous as Symbol of Spiritual -- (β) The Sensuous Element, how Present in the Artist -- (γ) The Content of Art Sensuous] -- PART II.-The End of Art -- 3. [The Interest or End of Art -- (a) Imitation of Nature? -- (α) Mere Repetition of Nature is- -- (αα) Superfluous -- (ββ) Imperfect -- (γγ) Amusing merely as Sleight of Hand -- (β) What is Good to Imitate? -- (γ) Some Arts cannot be called Imitative -- (b) Humani nihil-? -- (c) Mitigation of the Passions?.(α) How Art mitigates the Passions -- (β) How Art purifies the Passions -- (αα) It must have a Worthy Content -- (ββ But ought not to be Didactic -- (γγ) Nor explicitly addressed to a Moral Purpose -- (d) Art has its own Purpose as Revelation of Truth -- CHAPTER IV. HISTORICAL DEDUCTION OF THE TRUE IDEA OF ART IN MODERN PHILOSOPHY (143-168) -- 1. Kant -- [(a) Pleasure in Beauty not Appetitive -- (b) Pleasure in Beauty Universal -- (c) The Beautiful in its Teleological Aspect -- (d) Delight in the Beautiful necessary though felt] -- 2. Schiller, Winckelmann, Schelling -- 3. The Irony -- CHAPTER V. DIVISION OF THE SUBJECT (169-211) -- [1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form -- 2. Part I.-The Ideal -- 3. Part II.-The Types of Art -- (α) Symbolic Art -- (β) Classical Art -- (γ) Romantic Art -- 4. Part III.-The Several Arts -- (α) Architecture -- (β) Sculpture -- (γ) Romantic Art, comprising -- (i.) Painting -- (ii.) Music -- (iii.) Poetry -- 5. Conclusion].Description based on publisher supplied metadata and other sources.
Subjects: Electronic books.; Aesthetics.;
On-line resources: CGCC online access;
unAPI

The Introduction to Hegel's Philosophy of Fine Art. by Bosanquet, Bernard.; Bosanquet, Bernard.;
Cover -- Half Title -- Title Page -- Copyright Page -- Original Title Page -- Original Copyright Page -- TRANSLATOR'S PREFACE -- Table of Contents -- PREFATORY ESSAY BY THE TRANSLATOR -- CHAPTER I. THE RANGE OF ÆSTHETIC DEFINED, AND SOME OBJECTIONS AGAINST THE PHILOSOPHY OF ART REFUTED (37-61) -- [a. Æsthetic confined to Beauty of Art -- β. Does-Art merit Scientific Treatment? -- γ. Is Scientific Treatment appropriate to Art? -- δ. Answer to β -- ԑ. Answer to γ.] -- CHAPTER II. METHODS OF SCIENCE APPLICABLE TO BEAUTY AND ART (62-78) -- [1. Empirical Method-Art-scholarship -- (a) Its Range -- (b) It generates Rules and Theories -- (c) The Rights of Genius -- 2. Abstract Reflection -- 3. The Philosophical Conception of Artistic Beauty, general notion of] -- CHAPTER III. THE PHILOSOPHICAL CONCEPTION OF ARTISTIC BEAUTY, BEGINNING WITH CURRENT IDEAS OF ART (79-142) -- PART I.-The Work of Art as Made and as Sensuous -- 1. Work of Art as Product of Human Activity -- [(a) Conscious Production by Rule -- (b) Artistic Inspiration -- (c) Dignity of Production by Man -- (d) Man's Need to produce Works of Art] -- 2. Work of Art as addressed to Man's Sense -- [(a) Object of Art-Pleasant Feeling? -- (b) Feeling of Beauty-Taste -- (c) Art-scholarship -- (d) Profounder Consequences of Sensuous Nature of Art -- (α) Relations of the Sensuous to the Mind -- (αα) Desire -- (ββ) Theory -- (γγ) Sensuous as Symbol of Spiritual -- (β) The Sensuous Element, how Present in the Artist -- (γ) The Content of Art Sensuous] -- PART II.-The End of Art -- 3. [The Interest or End of Art -- (a) Imitation of Nature? -- (α) Mere Repetition of Nature is- -- (αα) Superfluous -- (ββ) Imperfect -- (γγ) Amusing merely as Sleight of Hand -- (β) What is Good to Imitate? -- (γ) Some Arts cannot be called Imitative -- (b) Humani nihil-? -- (c) Mitigation of the Passions?.(α) How Art mitigates the Passions -- (β) How Art purifies the Passions -- (αα) It must have a Worthy Content -- (ββ But ought not to be Didactic -- (γγ) Nor explicitly addressed to a Moral Purpose -- (d) Art has its own Purpose as Revelation of Truth -- CHAPTER IV. HISTORICAL DEDUCTION OF THE TRUE IDEA OF ART IN MODERN PHILOSOPHY (143-168) -- 1. Kant -- [(a) Pleasure in Beauty not Appetitive -- (b) Pleasure in Beauty Universal -- (c) The Beautiful in its Teleological Aspect -- (d) Delight in the Beautiful necessary though felt] -- 2. Schiller, Winckelmann, Schelling -- 3. The Irony -- CHAPTER V. DIVISION OF THE SUBJECT (169-211) -- [1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form -- 2. Part I.-The Ideal -- 3. Part II.-The Types of Art -- (α) Symbolic Art -- (β) Classical Art -- (γ) Romantic Art -- 4. Part III.-The Several Arts -- (α) Architecture -- (β) Sculpture -- (γ) Romantic Art, comprising -- (i.) Painting -- (ii.) Music -- (iii.) Poetry -- 5. Conclusion].Description based on publisher supplied metadata and other sources.
Subjects: Electronic books.; Aesthetics.;
On-line resources: CGCC online access;
unAPI

Mise-en-scène : Film Style and Interpretation. by Gibbs, John.(DLC)1844267;
Intro -- Table of Contents -- Introduction -- 1. The Elements of Mise-en-Scène -- 2. The Interaction of Elements -- 3. Coherent Relationships -- 4. Investigations in the Critical History of Mise-en-Scène -- 5 Mise-en-Scène and Melodrama -- 6. Case Study: Imitation of Life -- Conclusion -- Appendix -- Notes -- Bibliography -- Index.Mise-en-scène: Film Style and Interpretation explores and elucidates constructions of this fundamental concept in thinking about film. In uncovering the history of mise-en-scène within film criticism, and through the detailed exploration of scenes from films as Imitation of Life and Lone Star, John Gibbs makes the case for the importance of a sensitive understanding of film style, and provides an introduction to the skills of close reading. This book thus celebrates film-making as well as film criticism that is alive to the creative possibilities of visual style.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2018. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
Subjects: Electronic books.; Aesthetics.;
On-line resources: CGCC online access;
unAPI

The Perceptual Structure of Three-Dimensional Art. by Hackett, Paul M. W.;
Intro -- Preface -- Chapter Synopsis -- Acknowledgements -- Contents -- Abbreviations -- List of Figures -- List of Tables -- 1 Introduction -- Abstract -- 1.1 Introduction -- 1.2 Figure and Ground -- 1.2.1 Figure-Ground and Mapping Sentences -- 1.2.2 The Expanded Field -- 1.3 Defining Terms -- 1.3.1 Ontology -- 1.3.2 Hermeneutics and Hermeneutic Consistency -- 1.3.3 Mereology -- 1.3.4 Context -- 1.3.5 Range of Observations -- 1.4 Facet Theory -- 1.5 Qualitative Facet Theory and the Mapping Sentence -- 1.5.1 Examples of Qualitative Mapping Sentences -- 1.6 Conclusions -- References -- 2 Sensing the Art Object -- Abstract -- 2.1 Introduction -- 2.2 Rosalind Krauss -- 2.2.1 The Klein Group -- 2.2.2 Sculpture in the Expanded Field -- 2.3 Paul Crowther -- 2.4 Conclusion -- References -- 3 A Mapping Sentence Account of Non-traditional Three-Dimensional Art -- Abstract -- 3.1 Introduction -- 3.2 Understanding Art Using Mapping Sentences -- 3.3 Facet Analysis of Rosalind Krauss' Depiction of Three-Dimensional Art -- 3.3.1 Two-Dimensional Art -- 3.4 Facet Analysis of Paul Crowther's Ontology of Three-Dimensional Art -- 3.5 Conclusion -- References -- 4 A Partial Ordering Mereology for Non-traditional Three-Dimensional Art -- Abstract -- 4.1 Introduction: Partial Order Analysis of Three-Dimensional Art -- 4.1.1 An Example of Partial Ordering -- 4.2 Partial Ordering of Crowther's Ontology -- 4.2.1 Partial Order Nomenclature -- 4.2.2 My Evaluations of the 3 Artworks -- 4.2.3 Three-Dimensional Abstract Art: A Partial Ordering -- 4.3 Conclusions -- References -- 5 Conclusions-The Perceptual Structure of Abstract Artwork -- Abstract -- 5.1 Introduction -- 5.2 A Partial Ordering of Abstract Art -- 5.3 Evaluative Structure of Two-dimensional Artwork -- 5.4 Evaluative Structure of Three-dimensional Artwork.5.5 A Possible General Partial Ordering for Abstract Art? -- 5.5.1 Caveats and Future Research -- References -- Index.Description based on publisher supplied metadata and other sources.
Subjects: Electronic books.; Aesthetics.;
On-line resources: CGCC online access;
unAPI

Devotional Fitness : An Analysis of Contemporary Christian Dieting and Fitness Programs. by Radermacher, Martin.;
Intro -- Preface -- Contents -- About the Author -- Chapter 1: Introduction -- References -- Part I: Theoretical and Methodological Background -- Chapter 2: State of Research on Devotional Fitness -- References -- Primary Sources -- Secondary Sources -- Chapter 3: Goal, Theory, and Method -- 3.1 Goal and Basic Concepts -- 3.2 Theoretical Perspectives: Semiotics and Somatics -- 3.3 Method of Data Collection and Data Analysis -- References -- Primary Sources -- Secondary Sources -- Part II: Body and Religion in Twentieth Century America: From New Thought to Bod4God -- Chapter 4: Shaping the Body Ideal -- 4.1 Prelude: New Thought and the Body -- 4.2 Body Ideals and Techniques of the Last Century -- 4.3 The Therapeutic Culture: Alcoholics Anonymous -- References -- Primary Sources -- Secondary Sources -- Chapter 5: Evangelicals and the Body -- 5.1 US Evangelicalism: Historical and Conceptual Notes -- 5.2 Muscular Christianity and the YMCA -- 5.3 Devotional Fitness: Selected Programs Since the 1950s -- References -- Primary Sources -- Secondary Sources -- Part III: Analysis of Empirical Data: Products, Narratives, and Theologies -- Chapter 6: Devotional Fitness as Discourse and Embodied Practice -- 6.1 Devotional Fitness as Economic Sector and 'Practical Product' -- 6.1.1 Operational and Organizational Structures -- 6.1.2 Needs of the Market and Target Groups -- 6.1.3 Effects, Application Range, Strategies, and Measures -- 6.2 Transformation: Embodied Conversion Narratives -- 6.3 Authority, Qualification, and Legitimacy -- 6.4 Body as Temple: Theologies of the Body -- 6.4.1 Body as Instrument and Index of Relationships -- 6.4.2 Healing Relationships for Physical and Spiritual Transformation -- References -- Primary Sources -- Secondary Sources -- Chapter 7: Between Inclusion and Exclusion: Devotional Fitness in Its Environments.7.1 Devotional Fitness in Its Christian Environment -- 7.2 Devotional Fitness and Society -- 7.3 Devotional Fitness and Medicine -- 7.4 Devotional Fitness and Non-Christian Fitness -- 7.5 Devotional Fitness and Yoga -- References -- Primary Sources -- Secondary Sources -- Part IV: Theoretical Reflections-Reflecting Theory -- Chapter 8: Somatics, Semiotics, and the Study of Religions: Concepts and Approaches Reconsidered -- References -- Primary Sources -- Secondary Sources -- Chapter 9: Conclusions -- References -- Index.Description based on publisher supplied metadata and other sources.
Subjects: Electronic books.; Aesthetics.;
On-line resources: CGCC online access;
unAPI

On the Production of Subjectivity : Five Diagrams of the Finite-Infinite Relation. by O'Sullivan, S.;
Cover -- Contents -- List of Figures -- Acknowledgements -- Abbreviations -- Introduction: Contemporary Conditions and Diagrammatic Trajectory -- 1 From Joy to the Gap: The Accessing of the Infinite by the Finite (Spinoza, Nietzsche, Bergson) -- 2 The Care of the Self versus the Ethics of Desire: Two Diagrams of the Production of Subjectivity (and of the Subject's Relation to Truth) (Foucault versus Lacan) -- 3 The Aesthetic Paradigm: From the Folding of the Finite-Infinite Relation to Schizoanalytic Metamodelization (to Biopolitics) (Guattari) -- 4 The Strange Temporality of the Subject: Life In-between the Infinite and the Finite (Deleuze contra Badiou) -- 5 Desiring-Machines, Chaoids, Probe-heads: Towards a Speculative Production of Subjectivity (Deleuze and Guattari) -- Conclusion: Composite Diagram and Relations of Adjacency -- Notes -- Bibliography -- Index.This book offers a series of critical commentaries on, and forced encounters between, different thinkers. At stake in this philosophical and psychoanalytical enquiry is the drawing of a series of diagrams of the finite/infinite relation, and the mapping out of the contours for a speculative and pragmatic production of subjectivity.Description based on publisher supplied metadata and other sources.
Subjects: Electronic books.; Aesthetics.;
On-line resources: CGCC online access;
unAPI

Terror in Global Narrative : Representations of 9/11 in the Age of Late-Late Capitalism. by Fragopoulos, George.; Naydan, Liliana M.;
Intro -- Acknowledgments -- Contents -- List of Contributors -- List of Figures -- Chapter 1: Introduction: "Like an Artwork in Its Own Right": Artistic Representations of 9/11 in a Late-Late Capitalist Age of Terror -- The Paradox of Late Capitalism After 9/11 -- Structure of the Book -- Works Cited -- Part I: Textual Representations of 9/11 -- Chapter 2: The Enemy Within: Max Brooks's World War Z and the Terror of Living Death -- 9/11 and the Revival of the Zombie -- Late-Late Capitalism and the Zombie State -- Finding a Heartbeat -- Killing the Zombie State -- The American (Un)Death -- Works Cited -- Chapter 3: Indecorous Responses to 9/11 in Mohsin Hamid's The Reluctant Fundamentalist, Ken Kalfus's A Disorder Peculiar to the Country, and Jess Walter's The Zero -- Smiling at 9/11 in Mohsin Hamid's The Reluctant Fundamentalist -- Celebrating Death on 9/11 in Ken Kalfus's A Disorder Peculiar to the Country -- Capitalizing on 9/11 in Jess Walter's The Zero -- Post-9/11 America, Late-Late Capitalism, and the Possibility of Social Responsibility -- Works Cited -- Chapter 4: Redacted Tears, Aesthetics of Alterity: Mohamedou Ould Slahi's Guantánamo Diary -- Incarceration: A Capital Non-Capital Complex -- Redacted Content -- Censor as Conscience, Aesthetics of Alterity -- Paranoia and Reparative Reading -- Redacted Tears -- References -- Chapter 5: A Bird in the Hand: Aesthetics and Capital in the Anthology Poetry After 9/11 -- Poems After 9/11 -- Freefall: Miranda Beeson's "Flight" -- Science Fictions of Disaster: Vicki Hudspith's "Nodding Cranes" -- Works Cited -- Part II: Toward an Imaging of 9/11 -- Chapter 6: Narrative Wreckage: Terror, Illness, and Healing in the Post-9/11 Poethics of Claudia Rankine -- Works Cited -- Chapter 7: On Claiming Responsibility: Banksy's Art as Counter-Narrative to the Bureaucratization of the Imagination.Introduction: The Work of Art in the Age of Late-­Late Capitalism -- "Better Out Than In": Banksy in Post-9/11 New York -- The Artist as Terrorist -- On Responsibility -- Conclusion: Art Without a Frame -- Works Cited -- Chapter 8: The Return of Myth: Icons, Mythology, and the Universal Narrative of 9/11 -- Breaking Images -- The Day, the City, the Myth -- First Responders -- Prose Encounters -- Serial Trauma -- Novel Graphic Images -- Today's Myth Today -- Where Dante and Barthes Collide -- Conclusion -- Works Cited -- Chapter 9: Gerhard Richter's September and the Politics of Ambivalence -- Introduction -- Contextualizing Richter's September -- Ambivalence as the Site of the Political -- The Politics of Rancière's Aesthetics -- Conclusion -- Works Cited -- Part III: Movie Representations, Tele-Visions, and a Web of 9/11 -- Chapter 10: We Now Interrupt this Program: Pre-­Empting the Apocalypse in ABC's Miracles -- Reader. Begin Predictive Programming. Here. -- "The Friendly Skies" or Post-9/11 Flights of Fear -- "The Battle at Shadow Ridge" or Trauma and Time -- Post-9/11 Media Marketing -- Conclusion -- Works Cited -- Chapter 11: Music Videos and Locker Room Humor: Rescue Me Reckons with Post-9/11 Hero Worship -- Rescue Me's Ghosts and the Specters of 9/11 -- Setting the Stage: Anatomy of a Fire Sequence -- Firefighters and/as Capital -- Music Video Sequences and the Specter of Capitalism5 -- Works Cited -- Chapter 12: Post-9/11 New York on Screen: Mourning, Surveillance, and the Arab Other in Tom McCarthy's The Visitor -- Invoking a Different Hollywood -- Mourning Work -- The Arab Other -- Surveillance -- Indefinite Detention -- Conclusion -- Works Cited -- Chapter 13: Little Shop of ...: Intersections of the 9/11 Memorial Museum Gift Shop, Capitalism, and Journalism -- The 9/11 Memorial Museum -- Capitalism and Museums -- Journalism and Framing.Methods -- The Frames -- Deplorable and Disrespectful -- Justifiable -- Confusion -- Comparison -- Timing -- Conclusion -- Works Cited -- Index.Description based on publisher supplied metadata and other sources.
Subjects: Electronic books.; Aesthetics.;
On-line resources: CGCC online access;
unAPI

Foundations of Aesthetics. by Ossowski, Stanisław.;
Title Page -- Copyright -- CONTENTS -- EDITORIAL INTRODUCTION -- INDEX OF NAMES -- LfST OF ILLUSTRATIONS.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2017. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
Subjects: Electronic books.; Aesthetics;
On-line resources: CGCC online access;
unAPI