Verfügbarkeit: Aesthetics. :: THWS Bibkatalog

Aesthetics.:

The book is the first English translation of Nicolai Hartmann's seminal book which addresses all philosophical questions of the arts. It will be of value to graduate students in philosophy, scholars concerned with 20th century Continental philosophy, students of aesthetics and art history and c...

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Bibliographische Detailangaben
1. Verfasser:	Hartmann, Nicolai
Weitere Verfasser:	Kelly, Eugene
Format:	Elektronisch E-Book
Sprache:	English German
Veröffentlicht:	Berlin/Boston : De Gruyter, 2014.
Schlagworte:	Aesthetics. PHILOSOPHY > Metaphysics. Aesthetics Ästhetik
Online-Zugang:	Volltext
Zusammenfassung:	The book is the first English translation of Nicolai Hartmann's seminal book which addresses all philosophical questions of the arts. It will be of value to graduate students in philosophy, scholars concerned with 20th century Continental philosophy, students of aesthetics and art history and criticism, and persons in and out of academic philosophy who wish to develop their aesthetic understanding and responsiveness to art and music.
Beschreibung:	D) Situation and drama in life.
Beschreibung:	1 online resource (558 pages)
Bibliographie:	Includes bibliographical references and index.
ISBN:	9783110276022 311027602X

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505	0		\|a Translator's Introduction: Hartmann on the Mystery and Value of Art; Introduction; 1 The Aesthetical Attitude and Aesthetics as Knowledge; 2 Laws of Beauty and Knowledge of Them; 3 Beauty as the Universal Object of Aesthetics; 4 Aesthetical Acts and Aesthetic Object. Four-Part Analysis; 5 Separation from and Attachment to Life; 6 Form and Content, Matter and Material; 7 Intuition, Enjoyment, Assessment, and Productivity; 8 Beauty in Nature, Human Beauty, and Beauty in Art; 9 Idealistic Metaphysics of the Beauty; Intellectualism and the Focus upon Material Content.
505	8		\|a 10 The Aesthetics of Form and of Expression11 Psychological and Phenomenological Aesthetics; 12 Mode of Being and Structure of the Aesthetic Object; 13 Reality and Illusion, De-actualization and Appearance; 14 Imitation and Creativity; Part One: The Relationship of Appearance; First Section: The Structure of the Aesthetical Act; Chapter 1: On Perception in General; a) Looking through; b) The perceptual field as practically selected; c) Emotional components; Chapter 2: Aesthetic Perception; a) Return to the original attitude; b) The given-with and the process of revelation.
505	8		\|a C) Dwelling upon the "picture"d) The guidance of perception in the aesthetical relation; Chapter 3: Pleasure in Beholding; a) The conservation of the dynamic-emotional element in aesthetic perception; b) Perception and beholding; c) The role of vital and moral feeling of values; d) Pleasure, delight, enjoyment; e) Kant's doctrine of aesthetic pleasure; Second Section: The Structure of the Aesthetic Object; Chapter 4: Connection to the Analysis of the Act; a) Two kinds of looking and two strata of the object; b) The necessary correction of Hegel's "shining-forth of the idea."
505	8		\|a C) The place of aesthetically autonomous pleasureChapter 5: The Law of Objectivation; a) The role of "matter"; b) The spiritual content and the living spirit; c) Being in itself and being for us in the objectivated spirit; d) Foreground and background; Chapter 6: Foreground and Background in the Representational Arts; a) On ordering the problem and its investigation; b) Stratification in the plastic arts; c) Drawing and painting; d) The fundamental relation in the art of poetry; e) The objective middle stratum of poetic works; f) Theater and the art of the actor.
505	8		\|a G) Actualization and de-actualizationChapter 7: Foreground and Background in the Non-representational Arts; a) Free play with form; b) Beauty in music; c) The phenomenon of the background in music; d) Composition and musical execution; e) On the appearing background in architecture; f) Practical purpose and free form; g) The place of ornament; Third Section: Beauty in Nature and in the Human World; Chapter 8: The Living Human Being as a Thing of Beauty; a) Human beauty as appearance; b) Beauty in relation to moral and to vital values; c) The appearance of the type.
500			\|a D) Situation and drama in life.
520			\|a The book is the first English translation of Nicolai Hartmann's seminal book which addresses all philosophical questions of the arts. It will be of value to graduate students in philosophy, scholars concerned with 20th century Continental philosophy, students of aesthetics and art history and criticism, and persons in and out of academic philosophy who wish to develop their aesthetic understanding and responsiveness to art and music.
504			\|a Includes bibliographical references and index.
546			\|a In English.
650		0	\|a Aesthetics. \|0 http://id.loc.gov/authorities/subjects/sh85001441
650		7	\|a PHILOSOPHY \|x Metaphysics. \|2 bisacsh
650		7	\|a Aesthetics \|2 fast
650		7	\|a Ästhetik \|2 gnd \|0 http://d-nb.info/gnd/4000626-8
700	1		\|a Kelly, Eugene.
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Datensatz im Suchindex

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contents	Translator's Introduction: Hartmann on the Mystery and Value of Art; Introduction; 1 The Aesthetical Attitude and Aesthetics as Knowledge; 2 Laws of Beauty and Knowledge of Them; 3 Beauty as the Universal Object of Aesthetics; 4 Aesthetical Acts and Aesthetic Object. Four-Part Analysis; 5 Separation from and Attachment to Life; 6 Form and Content, Matter and Material; 7 Intuition, Enjoyment, Assessment, and Productivity; 8 Beauty in Nature, Human Beauty, and Beauty in Art; 9 Idealistic Metaphysics of the Beauty; Intellectualism and the Focus upon Material Content. 10 The Aesthetics of Form and of Expression11 Psychological and Phenomenological Aesthetics; 12 Mode of Being and Structure of the Aesthetic Object; 13 Reality and Illusion, De-actualization and Appearance; 14 Imitation and Creativity; Part One: The Relationship of Appearance; First Section: The Structure of the Aesthetical Act; Chapter 1: On Perception in General; a) Looking through; b) The perceptual field as practically selected; c) Emotional components; Chapter 2: Aesthetic Perception; a) Return to the original attitude; b) The given-with and the process of revelation. C) Dwelling upon the "picture"d) The guidance of perception in the aesthetical relation; Chapter 3: Pleasure in Beholding; a) The conservation of the dynamic-emotional element in aesthetic perception; b) Perception and beholding; c) The role of vital and moral feeling of values; d) Pleasure, delight, enjoyment; e) Kant's doctrine of aesthetic pleasure; Second Section: The Structure of the Aesthetic Object; Chapter 4: Connection to the Analysis of the Act; a) Two kinds of looking and two strata of the object; b) The necessary correction of Hegel's "shining-forth of the idea." C) The place of aesthetically autonomous pleasureChapter 5: The Law of Objectivation; a) The role of "matter"; b) The spiritual content and the living spirit; c) Being in itself and being for us in the objectivated spirit; d) Foreground and background; Chapter 6: Foreground and Background in the Representational Arts; a) On ordering the problem and its investigation; b) Stratification in the plastic arts; c) Drawing and painting; d) The fundamental relation in the art of poetry; e) The objective middle stratum of poetic works; f) Theater and the art of the actor. G) Actualization and de-actualizationChapter 7: Foreground and Background in the Non-representational Arts; a) Free play with form; b) Beauty in music; c) The phenomenon of the background in music; d) Composition and musical execution; e) On the appearing background in architecture; f) Practical purpose and free form; g) The place of ornament; Third Section: Beauty in Nature and in the Human World; Chapter 8: The Living Human Being as a Thing of Beauty; a) Human beauty as appearance; b) Beauty in relation to moral and to vital values; c) The appearance of the type.
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resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="347" ind1=" " ind2=" "><subfield code="a">text file</subfield><subfield code="2">rda</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Print version record.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">Translator's Introduction: Hartmann on the Mystery and Value of Art; Introduction; 1 The Aesthetical Attitude and Aesthetics as Knowledge; 2 Laws of Beauty and Knowledge of Them; 3 Beauty as the Universal Object of Aesthetics; 4 Aesthetical Acts and Aesthetic Object. Four-Part Analysis; 5 Separation from and Attachment to Life; 6 Form and Content, Matter and Material; 7 Intuition, Enjoyment, Assessment, and Productivity; 8 Beauty in Nature, Human Beauty, and Beauty in Art; 9 Idealistic Metaphysics of the Beauty; Intellectualism and the Focus upon Material Content.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">10 The Aesthetics of Form and of Expression11 Psychological and Phenomenological Aesthetics; 12 Mode of Being and Structure of the Aesthetic Object; 13 Reality and Illusion, De-actualization and Appearance; 14 Imitation and Creativity; Part One: The Relationship of Appearance; First Section: The Structure of the Aesthetical Act; Chapter 1: On Perception in General; a) Looking through; b) The perceptual field as practically selected; c) Emotional components; Chapter 2: Aesthetic Perception; a) Return to the original attitude; b) The given-with and the process of revelation.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">C) Dwelling upon the "picture"d) The guidance of perception in the aesthetical relation; Chapter 3: Pleasure in Beholding; a) The conservation of the dynamic-emotional element in aesthetic perception; b) Perception and beholding; c) The role of vital and moral feeling of values; d) Pleasure, delight, enjoyment; e) Kant's doctrine of aesthetic pleasure; Second Section: The Structure of the Aesthetic Object; Chapter 4: Connection to the Analysis of the Act; a) Two kinds of looking and two strata of the object; b) The necessary correction of Hegel's "shining-forth of the idea."</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">C) The place of aesthetically autonomous pleasureChapter 5: The Law of Objectivation; a) The role of "matter"; b) The spiritual content and the living spirit; c) Being in itself and being for us in the objectivated spirit; d) Foreground and background; Chapter 6: Foreground and Background in the Representational Arts; a) On ordering the problem and its investigation; b) Stratification in the plastic arts; c) Drawing and painting; d) The fundamental relation in the art of poetry; e) The objective middle stratum of poetic works; f) Theater and the art of the actor.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">G) Actualization and de-actualizationChapter 7: Foreground and Background in the Non-representational Arts; a) Free play with form; b) Beauty in music; c) The phenomenon of the background in music; d) Composition and musical execution; e) On the appearing background in architecture; f) Practical purpose and free form; g) The place of ornament; Third Section: Beauty in Nature and in the Human World; Chapter 8: The Living Human Being as a Thing of Beauty; a) Human beauty as appearance; b) Beauty in relation to moral and to vital values; c) The appearance of the type.</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">D) Situation and drama in life.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The book is the first English translation of Nicolai Hartmann's seminal book which addresses all philosophical questions of the arts. 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illustrated	Not Illustrated
indexdate	2024-11-27T13:26:23Z
institution	BVB
isbn	9783110276022 311027602X
language	English German
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spelling	Hartmann, Nicolai. Aesthetics. Berlin/Boston : De Gruyter, 2014. 1 online resource (558 pages) text txt rdacontent computer c rdamedia online resource cr rdacarrier text file rda Print version record. Translator's Introduction: Hartmann on the Mystery and Value of Art; Introduction; 1 The Aesthetical Attitude and Aesthetics as Knowledge; 2 Laws of Beauty and Knowledge of Them; 3 Beauty as the Universal Object of Aesthetics; 4 Aesthetical Acts and Aesthetic Object. Four-Part Analysis; 5 Separation from and Attachment to Life; 6 Form and Content, Matter and Material; 7 Intuition, Enjoyment, Assessment, and Productivity; 8 Beauty in Nature, Human Beauty, and Beauty in Art; 9 Idealistic Metaphysics of the Beauty; Intellectualism and the Focus upon Material Content. 10 The Aesthetics of Form and of Expression11 Psychological and Phenomenological Aesthetics; 12 Mode of Being and Structure of the Aesthetic Object; 13 Reality and Illusion, De-actualization and Appearance; 14 Imitation and Creativity; Part One: The Relationship of Appearance; First Section: The Structure of the Aesthetical Act; Chapter 1: On Perception in General; a) Looking through; b) The perceptual field as practically selected; c) Emotional components; Chapter 2: Aesthetic Perception; a) Return to the original attitude; b) The given-with and the process of revelation. C) Dwelling upon the "picture"d) The guidance of perception in the aesthetical relation; Chapter 3: Pleasure in Beholding; a) The conservation of the dynamic-emotional element in aesthetic perception; b) Perception and beholding; c) The role of vital and moral feeling of values; d) Pleasure, delight, enjoyment; e) Kant's doctrine of aesthetic pleasure; Second Section: The Structure of the Aesthetic Object; Chapter 4: Connection to the Analysis of the Act; a) Two kinds of looking and two strata of the object; b) The necessary correction of Hegel's "shining-forth of the idea." C) The place of aesthetically autonomous pleasureChapter 5: The Law of Objectivation; a) The role of "matter"; b) The spiritual content and the living spirit; c) Being in itself and being for us in the objectivated spirit; d) Foreground and background; Chapter 6: Foreground and Background in the Representational Arts; a) On ordering the problem and its investigation; b) Stratification in the plastic arts; c) Drawing and painting; d) The fundamental relation in the art of poetry; e) The objective middle stratum of poetic works; f) Theater and the art of the actor. G) Actualization and de-actualizationChapter 7: Foreground and Background in the Non-representational Arts; a) Free play with form; b) Beauty in music; c) The phenomenon of the background in music; d) Composition and musical execution; e) On the appearing background in architecture; f) Practical purpose and free form; g) The place of ornament; Third Section: Beauty in Nature and in the Human World; Chapter 8: The Living Human Being as a Thing of Beauty; a) Human beauty as appearance; b) Beauty in relation to moral and to vital values; c) The appearance of the type. D) Situation and drama in life. The book is the first English translation of Nicolai Hartmann's seminal book which addresses all philosophical questions of the arts. It will be of value to graduate students in philosophy, scholars concerned with 20th century Continental philosophy, students of aesthetics and art history and criticism, and persons in and out of academic philosophy who wish to develop their aesthetic understanding and responsiveness to art and music. Includes bibliographical references and index. In English. Aesthetics. http://id.loc.gov/authorities/subjects/sh85001441 PHILOSOPHY Metaphysics. bisacsh Aesthetics fast Ästhetik gnd http://d-nb.info/gnd/4000626-8 Kelly, Eugene. has work: Ästhetik engl (Text) https://id.oclc.org/worldcat/entity/E39PCFRGVvTr4kVTm33DQ3dHfq https://id.oclc.org/worldcat/ontology/hasWork Print version: Hartmann, Nicolai. Aesthetics. Berlin/Boston : De Gruyter, ©2014 9783110275711 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=935478 Volltext
spellingShingle	Hartmann, Nicolai Aesthetics. Translator's Introduction: Hartmann on the Mystery and Value of Art; Introduction; 1 The Aesthetical Attitude and Aesthetics as Knowledge; 2 Laws of Beauty and Knowledge of Them; 3 Beauty as the Universal Object of Aesthetics; 4 Aesthetical Acts and Aesthetic Object. Four-Part Analysis; 5 Separation from and Attachment to Life; 6 Form and Content, Matter and Material; 7 Intuition, Enjoyment, Assessment, and Productivity; 8 Beauty in Nature, Human Beauty, and Beauty in Art; 9 Idealistic Metaphysics of the Beauty; Intellectualism and the Focus upon Material Content. 10 The Aesthetics of Form and of Expression11 Psychological and Phenomenological Aesthetics; 12 Mode of Being and Structure of the Aesthetic Object; 13 Reality and Illusion, De-actualization and Appearance; 14 Imitation and Creativity; Part One: The Relationship of Appearance; First Section: The Structure of the Aesthetical Act; Chapter 1: On Perception in General; a) Looking through; b) The perceptual field as practically selected; c) Emotional components; Chapter 2: Aesthetic Perception; a) Return to the original attitude; b) The given-with and the process of revelation. C) Dwelling upon the "picture"d) The guidance of perception in the aesthetical relation; Chapter 3: Pleasure in Beholding; a) The conservation of the dynamic-emotional element in aesthetic perception; b) Perception and beholding; c) The role of vital and moral feeling of values; d) Pleasure, delight, enjoyment; e) Kant's doctrine of aesthetic pleasure; Second Section: The Structure of the Aesthetic Object; Chapter 4: Connection to the Analysis of the Act; a) Two kinds of looking and two strata of the object; b) The necessary correction of Hegel's "shining-forth of the idea." C) The place of aesthetically autonomous pleasureChapter 5: The Law of Objectivation; a) The role of "matter"; b) The spiritual content and the living spirit; c) Being in itself and being for us in the objectivated spirit; d) Foreground and background; Chapter 6: Foreground and Background in the Representational Arts; a) On ordering the problem and its investigation; b) Stratification in the plastic arts; c) Drawing and painting; d) The fundamental relation in the art of poetry; e) The objective middle stratum of poetic works; f) Theater and the art of the actor. G) Actualization and de-actualizationChapter 7: Foreground and Background in the Non-representational Arts; a) Free play with form; b) Beauty in music; c) The phenomenon of the background in music; d) Composition and musical execution; e) On the appearing background in architecture; f) Practical purpose and free form; g) The place of ornament; Third Section: Beauty in Nature and in the Human World; Chapter 8: The Living Human Being as a Thing of Beauty; a) Human beauty as appearance; b) Beauty in relation to moral and to vital values; c) The appearance of the type. Aesthetics. http://id.loc.gov/authorities/subjects/sh85001441 PHILOSOPHY Metaphysics. bisacsh Aesthetics fast Ästhetik gnd http://d-nb.info/gnd/4000626-8
subject_GND	http://id.loc.gov/authorities/subjects/sh85001441 http://d-nb.info/gnd/4000626-8
title	Aesthetics.
title_auth	Aesthetics.
title_exact_search	Aesthetics.
title_full	Aesthetics.
title_fullStr	Aesthetics.
title_full_unstemmed	Aesthetics.
title_short	Aesthetics.
title_sort	aesthetics
topic	Aesthetics. http://id.loc.gov/authorities/subjects/sh85001441 PHILOSOPHY Metaphysics. bisacsh Aesthetics fast Ästhetik gnd http://d-nb.info/gnd/4000626-8
topic_facet	Aesthetics. PHILOSOPHY Metaphysics. Aesthetics Ästhetik
url	https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=935478
work_keys_str_mv	AT hartmannnicolai aesthetics AT kellyeugene aesthetics

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