Locating the Middle Ages: the spaces and places of Medieval culture
In: King's College London medieval studies 23
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In: King's College London medieval studies 23
In: Metascience: an international review journal for the history, philosophy and social studies of science, Volume 16, Issue 1, p. 107-110
ISSN: 1467-9981
The idea that art can be a form of research and, therefore, a contribution to knowledge, raises a number of philosophical questions such as: What is research in, through or for art? Should art draw upon research methods from other subjects, or develop its own? What kind of forms are produced or might be produced through artistic research?This is the first book to address the questions raised by visual arts research and is designed to give those working in the area new and challenging ways to reflect on how their practices engage with questions of knowledge-construction. Covering debates within aesthetics, epistemology and visual culture, this is an ideal text for art research students.
In: The Salisbury review: a quarterly magazine of conservative thought, Volume 31, Issue 3, p. 50-51
ISSN: 0265-4881
In: Studies in moral philosophy 3
In: Human affairs: HA ; postdisciplinary humanities & social sciences quarterly, Volume 15, Issue 1, p. 5-11
ISSN: 1337-401X
In: Telos: critical theory of the contemporary, Volume 1987, Issue 74, p. 177-183
ISSN: 1940-459X
In: Griot: Revista de Filosofia, Volume 20, Issue 3, p. 257-273
The connection between art and sublime, at first sight, sounds like a certainty, but throughout the 18th century some theories separated this category from the several art forms. Those were the decades in which the matters on the sublime were notably fruitful, times where not only the sublime earns its title as an aesthetic category, but also outstandingly takes part on the epistemological debates at the time where the term Aesthetics were just recently coined. It is in this scenery that some thinkers were especially worried about the natural sublime only. This article intends to show the path travelled by this concept from the 1st century, with Longinus' literature treaty Peri Hypsos, translated by Boileau-Despréaux as Du Sublime to its reception by the English in 1689. From that reception on, the text goes through philosophers such as Joseph Addison, Edmund Burke and Immanuel Kant, who developed the natural sublime theory, arriving to the reinsertion of the tragedy in this category by Friedrich Schiller. Thus, what we call here "the cycle of the natural sublime", which originated in literary production and moved away from it with the Empiricism and the Transcendental Idealism, comes back again within the sphere of literature in the German poet's work.
In: Anthropological quarterly: AQ, Volume 65, Issue 1, p. 50
ISSN: 1534-1518
In: Journal of critical realism, Volume 13, Issue 1, p. 84-97
ISSN: 1572-5138