Suchergebnisse

Origins of an Aesthetic. Marx and Engels on Art ; Clarifying the Aesthetic : Engels and Plekhanov -- Socialist Realism and the Social Command. Culture and Art in Lenin ; Proletcult, Formalism and Trotsky ; The Leftists and the Social Command ; Party Policies and the Emergence of Socialist Realism ; The Evolution of Socialist Realism -- The German Debates. Lukacs' Realism ; Brecht against Lukacs ; Benjamin, Adorno and Critical Realism -- Socialist Realism in China. Lu Hsun and the Garrets of Shanghai ; Mao and the Revolutionary Bases ; Cultural Struggle within Socialism -- Post-War Developments. Writing and Commitment ; Goldmann's Genetic Structuralism ; Althusser and Gramsci : the importance of ideology ; Barthes, Myth and Signifier ; Tel Quel and the "Unreadable" -- Marxism and Popular Culture. The Culture Industry ; Television and Film ; Popular Music -- British and American Developments. Romanticism and Marxism ; Caudwell and the Thirties ; Some American Themes ; New Directions in British Marxism

Feminist analyses of the roles gender has played in art lead to an alternative theory that emphasizes art's complex interactions with culture(s) rather than the autonomy within culture claimed for it by formalism. Focusing on the visual arts, 1 extrapolate the new theory from feminist research and compare it with formalist precepts. Sharing Arthur Danto's concern that art has been disenfranchised in the twentieth century by its preoccupation with theory, I claim that feminist thought re'enfranchises art by revisioning its relationship to its contexts.

Art perception is viewed as a conscious or unconscious deciphering operation which may or may not lead to a true understanding. It requires a more or less complex code which has been more or less completely mastered. The work of art (like any cultural object) may disclose significations at diff levels according to the deciphering stencil applied to it. Uninitiated perception, reduced to the grasping of primary significations, is a mutilated perception. Through sociol'al observation it is possible to reveal, effectively realized, forms of perception corresponding to the diff levels, which theoretical analysis frames by an abstract distinction. The most uninitiated perception is always inclined to go beyond the level of sensations & affections. The work of art considered as a symbolic asset only exists as such for a person who has the means to appropriate it, ie, to decipher it. An agent's degree of art competence is measured by the degree to which he masters the set of instruments (ie, interpretative schemes) for the appropriation of the work of art, available at a given time. Interpretative schemes are the prerequisite for the deciphering of works of art offered to a given society at a particular time. Art competence can be provisionally defined as the preliminary knowledge of the possible divisions into complementary classes of a universe. This system of classification enables each element of the universe to be placed in a class necessarily determined in relation to another class. Artistic competence can therefore be defined as the previous knowledge of the strictly artistic principles of division which enable a representation to be located (through the classification of its stylistic indications) among the universe of art. The art code as a system of possible principles of division into complementary classes of the universe of representations offered to a particular society at a given time is in the nature of a soc instit. This soc instit must be considered a historically constituted system, founded on soc reality. The modal readability of a work of art varies according to the divergence between the code which it objectively requires & the code as an historically constituted instit. In each period, the rules defining the readability of contemporary art are but a special application of the general law of readability. Familiarization by repeated perceptions is the privileged mode of acquiring the means of appropriating (in a cultural sense) works of art. These theses are applied to a discussion of art educ & the function of the museum. M. Maxfield.

The article examines the views of B. Croce related to the social theory of art. The importance of the question lies in the fact that Croce, in essence, preached an interdisciplinary approach to the study of art. The article touches upon the ba­sic principle of the thinker's aesthetics – the understanding of art as intuition. Croce's system of views was based on the aesthetic canon, but the thinker rea­lized the need to understand art in a social way, so he focused on identifying the value nature of this phenomenon. A number of Croce's works are devoted to the value foundations of art. The article reveals the prerequisites for Croce's transition from aesthetics to the social theory of art. His approach to understan­ding the role of society in the existence of art and the influence of "social aes­thetics" on the rethinking of art are also analyzed. The peculiarity of his social views is revealed: in order to understand the essence of the phenomenon of art, it is first necessary to turn to the assessment of the capabilities of society in order to establish its "readiness" to comprehend art.

This piece seeks to account for an increased interest in the intersection of art and law within legal thinking, activism and artistic practice, arguing there to exist the phenomena and movement of 'art/law'. Art/law is the coming together of theory and practice in legal and political aesthetics, understood as a practice, (im)materially performed. It is seen as a natural consequence of thinking law and resistance in terms of space and time, accounting for a turn towards the visual, the practical and the role of affect, within ways of knowing. Art/law is a symptom of the end of art and end of law, synchronically rendered. Divisions between legal and aesthetic form have been well rehearsed within legal aesthetics scholarship, from law and literature, to critical legal studies' work with images, text and performativity, and now law's Anthropocene. Art/law as a practice, however, is argued as an emergent onto-epistemic-ethics of necessity, a movement of seeing, being and knowing in response to the advancement of spectacle. It is the simultaneous reunion of law, art and resistance as one, breaking down the institutional artifice of art worlds and law worlds, offering a form of 'resistant (in)formalism', that accounts for matter and change and asserts convergence as a medium. It is an inclusion of the uncertain and the disordered, that is an opening for the audience. This resistant (in)formalism describes the role of form, audience and practice within property, legal and aesthetic establishment, offering a countering of separatism at the end of art and the end of law, through a praxeology of art/law in seeing, thinking and action.

This piece seeks to account for an increased interest in the intersection of art and law within legal thinking, activism and artistic practice, arguing there to exist the phenomena and movement of 'art/law'. Art/law is the coming together of theory and practice in legal and political aesthetics, understood as a practice, (im)materially performed. It is seen as a natural consequence of thinking law and resistance in terms of space and time, accounting for a turn towards the visual, the practical and the role of affect, within ways of knowing. Art/law is a symptom of the end of art and end of law, synchronically rendered. Divisions between legal and aesthetic form have been well rehearsed within legal aesthetics scholarship, from law and literature, to critical legal studies' work with images, text and performativity, and now law's Anthropocene. Art/law as a practice, however, is argued as an emergent onto-epistemic-ethics of necessity, a movement of seeing, being and knowing in response to the advancement of spectacle. It is the simultaneous reunion of law, art and resistance as one, breaking down the institutional artifice of art worlds and law worlds, offering a form of 'resistant (in)formalism', that accounts for matter and change and asserts convergence as a medium. It is an inclusion of the uncertain and the disordered, that is an opening for the audience. This resistant (in)formalism describes the role of form, audience and practice within property, legal and aesthetic establishment, offering a countering of separatism at the end of art and the end of law, through a praxeology of art/law in seeing, thinking and action.