Author note: Owen Hulatt (Editor)
Whether paintings could be totally independent has been again and again challenged within the smooth background of aesthetics. during this choice of specially-commissioned chapters, a workforce of specialists speak about the level to which paintings may be defined merely when it comes to aesthetic categories.
Covering examples from Philosophy, tune and artwork historical past and drawing on continental and analytic resources, this quantity clarifies the connection among works of art and extra-aesthetic issues, together with old, cultural or financial components. It provides a finished assessment of the query of aesthetic autonomy, exploring its relevance to either philosophy and the comprehension of particular artistic endeavors themselves. by way of heavily interpreting how the production of works of art, and our decisions of those artistic endeavors, relate to society and historical past, Aesthetic and inventive Autonomy offers an insightful and sustained dialogue of a tremendous query in aesthetic philosophy.
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Additional info for Aesthetic and Artistic Autonomy (Bloomsbury Studies in Philosophy)
Perhaps it would be best to represent the latent "entangled bank" at this stage more as a kind of CONSTRUCTION OF DARWIN'S THEORY 33 Fig. 8b. Caspar David Friedrich (1774--1840). The Dreamer. c. 1835 (Hennitage, SI. Petersburg) (See also colorplate 9). metaphoric field fixed by emotion and experience in nature, and partially fixed in language, but as yet devoid of scientific content and explanatory significance. Indeed, demonstrable only in reconstructive hindsight, it remains concrete yet unformed.
1835 (Firestone Library, Princeton University). Forest, & flowers & birds, I saw in great perfection, & the pleasure of beholding them is infinite. sil: it is most true and clever. (Correspondence 1:226)4 To Henslow he wrote even more effusively: A few days after arriving I started on an expedition of 150 miles to Rio Macao, which las ted 18 days. - Here I first saw a Tropical forest in all its sublime grandeur. - Nothing, but the reality can given any idea, how wonderful, how magnificent the scene iso - If I was to specify any one thing I should give the preeminence to the host of parasitical plants.
As Secord notes, Jameson shared with Humboldt direct exposure to Wemer at Freiburg. 5 Thus Darwin in Edinburgh and Cambridge had multiple direct and indirect exposures through Humboldt and Wemer to the German natural history of the 1790s to early 1800s. As an example of how interconnected the Edinburgh and Cambridge exposures may have become for Darwin, consider that the artist Rugendas, whose work so appealed to Darwin, was a protege of von Humboldt and had been attached to the Martius and Spix Brazilian expedition of 1817-1820.