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Aesthetics, Ethics and Criticism, 2004.
This paper discusses the interrelationship between ethics, aesthetics, criticism and art.
1,356 words (approx. 5.4 pages), 3 sources, MLA, £ 32.95
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Abstract
In this article, the writer discusses the interrelationship between ethics, aesthetics, criticism, and art. The writer describes how criticism interacts closely with each of the other aspects.
From the Paper
"W J Bate xiii commented that the great justification of criticism at any time is that it can help to bring into focus and emphasize the function of the arts and of the humanities themselves. Inevitably, criticism enjoys close synergies with both aesthetics and ethics, as well as with a group of four principal players, artist performer, critic ,evaluator, audience, market and manager entrepreneur and a set of four outer forces culture and society law and politics economics and finance and science technology ... "
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Aesthetics and Ethics, 2006.
Examines the aesthetic value of forged art and the ethics surrounding this issue.
2,392 words (approx. 9.6 pages), 5 sources, MLA, £ 50.95
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Abstract
When discussing the philosophy of art, the issue of forgeries is a standard component. Oftentimes this component includes the component of whether or not forgeries have any sort of aesthetic merit. A work of art, forged or not, could have some element of beauty, and therefore have some aesthetic value. This paper questions whether the knowledge that it is a forgery detracts from this value and whether the fact that a piece of art is a forgery immediately removes it from aesthetic consideration. The paper also questions in what ways forgeries and fakes are detrimental to the art market and whether fakes and forgeries offer any intrinsic benefits for the market.
Paper Outline:
Introduction
Aesthetics Defined
Ethics Defined
Does Forgery Affect the Aesthetic Value of a Piece of Visual Artwork?
Forgeries and Their Effect on the Art Market
Conclusion
References
From the Paper
"A forgery is typically created to attribute a piece of artwork to a person who did not create it, in hopes of making money. The primary fault with forgeries is that they not only misrepresent the piece of art's origin, but also misrepresent the achievement of the artist's performance (Dutton, 1979). It is not that the forgery artist's work is not worthy of aesthetic value, it indeed may be as in the case of van Meegeren, however the level of achievement must be adjusted for the individual challenges, or lack of challenges, that that particular artist faced in the creation of the forgery, to determine its value."
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Photographing the Unaware Subject: Aesthetics and Ethics, 2001.
This paper debates the right of privacy of the photographic subject and the right of free speech of the photographer.
975 words (approx. 3.9 pages), 6 sources, APA, £ 23.95
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Abstract
The paper investigates the aesthetic and moral principles that have had a major influence on historic photographers. It looks at the issues of photographing an unsolicited subject and the artistic right of free speech.
From the Paper
"Photographic images of unaware subjects have had a significant impact on society. Some of those images have artistic quality, and some have created public outrage. This photographic method of capturing reality can be has both aesthetic and ethical implications.
Capturing reality is not a new idea. Jean-Baptiste-Sim?on Chardin (1699-1779) recorded the plainer features and rituals of life unlike his contemporaries. Chardin?s paintings of common objects were a ?healthy antidote to the dreamy ephemera of Bouccher and Fragonard (which tended to shut out political, economic, and social realities)? (Cole 200)."
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Wilde Visions of Paterian Aesthetics, 2007.
This paper analyzes works by Oscar Wilde and Walter Pater, examining parallels with regards to ethics and aesthetics.
19,650 words (approx. 78.6 pages), 25 sources, MLA, £ 172.95
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Abstract
In this work, Oscar Wilde's plays are partially taken into deep consideration as an analysis of his playwright identity. In the process of the discovery of his decadent resentment of the late nineteenth century orders, the influential figures of the new movement are also indicated. Oscar Wilde and Walter Pater have important parallels among their Epistemologies, ethics and aesthetics. The writer uses extensive examples primarily regarding to Pater's first book, Marius The Epicurean: His Sensations and Ideas (1885) and Wilde's plays of 1894, An Ideal Husband, and The Importance of Being Earnest, to display their aesthetic ideology to demonstrate the precise link between the two, for it has never been convincingly interjected. The main question underlying this paper is of how Wilde perceives art. While exploring his conception of art, dandy-ism is comprehensibly touched in order to reveal his aesthetic identity. However, this paper discusses his aesthetic ideology in the context of individualism through the referencing of some of his works, particularly his aforementioned plays. The question at the basis of this preoccupation is of how Wilde displays the expressing of individuality and idiosyncrasies through art and in particular the value of art.
From the Paper
"The use of Puns is another concept that pars to both the aesthetic identity of Walter Pater as well as the aesthetic identity of Oscar Wilde. In this play "The Importance of Being Earnest", the pun, which is generally believed to be the lowest structure of oral humor, is hardly ever just a humor on words. The duality of the title in itself is proof of that. One example of such a notion lies in the earnest/Ernest humor that is utilized to hit the very truth of all the Victorian ideas and rules regarding propriety and responsibility. Gwendolen wants to be betrothed to a man named Ernest, without giving a thought to whether the man bearing such a name bears its qualities too or not. She, nevertheless, immediately exonerates Jack's dishonesty in personifying a man who is originally neither "earnest" nor "Ernest," and who, because of forces stronger than his own power, consequently develops both "earnest" and "Ernest." Jack is a perfect paradox and a compound emblem of Victorian duplicity."
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Psychoanalytic Aesthetics, 2002.
Outlines the concept of psychoanalytic aesthetics as portrayed by clinician Hannah Segal.
5,000 words (approx. 20.0 pages), 7 sources, APA, £ 87.95
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Abstract
The psychoanalytic approach to aesthetics enables us to understand the artists' aesthetic experiences as he or she conjures up his perception and response thereof, interpretation and meaning and his or her thoughts and feelings. The paper explains that, primarily divided into applied psychoanalysis and clinical psychoanalysis, the discipline of psychoanalytic aesthetics has been studied and commented upon by many famous psychoanalysts and clinicians over the years. This paper focuses on the comments of clinician Hanna Segal's psychoanalytic approach to aesthetics in general and particularly her quotes on creation and recreation. It examines her comment: ?The essence of the aesthetic creation is a resolution of the central depressive situation and that the main factor in the aesthetic experience is the identification with this process." (H. Segal, 1981).
From the Paper
"According to Segal, one of the main aims of the artists is to create a world of his own, as Winnicott (1971) also held that the need to create something out of nothing is the main impulse. Segal says that though the artist believes that he is engaged in reproducing the external world, the fact is that the artist is using the external world to rebuild his own inner self. One of the themes used by Segal is of recovering the past and the defragmentation of the pieces."
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Evolutinary Aesthetics: Man's Perception of Beauty, 2002.
This paper discusses the theory of evolutionary aesthetics, which concerns man's sense of beauty.
650 words (approx. 2.6 pages), 3 sources, £ 18.95
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Abstract
Some people are of the view that man's perception of beauty is partially clouded by biology by it is not entirely true. With evolution man gained knowledge and was ale to distinguish himself from other species because of his thinking and reasoning faculties, this has also markedly influenced his aesthetic sense as his perception of beauty has changed. It is true that culture and environment play an important role, but with knowledge and exposure man has learned to develop his individual opinion.
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Gertrude Stein?s Radical Aesthetics, 2005.
Examines how Stein's "Tender Buttons" uses radical aesthetics to necessitate social change and better the position of women in society.
1,912 words (approx. 7.6 pages), 0 sources, £ 42.95
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Abstract
This essay looks critically at Stein's writing style in her book "Tender Buttons," and shows how her syntax draws attention to the binary of man and woman, and ultimately deconstructs this binary.
From the Paper
"In Tender Buttons, Stein stresses the importance of the direct treatment of objects, as well as how they appear on the page. She employs parataxis, the placement of words side by side, in order to show the importance of simultaneity, and how it affects multiple perspectives. Through parataxis, Stein blatantly rejects traditional realism, and instead shows how truth is not solely rooted in the appearance, but in the overall mood or meditation of a piece."
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The Coen Brothers: A Study in Genre and Aesthetics, 2002.
A study of the career of independent film-writers, directors and producers, the Coen Brothers.
3,040 words (approx. 12.2 pages), 9 sources, MLA, £ 61.95
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Abstract
This essay discusses the aesthetic choices the Coen Brothers made throughout their career. It studies the films "Raising Arizona" for creative lens use in a farce, "Miller's Crossing" for camera angles in a gangster film, "Fargo" for long takes in a police thriller and "The Man Who Wasn't There" for lighting in a film noir. The paper argues that through the use of aesthetics the Coens shape each genre they try with their own signature auteur style.
From the Paper
"In a world where big-budget studios control most of what is seen in theatres, the Coen Brothers have managed to make independent features that they write, produce and direct as a team, and have had some moderate success. Their scripts often focus on unlikely heroes; they choose completely average people and places to become the focus of their quirky dialogue and situational comedy. Their charismatic ?normal? characters have attracted a number of top actors and actresses to their projects, such as Holly Hunter, Nicholas Cage, John Goodman, Steve Buscemi, John Turturro, and Francis McDormand. In fact, with a reputation for making quality films, although often commercial failures, some of Hollywood?s most respected actors have lowered their usual salaries to appear in Coen films. Tim Robbins appeared with Paul Newman in The Hudsucker Proxy, between projects of his own in the early nineties, Jeff Bridges took the leading role in The Big Lebowski with Julianne Moore in a supporting part, George Clooney followed up his success on ER with the main role in Oh Brother, Where Art Thou, and the Coens recruited Billy Bob Thorton and James Gandolfini for The Man Who Wasn?t There. These stars have helped the brothers propel their own names into stardom, despite the only moderate success of their feature films, and have made their pictures well-known cult classics."
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Clement Greenberg's and Michael Fried?s Aesthetics, 2004.
Compares the ideas of Clement Greenberg and Michael Fried, relating them to specific instances of art practice.
2,830 words (approx. 11.3 pages), 41 sources, APA, £ 58.95
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Abstract
This paper explores and compares the influence of Clement Greenberg's and Michael Fried's ideas on art and aesthetics and how the reaction to those ideas impacted the development of late Modernism and its transition into Postmodernism.
From the Paper
"Central to both the theoretical stances of Greenberg and Fried is the non-referential nature of high art and the non-contingent nature of artistic practice. This forms part of an ?elitist? view of art, which was to contrast sharply with later postmodern concepts of artistic practice that emphasize an egalitarian ethos and a breaking down of the barriers between the different art forms. As will become clear, for Greenberg and Fried correct artistic practice could not be contingent on and referable to other areas besides that specific mode of art. In other words, ?proper? or pure art can have no subject and cannot be related to social or any other external areas. For both Greenberg and Fried the subject and correct developmental path of art was art itself. This becomes clear if the central tenets of modern formalism are analyzed."
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Hegelian Aesthetics, 2006.
A discussion regarding Friedrich Hegel and the finite nature of art versus the infinite expression of cycles.
3,182 words (approx. 12.7 pages), 6 sources, MLA, £ 63.95
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Abstract
This paper reviews how Hegel's aesthetic ideal is associated with art or more specifically fine art, as the first of three expressions of the culmination of spiritual development from objective then subjective to the absolute, or the combination of both objective and subjective spiritual awareness. The paper goes on to discuss how 'absolute reality' is what Hegel would refer to as the 'absolute spirit', or the world spirit that is shared by all.
From the Paper
"Desmond goes on to say that Hegel claims that there has been a divorce of the self from art and that art no longer serves this purpose, yet many if not all artists would coldly disagree or even agree in the sense that art is driven not only by self but by a common current of art for the sake of the other, the consumer. Artists constantly challenge the concept of art for self as they outwardly grapple with selling something so reflective of self to another who may or may not understand the message. This is reflected in the modern by the idea that in art, music and even knowledge, success is a failure that many are seeking, again a reflection of the incomplete being the base of contradiction and need for synthesis."
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Art and Aesthetics in Town Planning, 2006.
A discussion about modern art and architecture and what they can offer in terms of urban planning.
1,850 words (approx. 7.4 pages), 7 sources, APA, £ 41.95
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Abstract
This paper discusses the problem of urban blight and what must be done to make a city livable. The paper discusses the concept of 'New Urbanism', a plan endorsed by enlightened planners that emphasizes the "human scale" of all its undertakings. The paper explains that 'New Urbanism" embodies the idea that people must not feel squeezed-out by overly large buildings and that a community must address the diversity of real-life human beings. The paper further discusses the significant role that both architecture and art play in making a city livable and likeable and explains that the more human the urban space, the more inviting, and invigorating it will be.
From the Paper
"Huge numbers of economically-disadvantaged families can overwhelm any community. The problem is made worse by the lack of any coherent plan; any attempt to use the gift of modern technology to alleviate these deplorable conditions. We tend to believe that urban blight is inevitable - the price we pay for living in such a high-tech, fast-paced society. Yet we need not be slaves of our technology. Technology can help us to beautify our environment, help us to create livable urban spaces that we can all enjoy."
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Women's Bodies, Sociology, and Aesthetics., 2005.
A review of Anne Balsamo's writings in 'Technologies of the Gendered Body' and her opinion on how the social constructions of beauty are developed.
900 words (approx. 3.6 pages), 1 source, £ 24.95
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Abstract
This paper discusses Balsamo's introduction to the plastic surgery industry supported by women and a popular media source reporting that a celebrity woman is less interested in her appearance, both pointing to the foolishness of women in so adhering to external ideas of what beauty is, and to points of self-mutilation. The general point highlighted in this paper, is that one of women's reality being skewed, rather by choice, in accepting and complying with social constructions of beauty, in a day of relative choice.
From the Paper
"Anne Balsamo's chapter on cosmetic surgery in 'Technologies of the Gendered Body' expresses the contrast between Anthropometry as a past measurement of men, and a plastic surgeon's assessment of what is ideal in women's appearance. (1996) Pseudo-science once allowed persons' characters to be assessed in terms of the shape of their skulls, nature of their noses, or the ways in which their eyes were set. In the early 21st century, women consult the plastic surgeon as an expert on what can be done to alter imperfections that the woman would 'logically' wish to correct. "
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| Essay # 28518 |
temporarily unavailable
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The Aesthetic and Modernity, 2005.
This paper explores the role of the aesthetic in theories and representations of modernity through an examination of Virginia Woolf's "To the Lighthouse" and Martin Heidegger's "The Origin of the Work of Art".
2,985 words (approx. 11.9 pages), 8 sources, MLA, £ 61.95
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Abstract
The paper discusses how the aesthetic form, even that of language, played a highly important role in terms of modernity's exploration of the nature of representation. The paper explains how it played an important role as an alternative to language, as a mode of both perceiving and expressing experience. The paper examines Woolf's "To the Lighthouse" and Heidegger's "Work of Art" and shows how the aesthetic is presented, in both theories and representations of modernity, as highly important for the perception and expression of experience as a meaningful unity.
From the Paper
"Allyson Booth notes in Postcards from the Trenches that expressionist architects, in their handling of 'glass in a way that encourages us not to see through glass but to see glass' opened up, in modernity, a 'self-consciousness about the nature of representation'. Being primarily a post-war phenomenon, this mode of aesthetic representation was contemporary in 1927 when Virginia Woolf published her novel To the Lighthouse. It can thus be seen as significant that she opens this novel with part one entitled, 'The Window'. By means of its obvious reference to glass, Woolf immediately establishes a connection between the aesthetic use of glass in the expressionist architecture of modernity and the thematic concerns of To the Lighthouse. This connection indicates that Woolf, like the architects of her time, wished to direct her readers towards a consideration of language as a material of construction and, like the expressionist architect, demanded that her structural material was itself examined rather than merely looked through."
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