Ästhetik des Unbehagens: Gespräche über beunruhigende Kunst von Al-

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Aesthetics of Discomfort: Conversations on Disquieting Art By Al
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Title
Aesthetics of Discomfort: Conversations on Disquieting Art
ISBN
9780472053001
Kategorie

Über dieses Produkt

Product Identifiers

Publisher
University of Michigan Press
ISBN-10
0472053000
ISBN-13
9780472053001
eBay Product ID (ePID)
219099632

Product Key Features

Number of Pages
220 Pages
Publication Name
Aesthetics of Discomfort : Conversations on Disquieting Art
Language
English
Publication Year
2016
Subject
Criticism & Theory, General, Aesthetics
Type
Textbook
Subject Area
Literary Criticism, Art, Philosophy
Author
Herbert S. Lindenberger, Frederick Luis Aldama
Format
Trade Paperback

Dimensions

Item Height
0.5 in
Item Weight
11.3 Oz
Item Length
9 in
Item Width
6 in

Additional Product Features

Intended Audience
College Audience
LCCN
2016-462673
Dewey Edition
23
Illustrated
Yes
Dewey Decimal
111.85
Synopsis
Describes and defends the centrality of discomfort for consumers of various arts--literature, architecture, visual art, music, dance, and cinema., Through a series of provocative conversations, Frederick Luis Aldama and Herbert Lindenberger, who have written widely on literature, film, music, and art, locate a place for the discomforting and the often painfully unpleasant within aesthetics. The conversational format allows them to travel informally across many centuries and many art forms. They have much to tell one another about the arts since the advent of modernism soon after 1900--the nontonal music, for example, of the Second Vienna School, the chance-directed music and dance of John Cage and Merce Cunningham, the in-your-faceness of such diverse visual artists as Francis Bacon, Pablo Picasso, Willem de Kooning, Egon Schiele, Otto Dix, and Damien Hirst. They demonstrate as well a long tradition of discomforting art stretching back many centuries, for example, in the Last Judgments of innumerable Renaissance painters, in Goya's so-called "black" paintings, in Wagner's Tristan chord, and in the subtexts of Shakespearean works such as King Lear and Othello . This book is addressed at once to scholars of literature, art history, musicology, and cinema. Although its conversational format eschews the standard conventions of scholarly argument, it provides original insights both into particular art forms and into individual works within these forms. Among other matters, it demonstrates how recent work in neuroscience may provide insights in the ways that consumers process difficult and discomforting works of art. The book also contributes to current aesthetic theory by charting the dialogue that goes on--especially in aesthetically challenging works--between creator, artifact, and consumer., Through a series of provocative conversations, Frederick Luis Aldama and Herbert Lindenberger-who have written widely on literature, film, music, and art-locate a place for the discomforting and the often painfully unpleasant within aesthetics. The conversational format allows them to travel informally across many centuries and many art forms. They have much to tell one another about the arts since the advent of modernism soon after 1900-the nontonal music, for example, of the Second Vienna School, the chance-directed music and dance of John Cage and Merce Cunningham, the in-your-faceness of such diverse visual artists as Francis Bacon, Pablo Picasso, Willem de Kooning, Egon Schiele, Otto Dix, and Damien Hirst. They demonstrate as well a long tradition of discomforting art stretching back many centuries, for example, in the Last Judgments of innumerable Renaissance painters, in Goya's so-called "black" paintings, in Wagner's Tristan chord, and in the subtexts of Shakespearean works such as King Lear and Othello. This book is addressed at once to scholars of literature, art history, musicology, and cinema. Although its conversational format eschews the standard conventions of scholarly argument, it provides original insights both into particular art forms and into individual works within these forms. Among other matters, it demonstrates how recent work in neuroscience may provide insights in the ways that consumers process difficult and discomforting works of art. The book also contributes to current aesthetic theory by charting the dialogue that goes on-especially in aesthetically challenging works-between creator, artifact, and consumer. Book jacket.
LC Classification Number
BH39

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