Seminar paper from the year 2010 in the subject Philosophy - Practical (Ethics, Aesthetics, Culture, Nature, Right, ...), grade: 1,0, University of Vienna (Philosophie), course: Feministische sthetik, language: English, abstract: In the following paper I am going to present Christine Battersby's text Gender and Genius, her methodes and goals, occuring critics and problems. The main problem is the question: Do we need the concept of a female genius? After Battersby's historical research about the concept of the male genius in history (especially in the history of art and literature) she points out, that she wants to invent a new concept of genius. After her demonstration that genius had definitly a clear male connotation, she doest't want to skip the notion genius but she wants to redefine it. She wants to invent the concept of a female genius. In paragraphe 2 I am going to point out some results of Battersby's work, that show why women were excluded for such a long time from any form of art production. In paragraphe 3 I try to explain with Battersby how and why women accepted this exclusion sometimes and how they tried to resist and to fight back this kind of misogyny. Paragraphe 4 should answer the question why Battersby's new concept of genius is called a female genius, while paragraphe 5 wants to bring in some arguments against the separation and categorization into female/feminine and male/masculine concept. The last paragraphe contains also a very short conclusion and my own point of view.
This thesis argues that the contemporary artist's objective is the production of new social space and the institution of new cultural knowledge.
Stam , Inquiries into the Origin of Language , p . 128. Elsewhere , p . 118 , Stam refers to the Abhandlung as Herder's “ irreverent and ironical treatise . ” 45. I have profitably consulted the translation in On the 104 Herder's ...
Catalogue de l'exposition s'interrogeant sur la notion de "beau" au XXe siècle, insistant sur la polémique et la politisation du débat dans les années 80 et 90.
Cities Built to Music: Aesthetic Theories of the Victorian Gothic Revival
System and Dialectics of Art: Annotated from Unpublished Writings
Moseley, Catherine. Conception: Conceptual Documents, 1968-1972. Norwich Gallery, Norwich, 2001. Naess, Arnold. Ecology, Community, and Lifestyle: Outline of an Ecosophy. Trans. David Rothenberg. Cambridge University Press, 1990.
And outside the walls , driving , one sees the city as an object on the land . Furthermore one observes with different eyes and feet and wheels its historic fabric .... for now vehicles must leave the city by a gate ...
Essays on Aesthetics and Language in Simone Weil Eric O. Springsted, John M. Dunaway ... is rather rude and ridiculous, but once again, I'm not a Simone Weil scholar, and the only thing I can talk about is what she has meant to me.
Le pli a toujours existé dans les arts, mais le propre du Baroque est de porter le pli à l'infini.
El autor analiza exhaustivamente los textos de aquellos autores considerados como antecedentes inmediatos del arte y la literatura barrocos, haciendo especial hincapié en los clásicos de la belleza y el ingenio, de la nueva concepción de ...