By Robert Stecker
Publish 12 months note: First released February twenty fifth 2005
Praised in its unique version for its up to date, rigorous presentation of present debates and for the readability of its presentation, Robert Stecker's re-creation of Aesthetics and the Philosophy of paintings preserves the main topics and conclusions of the unique, whereas increasing its content material, supplying new gains, and embellishing accessibility. Stecker introduces scholars to the background and evolution of aesthetics, and likewise makes a huge contrast among aesthetics and philosophy of paintings. whereas aesthetics is the examine of price, philosophy of paintings offers with a much broader array of questions together with matters in metaphysics, epistemology, the philosophy of brain, to boot worth idea. defined as a "remarkably unified creation to many modern debates in aesthetics and the philosophy of art," Stecker makes a speciality of sympathetically laying undergo the play of argument that emerges as competing perspectives on an issue interact one another. This publication doesn't easily current an argument in its present kingdom of play, yet as an alternative demonstrates a philosophical brain at paintings assisting to strengthen the problem towards an answer.
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Extra info for Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy)
45 The whole climax certainly seems to herald a barbaric spectacle, like a public execution. But is this really just edifying pain, or rather, perhaps, unedifyingly pleasurable spectacle? A crescendoing roll on suspended cymbal, with sponge-tipped sticks, adds a thrilling visceral rushing sound like an approaching tsunami as the chord finally collapses in tumbling chromatic scales into a surprise recapitulation of the movement’s opening. The anecdote to which I referred above was told by Wilhelm Kienzl, who recalled sitting between the thirty-one-year-old Richard Strauss and the thirty-six-year-old conductor Carl Muck at an 1895 rehearsal by Mahler for a performance of the first three movements of the still unpublished Second Symphony in Berlin.
Mahler would have got it from his reading, not least of E. T. A. 27 Do they read it? Had I read it sufficiently carefully before teaching the early nineteenth century and feeling obliged to do so? It can still come as quite a surprise. The source volume, written in 1797 by the twenty-three-year-old W. H. Wackenroder in collaboration with his friend Ludwig Tieck, was a deliberately haphazard-seeming multi-text: an assemblage of essays and poems, mostly on medieval and Renaissance art and with a Catholic bent imparted by Tieck.
As a product of the suburban middle classes, I would also, I guess, have to explain to that notional ethnographer of European music, who might have read Carey, something about social class and aspiration—not, perhaps, without relevance to Mahler’s own class-conscious program about the leveling of “kings and beggars, righteous and godless” in the great procession of the risen dead. As if to reinforce any reading of his creative project as authentically late Romantic, some of Mahler’s later letters from New York to Bruno Walter echo the Wackenroder/Berglinger complex in an almost knowingly intensified form.
Aesthetics and the Philosophy of Art: An Introduction (Elements of Philosophy) by Robert Stecker