This is a comprehensive; integrated account of eighteenth and early nineteenth century German figurative aesthetics. The author focuses on the theologically-minded discourse on the visual arts that unfolded in Germany; circa 1754-1828; to critique the assumption that German romanticism and idealism pursued a formalist worship of beauty and of unbridled artistic autonomy. This book foregrounds what the author terms an ldquo;Aesthetics of Figurative Theo humanismrdquo;. It begins with the sculptural aesthetics of Johann Joachim Winckelmann and Gottfried Herder before moving on to Karl Philipp Moritz; Wilhelm Heinrich Wackenroder and Friedrich Schelling. The reader will discover how this aesthetic tradition; after an initial obsession with classical sculpture; chose painting as the medium more suited to the modern selfrsquo;s exploration of transcendence. This paradigm-shift is traced in the aesthetic discourse of Friedrich Schlegel and Georg Wilhelm Friedrich Hegel. In this work; the widespread prejudice that such aesthetics initiated a so-called ldquo;Modern Grand Narrative of the Artsrdquo; is deconstructed. One accusation directed at 18th century aesthetics has been that it realised into ldquo;Artrdquo; what had previously been a living; rich tissue of meaning: this work shows how Figurative Theo humanisms attention to aesthetic values was never detached from deeper theological and humanistic considerations. Furthermore; it argues that this aesthetic discourse never forgot that it emerged from modern disenchantmentmdash;far from occluding the dimension of secularization; it draws poignant meaning from it. Anyone with an interest in the current debates about the scope and nature of aesthetics(philosophers of art; theology; or religion) will find this book of great interest and assistance.
#2900805 in eBooks 2015-04-03 2015-04-03File Name: B00XGX93G0
Review
5 of 5 people found the following review helpful. a world of brilliant dancers; mercurial directors and the dramas that unfolded ...By Lucky ReaderThis book transported me to another time and place; a world of brilliant dancers; mercurial directors and the dramas that unfolded onstage and off. To be honest; I picked it up because of the author and not because I follow ballet. I didnt expect to be so engrossed. But maybe because I dont know the art form; the descriptions have so much life; there was no preconceived picture in my head; only what Lobenthal conjured. The lessons go far beyond ballet. As his previous work Dancing on Water brought to life the siege of Lenningrad; Wilde Times reveals the impact of other dramatic events; notably the polio epidemic. Ill stop here to avoid spoilers and leave it to experts to evaluate this books contribution to the cannon of ballet literature - only to conclude by saying my experience as a reader was bliss.4 of 4 people found the following review helpful. Patricia WildeBy yan ekThis book accurately paints a picture that we can only know from recollection by someone like Patricia Wilde. The whole nature of professional ballet was different in her dancing career and her generation developed what present dancers benefit from today. Every element-from companies; choreographers; performances; dancers techniques; abilities and style has evolved because of events outlined; written and retold in this book. The dancers in NYCB; during her time; were taught how to dance by Balanchine and they then went out and created a second and third generation of dancers; refining the same things; better and better all the time. This book is accurate in its details and that; in itself; makes it worthy. Id wished for more photographs and getting detail about her career at Pittsburgh Ballet Theatre but that is still left for PBT to do.2 of 2 people found the following review helpful. A terrific read!By G. MooreThis is a wonderful; concise; at times quite chatty memoire about a great ballerina in the greatest of ballet companies. It is also a delicious look at the multiple facets of Balanchine.
