Download Beauty's appeal : measure and excess by Anna-Teresa Tymieniecka PDF

By Anna-Teresa Tymieniecka

ISBN-10: 1402065205

ISBN-13: 9781402065200

ISBN-10: 1402065213

ISBN-13: 9781402065217

ISBN-10: 3540626956

ISBN-13: 9783540626954

Beauty fulfils human life. because it registers in our aesthetic event, attractiveness complements nature’s attraction round us and our inward event lifting our soul towards ethical elevation. This number of art-explorations seeks the fundamental ties of the Human situation. It endeavors to give an explanation for the relation of good looks and human life, and explores a few of the facets of beauty.

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Extra info for Beauty's appeal : measure and excess

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In this sense beauty may cover a broad range of qualities and levels of response, but in every case a property in or attributable to something that elicits or triggers desire—the response of Eros. Modern aesthetics has tended to analyze the aesthetic response to art as necessarily disinterested, wholly disengaged from erotic engagement. An aesthetic appreciation of the painting of a female nude, for example, must be such that there is no desire for the body in question, no prurience in the perception of a naked woman.

33 A-T. ), Analecta Husserliana XCVII, 33–64. © 2008 Springer. ” Against the critics of his new manner of sculpting, he celebrated the frothy lightness of the drapery and head of hair of his equestrian monument of Louis XIV as the greatest achievement of his chisel. He punctiliously explained that he rendered rock as malleable as wax and that he managed to fuse sculpture with painting. ” Today’s mass communication has created the baroque of advertising, a propagation of faith in the magnificent fate and progress of an opulent consumerism as well as a belief in continual development.

THE SEMANTICS OF BEAUTY 35 Today, we go beyond this notion of the grotesque, which is ingenuous. With plastic surgery and controlled doses of botox, a paralyzing poison that stretches wrinkles and vitrifies one’s facial expression, the physiognomic referent is annihilated, as is the story that is impressed upon one’s face, one’s true personal identity. This is the “beauty” of postmodernism. Fortunately, art has reacted. Les Demoiselles d’Avignon (1907) was seen by Picasso as an ideal of beauty in his time, a time that was becoming one of white telephones.

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