JOURNAL OF AESTHETICS AND ART CRITICISM最新文献_第9页

PANAGIA, DAVIDE. Rancière's Sentiments. Duke University Press, 2018, xv + 145 pp., 6 b&w illus., $23.95 paper. CHANTER, TINA. Art, Politics and Rancière: Broken Perceptions. London: Bloomsbury Academic, 2017, xv + 185 pp., 2 b&w illus., £85.00 cloth. PANAGIA,大卫。。Ranciere的情绪。杜克大学出版社，2018年，xv + 145页，6b&w。， 23.95美元。风笛,蒂娜。艺术、政治与社会:破碎的认知。伦敦:布卢姆斯伯里学术出版社，2017,xv + 185页，2页。，布料85英镑。

IF 0.8 2区艺术学

JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2019-08-04 DOI: 10.1111/jaac.12656

JOHN M. CARVALHO

引用次数: 0

AUBRY, TIMOTHY. Guilty Aesthetic Pleasures. Harvard University Press, 2018, 288 pp., $35.00 cloth. 奥布里,蒂莫西。罪恶的审美乐趣。哈佛大学出版社，2018年，288页，35美元布。

IF 0.8 2区艺术学

JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2019-08-04 DOI: 10.1111/jaac.12666

MICHAEL FISCHER

引用次数: 1

MCMAHON, JENNIFER A., ed. Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. Abingdon, UK: Routledge, 2018, 230 pp., 10 b&w and 5 color illus., $140.00 cloth. 《社会美学和道德判断:愉悦、反思和责任》主编。阿宾顿，英国:劳特利奇出版社，2018年，230页，10页，5张彩色插图。$140.00布。

IF 0.8 2区艺术学

JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2019-08-04 DOI: 10.1111/jaac.12657

ELIZABETH SCARBROUGH

引用次数: 0

An Argument for the New Theory of Photography: Reply to Costello 对摄影新理论的论证:对科斯特洛的回复

IF 0.8 2区艺术学

JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2019-08-04 DOI: 10.1111/jaac.12654

DOMINIC MCIVER LOPES

引用次数: 2

LOPES DOMINIC MCIVER. Being for Beauty: Aesthetic Agency and Value. Oxford University Press, 2018, 288 pp., $65.00 cloth. 洛佩斯·多米尼克·麦克艾弗。为美而存在:审美中介与价值。牛津大学出版社，2018年，288页，65.00美元。

IF 0.8 2区艺术学

JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2019-08-04 DOI: 10.1111/jaac.12663

STEPHANIE ROSS

引用次数: 0

Bazin, an Early Late Modernist 巴赞，一位早期晚期现代主义者

IF 0.8 2区艺术学

JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2019-08-04 DOI: 10.1111/jaac.12648

CATO WITTUSEN

{"title":"Bazin, an Early Late Modernist","authors":"CATO WITTUSEN","doi":"10.1111/jaac.12648","DOIUrl":"https://doi.org/10.1111/jaac.12648","url":null,"abstract":"<div>\u0000 \u0000 <p>This article argues that there are inflections of modernism in André Bazin's realist aesthetics and that he should be considered an early champion of post–World War II modernism in cinema. Within classical film theory, which took its point of departure in the silent cinema era, modernism is taken to be incompatible with realism. Moreover, both modernism and realism are seen to rely on the principle of medium specificity in this context, whereas Bazin argued that aesthetic progress in cinema is intrinsically related to the medium's capability to be impure. Recently, we have seen several attempts at connecting Bazin's aesthetics with high-modernism in the visual arts. However, I argue that it is more instructive to focus on their differences. This comparison is relevant for developing a deeper understanding of the form of modernism at stake in Bazin's aesthetics, especially when it comes to the question of the spectator's role in the constitution of meaning. Furthermore, Bazin's proto-modernist aesthetics must be discussed with an eye to his ardent support of what he considered a new avant-garde in narrative cinema and his lasting, but often misunderstood, interest in ambiguity as an aesthetic category.</p>\u0000 </div>","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"77 3","pages":"295-306"},"PeriodicalIF":0.8,"publicationDate":"2019-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12648","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91816062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Visual Art and the Rhythm of Experience 视觉艺术与体验的节奏

IF 0.8 2区艺术学

JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2019-08-04 DOI: 10.1111/jaac.12647

KASPER LEVIN, TONE ROALD, BJARNE SODE FUNCH

{"title":"Visual Art and the Rhythm of Experience","authors":"KASPER LEVIN, TONE ROALD, BJARNE SODE FUNCH","doi":"10.1111/jaac.12647","DOIUrl":"https://doi.org/10.1111/jaac.12647","url":null,"abstract":"<div>\u0000 \u0000 <p>The concept of rhythm is frequently used by art historians, critics, and philosophers as a way of describing central features of visual art. Since rhythm is generally considered to be a temporal phenomenon associated with music, it is far from clear how visual art, composed of fixed lines, figures, and color, can be associated with rhythmicity. Linked to a temporal ordering or structure in music, the notion of rhythm in visual art leads to a claim that the aesthetic aspect of a painting does not consist in, or emerge from, its spatial structures, but rather its temporal ordering of the visual field. Recently this account of rhythm in visual art has been criticized by philosopher Jason Gaiger, who argues that visual art does not comprise movement and therefore cannot be associated with a temporal rhythm. Through a discussion of temporality and rhythm in Edmund Husserl, Erwin Straus, and Henri Maldiney, this article maintains that rhythmicity is a central aspect of experiences with visual art. It is shown that the phenomenological account of rhythm in the experience of visual art is fundamentally linked to a different notion of time.</p>\u0000 </div>","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"77 3","pages":"281-293"},"PeriodicalIF":0.8,"publicationDate":"2019-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12647","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91816063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

BACHARACH SONDRA, JEREMY NEIL BOOTH, and SIV B. FJæRESTAD, eds. Collaborative Art in the Twenty-First Century. New York: Routledge, 2016, 210 pp., 32 b&w illus., $155.00 cloth.

IF 0.8 2区艺术学

JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2019-08-04 DOI: 10.1111/jaac.12658

SUE SPAID

引用次数: 0

Normative Fiction-Making and the World of the Fiction 规范小说创作与小说世界

IF 0.8 2区艺术学

JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2019-08-04 DOI: 10.1111/jaac.12660

MANUEL GARCÍA-CARPINTERO

引用次数: 18

RIGGLE NICK. On Being Awesome: A Unified Theory of How Not to Suck. London: Penguin Books, 2017, 224 pp., 2 b&w illus., $20.00 cloth. 楣板尼克。《卓越:如何不烂的统一理论》伦敦:企鹅图书，2017,224页，2 b&w。$20.00布。