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Showing posts with label Art(s). Show all posts
Showing posts with label Art(s). Show all posts
The Philosophical Actor: A Practical Meditation for Practicing Theatre Artists
Intellect Ltd | 2010-08-01 | ISBN-10: 1841503266,1841503908 | 224 pages | PDF | 1.2 MB
There have been many books published on acting, actor training, and practical theories for preparing for a role, but none of these books have ever looked philosophically at the language and the concepts that we use when we talk about acting. The Philosophical Actor is the first attempt to grapple with the fundamental questions of truth, art, and human nature unexamined in past treatments, from the first great essay by Diderot to the exhaustive system described by Stanislavski. With wide appeal to actors, directors, acting students, acting teachers and trainers, Donna Soto-Morettini draws from twenty-five years of experience as an acting teacher and director to introduce innovative ways of thinking about acting.
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http://depositfiles.com/files/j8ti37hdl
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Art History: Contemporary Perspectives on Method
Wiley-Blackwell | 1444333593 | edition 2010 | PDF | 184 pages | 4,3 mb
Art History: Contemporary Perspectives on Method examines the various patterns and approaches to the discipline of art history exhibited across the scholarship of all periods over the last 30 years, resulting in a cross section of art history in all its complexities and a timely survey of its historiography.
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http://turbobit.net/izhrca6n230i.html
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http://www.filesonic.com/file/16621843/Art%20History.pdf
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Respect for Acting
Wiley | 2008-07-08 | ISBN: 0470228482 | PDF | 240 pages | 5.16 MB
Respect for Acting by actress and teacher Uta Hagen is a textbook used in many acting classes. Hagen's instructions and examples guide the aspiring actor through practical problems such as "How do I talk to the audience?" and "How do I stay fresh in a long run?" She advocates the actor's use of substitution in informing and shaping the action of the character the actor is playing.
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http://depositfiles.com/files/wzyjwwu9b
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http://www.filesonic.com/file/16464689/b71-0470228482+.zip
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Theatricality as Medium
Fordham University Press | 2004-10-01 | 0823224163 | PDF | 428 pages | 10.92 MB
Ever since Aristotle's Poetics, both the theory and the practice of theater have been governed by the assumption that it is a form of representation dominated by what Aristotle calls the "mythos," or the "plot." This conception of theater has subordinated characteristics related to the theatrical medium, such as the process and place of staging, to the demands of a unified narrative. This readable, thought-provoking, and multidisciplinary study explores theatrical writings that question this aesthetical-generic conception and seek instead to work with the medium of theatricality itself.
Beginning with Plato, Samuel Weber tracks the uneasy relationships among theater, ethics, and philosophy through Aristotle, the major Greek tragedians, Shakespeare, Kierkegaard, Kafka, Freud, Benjamin, Artaud, and many others who develop alternatives to dominant narrative-aesthetic assumptions about the theatrical medium. His readings also interrogate the relation of theatricality to the introduction of electronic media. The result is to show that, far from breaking with the characteristics of live staged performance, the new media intensify ambivalences about place and identity already at work in theater since the Greeks.
Praise for Samuel Weber: “What kind of questioning is primarily after something other than an answer that can be measured ... in cognitive terms? Those interested in the links between modern philosophy nd media culture will be impressed by the unusual intellectual clarity and depth with which Weber formulates the ... questions that constiture the true challenge to cultural studies today. ...one of our most important cultural critics and thinkers.”
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http://depositfiles.com/files/4h8h8d1r0
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http://www.filesonic.com/file/16565819/a06-0823224163-.rar
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Painting Gender, Constructing Theory: The Alfred Stieglitz Circle and American Formalist Aesthetics
The MIT Press | 2001-04-02 | ISBN: 0262024888 | PDF | 408 pages | 4.26 MB
After the closing of his first art gallery in 1917, photographer Alfred Stieglitz reemerged in the New York art world in the 1920s. He achieved his comeback in large part through the innovative means he used to promote himself and the artists of his inner circle. Stieglitz and a number of well-established critics drew on period conceptions of sexuality, gender, and cultural identity to characterize the artists he championed as the fulfillment of a shared vision of a vital, nonrepressed American art.
In Painting Gender, Constructing Theory, Marcia Brennan examines how Stieglitz and the critics drew on early- twentieth-century discourses on sex and the psyche, particularly the theories of Sigmund Freud and Havelock Ellis, to characterize the artworks of the Stieglitz circle. Critics routinely described the often highly abstracted paintings of Georgia O'Keeffe, Arthur Dove, John Marin, Marsden Hartley, and Charles Demuth as transparent displays of the most intimate aspects of the self, taking both subject matter and painterly form to be guided by the artist's own gendered and psychic energies.
Focusing on the key historical criticism and artworks, Brennan shows how the identities of all five Stieglitz circle artists were presented in terms of the masculinity and femininity, and the heterosexuality and homosexuality, thought to be embedded in their work. Brennan also discusses Stieglitz's relation to competing artistic and critical movements, including Thomas Hart Benton's regionalist art and Clement Greenberg's reformulation of formalism. Arguing that American formalist criticism consisted of a complex and paradoxical mixture of corporeality and disembodied transcendence, Brennan provides insight not only into the works of the Stieglitz circle but into the development of formalist criticism itself.
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http://depositfiles.com/files/0fwpxbab2
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http://www.keepfile.com/loyg8mk7a7l9/a13-0262024888_.zip
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From Plato to Lumière: Narration and Monstration in Literature and Cinema
Univ. Toronto Press | 2008 | ISBN 0802098851 | 224 Pages | PDF | 6 MB
With this lucid translation of Du litteraire au filmique, André Gaudreault's highly influential and original study of film narratology is now accessible to English-language audiences for the first time. Building a theory of narrative on sources as diverse as Plato, The Arabian Nights,and Proust, From Plato to Lumière challenges narratological orthodoxy by positing that all forms of narrative are mediated by an "underlying narrator" who exists between the author and narrative text.
Offering illuminating insights, definitions, and formal distinctions, Gaudreault examines the practices of novelists, playwrights, and filmmakers and applies his theory to the early cinema of the Lumière brothers and more recent films. He also enhances our understanding of how narrative develops visually without language - monstration - by detailing how the evolution of the medium influenced narratives in cinema. From Plato to Lumière includes a translation of Paul Ricoeur's preface to the French-language edition as well as a new preface by Tom Gunning. It is a must-read for cinema and media students and scholars and an essential text on the study of narrative.
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http://hotfile.com/dl/39359382/dff6f6a/PlatoLumiere.zip.html
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On Translation (Thinking in Action)
Routledge (2006-10) | ISBN: 0415357780 | 160 Pages | 5.6 MB PDF
Paul Ricoeur is described in the Routledge Encyclopedia of Philosophy as "one of the leading French philosophers of the second half of the twentieth century." This little book collects his thoughts on the subject of translation, and is vintage Ricoeur. He uses the topic to reflect on some of the perennial problems posed by translation, including the transmission of early Greek philosophy to the Renaissance, interpretations of the Bible amongst diverse religious traditions (no small issue at the moment), and the way translations of the same text reflect important cultural dynamics at work across different periods, leading to quite different meanings springing from the same book. There are also discussions of some contemporary figures, such as Umberto Eco, and the whole underscored by Ricoeur's point that there is a paradox at the hear of translation: impossible in theory but effective in practice.
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http://hotfile.com/dl/742276/0d36a5d/kk18.rar.html
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The Course of Recognition
Harvard UP | 2005 | ISBN 0674019253 | 311 Pages | PDF OCR | 3.6 MB
Recognition, though it figures profoundly in our understanding of objects and persons, identity and ideas, has never before been the subject of a single, sustained philosophical inquiry. This work, by one of contemporary philosophy's most distinguished voices, pursues recognition through its various philosophical guises and meanings--and, through the "course of recognition," seeks to develop nothing less than a proper hermeneutics of mutual recognition.
Originally delivered as lectures at the Institute for the Human Sciences at Vienna, the essays collected here consider recognition in three of its forms. The first chapter, focusing on knowledge of objects, points to the role of recognition in modern epistemology; the second, concerned with what might be called the recognition of responsibility, traces the understanding of agency and moral responsibility from the ancients up to the present day; and the third takes up the problem of recognition and identity, which extends from Hegel's discussion of the struggle for recognition through contemporary arguments about identity and multiculturalism. Throughout, Paul Ricoeur probes the significance of our capacity to recognize people and objects, and of self-recognition and self-identity in relation to the gift of mutual recognition. Drawing inspiration from such literary texts as The Odyssey and Oedipus at Colonus, and engaging some of the classic writings of the Continental philosophical tradition--by Kant, Hobbes, Hegel, Augustine, Locke, and Bergson--The Course of Recognition ranges over vast expanses of time and subject matter and in the process suggests a number of highly insightful ways of thinking through the major questions of modern philosophy.
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http://www.megaupload.com/?d=UI62Y3HC
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Critique and Conviction
Columbia University Press | 1998 | ISBN 023110734X | 224 Pages | PDF OCR | 13.7 MB
Criticism and Conviction offers a rare opportunity to share personally in the intellectual life and journey of the eminent philosopher Paul Ricoeur. Internationally known for his influential works in hermeneutics, theology, psychoanalysis, and aesthetics, until now, Ricoeur has been conspicuously silent on the subject of himself. In this book -- a conversation about his life and work with François Azouvi and Marc de Launay -- Ricoeur reflects on a variety of philosophical, social, religious, and cultural topics, from the paradoxes of political power to the relationship between life and art, and life and death.In the first of eight conversations, Ricoeur traces the trajectory of his life, recounting the origins of his convictions and the development of his intellect against the tragic events of the twentieth century.
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http://rs517.rapidshare.com/files/240364538/023110834x.pdf
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A History of Feminist Literary Criticism
Cambridge University Press | 2007-10-08 | ISBN: 0521852552 | 364 pages | PDF | 1,35 MB
Feminism has transformed the academic study of literature, fundamentally altering the canon of what is taught and setting new agendas for literary analysis. In this authoritative history of feminist literary criticism, leading scholars chart the development of the practice from the middle ages to the present. The first section of the book explores protofeminist thought from the middle ages onwards, and analyses the work of pioneers such as Wollstonecraft and Woolf. The second section examines the rise of second wave feminism and maps its interventions across the twentieth century. A final section examines the impact of postmodernism on feminist thought and practice. This book offers a comprehensive guide to the history and development of feminist literary criticism and a lively reassessment of the main issues and authors in the field. It is essential reading for all students and scholars of feminist writing and literary criticism.
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After Criticism: New Responses to Art and Performance
Wiley-Blackwell | ISBN: 0631232834 | edition 2004 | PDF | 232 pages | 1.24 mb
It has recently become apparent that criticism has fallen on hard times. Either commodification is deemed to have killed it off, or it has become institutionally routine. This book explores contemporary approaches which have sought to renew criticism's energies in the wake of a 'theatrical turn' in recent visual arts practice, and the emergence of a 'performative' arts writing over the past decade or so.
Issues addressed include the 'performing' of art's histories; the consequences for criticism of embracing boredom, distraction and other 'queer' forms of (in)attention; and the importance of exploring writerly process in responding to aesthetic experience. Bringing together newly commissioned work from the fields of art history, performance studies, and visual culture with the writings of contemporary artists, After Criticism provides a set of experimental essays which demonstrate how 'the critical' might live on as a vital and efficacious force within contemporary culture.
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http://depositfiles.com/files/3u1dmkohr
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Criticism as Answerable Style
Routledge | 1990 | ISBN: 0415020948 | Pages: 192 | PDF | 1.02 MB
Though he resists easy formulation and cannot be identified with any theoretical position, Geoffrey Hartman has been developing a sophisticated philosophical criticism that at once parallels and differs from New Criticism, hermeneutics, reader-response, deconstruction, and psychoanalysis, and may best be described as reader-responsibility.
G. Douglas Atkins considers the entire range of Hartman's work, from his seminal studies of Wordsworth to his provocative arguments for a "negative hermeneutics" and a "creative criticism," from his continuing efforts to reinvigorate literary history to his "easy pieces" on Alfred Hitchcock, Ross MacDonald, and others.
By elucidating key ideas, this book provides a valuable introduction to a major critical voice of the twentieth century, who, more than any other writer, has called into question our assumptions about the distinction between commentary and imaginative literature.
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http://uploading.com/files/F1ZBZHIW/04_homex_d2.rar.html
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Modern European Criticism and Theory
Edinburgh University Press | 2006 | ISBN 074862449X | PDF | 449 pages | 18.8 MB
Modern European Criticism and Theory offers the reader a comprehensive critical overview of the widespread and profound contest of ideas within European 'theory'. The book focuses primarily on the thought of major voices in poetics, philosophy, linguistics, and psychoanalysis, as well as in literary and cultural studies from the Enlightenment to the present day. Examining how conceptions of subjectivity, identity and gender have been questioned, the more than 50 essays written by acknowledged experts in their fields critically assess the ways in which we think, see, and act in the world, as well as the ways in which we represent such thought psychologically, politically, and culturally. A further reading list accompanies each chapter. Key Features * Breadth of coverage from Descartes and Spinoza to Derrida, Lyotard and Zizek; from Phenomenology to French Feminisms and Psychoanalytic Literary Criticism. * Focus on the history of modern criticism. * Accessibly written. * Theoretical debates are set in full historical, cultural and philosophical contexts.
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http://rs266.rapidshare.com/files/402316794/074862449X.zip
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The Arts and Sciences of Criticism
Oxford University | PDF | 280 pages | ISBN:0198186398 | 1.35 Mb
This collection reflects on developments in criticism which bear on a debate between different modes of knowledge: a science model and its place in the university versus other ways of conceiving knowledge for which the arts have traditionally been seen as vehicles. Discussion ranges widely with contributions from leading academics as well as those outside the literary academy.
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http://rapidshare.com/files/217310546/The_Arts_and_Sciences_of_Criticism.rar
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Magical Criticism: The Recourse of Savage Philosophy
University Of Chicago Press 2009 | 256 Pages | ISBN 0226069915 | PDF | 1.69 MB
During the Enlightenment, Western scholars racialized ideas, deeming knowledge based on reality superior to that based on ideality. Scholars labeled inquiries into ideality, such as animism and soul-migration, “savage philosophy,” a clear indicator of the racism motivating the distinction between the real and the ideal. In their view, the savage philosopher mistakes connections between signs for connections between real objects and believes that discourse can have physical effects—in other words, they believe in magic.
Christopher Bracken’s Magical Criticism brings the unacknowledged history of this racialization to light and shows how, even as we have rejected ethnocentric notions of “the savage,” they remain active today in everything from attacks on postmodernism to Native American land disputes. Here Bracken reveals that many of the most influential Western thinkers dabbled in savage philosophy, from Marx, Nietzsche, and Proust, to Freud, C. S. Peirce, and Walter Benjamin. For Bracken, this recourse to savage philosophy presents an opportunity to reclaim a magical criticism that can explain the very real effects created by the discourse of historians, anthropologists, philosophers, the media, and governments.
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http://depositfiles.com/en/files/8gst7a06x
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Bracher, Lacan, Discourse, and Social Change: A Psychoanalytic Cultural Criticism
Cornell UP | 1993 | ISBN 0801427843 | 204 Pages | PDF OCR | 5 MB
Convinced that cultural criticism need not merely be an academic exercise but can help improve people?s lives, Mark Bracher proposes a method of cultural criticism which is based on the principles of psychoanalytic treatment and which aims to alter subjectivity and behavior
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http://hotfile.com/dl/44689307/9526896/BRACHERLaca.zip.html
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An Introduction to the Philosophy of Art
Cambridge University Press | ISBN 052180521X | 2003 | PDF | 292 pages | 1.3 MB
Richard Eldridge's compact survey of philosophical theories of the nature and significance of art draws on materials from classical and contemporary philosophy as well as literary theory and art criticism. Eldridge explores the representational, expressive, and formal dimensions of art, and argues that works of art present their subject matter as creations of enduring cognitive, moral, and social interest. His accessible study will be of interest to students and anyone interested in the relationship between thought and art.
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http://rs446.rapidshare.com/files/148571036/Introduction_to_the_Philosophy_of_Art__2003_ebook_.rar
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The Invention of "Folk Music" and "Art Music": Emerging Categories from Ossian to Wagner
Cambridge University Press | ISBN: 0521863031 | 2007 | PDF | 304 pages | 2,38 mb
We tend to take for granted the labels we put to different forms of music. This study considers the origins and implications of the way in which we categorize music today. Whereas earlier ways of classifying music were based on its different functions, for the past two hundred years we have been obsessed with creativity and musical origins, and classify music along these lines.
Matthew Gelbart argues that folk music and art music became meaningful concepts only in the late eighteenth and early nineteenth centuries, and only in relation to each other. He examines how cultural nationalism served as the earliest impetus in classifying music by origins, and how the notions of folk music and art music followed - in conjunction with changing conceptions of nature, and changing ideas about human creativity. Through tracing the history of these musical categories, the book confronts our assumptions about different kinds of music today.
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http://uploading.com/files/get/LJN8VOAI/
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The Reading of Theoretical Texts
Routledge | ISBN 9780415207720 | 2003 | PDF | 222 pages | 1.3 MB
Since the structuralist debates of the 1970s the field of textual analysis has largely remained the preserve of literary theorists. Social scientists, while accepting that observation is theory laden have tended to take the meaning of texts as given and to explain differences of interpretation either in terms of ignorance or bias. In this important contribution to methodological debate, Peter Ekegren uses developments within literary criticism, philosophy and critical theory to reclaim this study for the social sciences and to illuminate the ways in which different readings of a single text are created and defended.
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http://rs405.rapidshare.com/files/215955009/The_Reading_Of_Theoretical_Texts_-_A_Critique_Of_Criticism__1999_.rar
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Key Writers on Art: From Antiquity to the Nineteenth Century
Routledge | 1 edition (December 27, 2002) | ISBN:233 Pages | PDF | 0415243017 | 1 MB
A unique and authoritative guide written by an international panel of experts on art, art theory and art criticism. Key Writers on Art: From Antiquity to the Nineteenth Century traces the evolution of art from Ancient Greece to the end of the Victorian era. Arranged chronologically, the more than forty entries analyze the key ideas of key philosophers, historians, art historians, art critics, artist and social scientists, including Plato, Aquinas, Alberti, Michelangelo, de Piles, Burke, Kant, Marx, Tolstoy, Nietzsche, Ruskin, Wolfflin and Riegl. Each entry includes a critical essay, a short biography and a bibliography listing both primary and secondary texts.
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http://depositfiles.com/en/files/7tbc6ulb2
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