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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
61

Philosophie der Kunst denkt sich zu Ende

Frey, Peter, January 1977 (has links)
Thesis (doctoral)--Johann Wolfgang Goethe Universität zu Frankfurt am Main, 1977. / Vita. Includes bibliographical references (p. 180-190).
62

A theory of esthetic according to the principles of St. Thomas Aquinas ... by Leonard Callahan ...

Callahan, John Leonard, January 1927 (has links)
Thesis (Ph. D.)--Catholic University of America, 1927. / Vita. Bibliography: p. 126-131.
63

The ugly and its place in art and literature /

Stimmel, Lester Hendren. January 1928 (has links)
Thesis (M.A.)--Ohio State University, 1928. / Includes bibliographical references. Available online via OhioLINK's ETD Center
64

Aesthetic experiences in the teaching of art : an aspect of method /

Stumbo, Hugh Winston, January 1900 (has links)
Thesis (Ph. D.)--Ohio State University, 1968. / Includes vita. Includes bibliographical references (leaves 139-141). Available online via OhioLINK's ETD Center.
65

The use of aesthetics in a comprehensive art curriculum

Loudermilk, Michelle Lynn. January 2002 (has links)
Thesis (M.A.)--Marshall University, 2002. / Title from document title page. Document formatted into pages; contains vi, 90 p. Includes bibliographical references (p. 42-43).
66

Independence and interdependence in John Cage's adoption of Zen Buddhism and anarchism

Sota, Yuji 20 October 2015 (has links)
<p> The composer John Cage adopted Indian aesthetics, Zen philosophy, and anarchism to underpin his music and aesthetic. Although his interest in each ideology has been studied, the reason why he incorporated ones from disparate values remains unclear. Considering the trajectory of his intense quest for the theories that reinforced his music and aesthetic, elucidating the commonalities and differences among Indian aesthetics, Zen philosophy, and anarchism should reveal what he ultimately pursued. This dissertation explores comparative analyses of his interests in order to detect the notion of the coexistence of independence and interdependence. </p><p> Cage drew on Indian aesthetics first to dispel his doubt about his attitude relying on self-expression. The aesthetics denied expression of individual emotion, centering on the interdependence between a divine realm as an artistic source and art as its manifestation. Because Indian aesthetics contains no independent aspects, he turned to other philosophies. He next turned his attention to Zen. This philosophy is interested in discovering the independent, innate self not disturbed by delusion caused by self-centered thinking. That is, Zen believes that the purified self is directly connected with the world. The Zen tenet associates the interdependent nature with its teachings of salvation of others. </p><p> Under the tumultuous social circumstances in the 1960s, Cage was fascinated by anarchism. Buckminster Fuller advocated the world in which people could achieve comfortable life, not by national politics, but by the redistribution of wealth allowed by the improvement of technology. Such a society, he believed, could realize global welfare with its improved technology. Henry Thoreau&rsquo;s social theory has been regarded as an alternative to Fuller&rsquo;s. However, Thoreau&rsquo;s orientation toward connections with others and the notion of welfare was very limited in comparison with his special emphasis on the independent self. It was with Emma Goldman&rsquo;s anarchism that Cage eventually found the coexistence of individual freedom and supportive environment that allowed welfare for all human beings. </p><p> Cage engaged with these theories in order to discover independence and interdependence within his aesthetic. The pursuit centered on the concept of the self; more specifically a pure self that accepted the universe as it was and is. His exploration of the literature can be referred to, then, as the journey to self-identity. My dissertation is based on a close reading of primary sources, including the treatises by Indian aesthetician Ananda Coomaraswamy, Zen master Huang-Po, Zen scholar Daisetz Teitaro Suzuki, Fuller, Thoreau, and Goldman as well as Cage&rsquo;s writings and interviews. Scholarship of religious studies and political theory, in addition to musicology, supports the interpretation of their various sources.</p>
67

Altered and constructed ceramic forms

Gerring, Robert Lyle, 1934- January 1966 (has links)
No description available.
68

Illusion in the commonplace| Reinterpreting Ernst Gombrich's concept of illusion

Auyer, Jonathan P. 09 August 2013 (has links)
<p> In the dissertation I analyze and interpret Ernst Gombrich's book <i> Art and Illusion,</i> focusing on his view that illusion is involved in pictorial representation. Since Gombrich never gave a concise, systematic account of illusion, my goal will be to fill this void by using the text of <i> Art and Illusion</i> as well as Gombrich's subsequent writings in order to present a coherent account of how illusion might play a role in a picture's representing an object.</p><p> My goal is not to present an unassailable account of pictorial representation. Instead, I offer a version of Gombrich's theory that pushes readers towards a better comprehension of what a Gombrichian theory of illusion involves. In the process I introduce and defend a number of terms and concepts in the service of filling in those places where Gombrich is silent. Among other things, in response to Gombrich's notion of visual substitution I elaborate upon the claims that representational pictures function as relational models and afford recognition of the objects they represent; I reply to Richard Wollheim's "twofoldness" objection to Gombrich; and I contend that Gombrich's use of the notion of illusion is not open to the objections commonly made against it (e.g., that normal picture perception does not involve illusion because "illusion" is synonymous with "delusion").</p>
69

Recognition and Reconciliation: The New Role of Theory in Aesthetics

Hrehor, Kristin Amber 26 September 2007 (has links)
George Dickie’s institutional theory of art has been subject to extensive debate over the past 30 years. It has been both revered and deplored, garnering such attention for the seemingly controversial way in which Dickie answers the question, “What is art?” In Dickie’s view, an object derives its existence as a work of art in the context of the informal institution of the “artworld,” a concept which was borrowed from Arthur Danto’s earlier work on the theoretical context surrounding works of art. Another significant feature of Dickie’s institutional theory is that it provides a definition of art, a problem that philosophers of art have attempted to solve for the past few centuries. Dickie’s theory inclines one to dismiss other candidates for definitions as implausible, such as those put forth by R.G. Collingwood and Leo Tolstoy, since, as Dickie insists, an acceptable definition of art must be able to account for the many different kinds of practices that are all referred to as “art.” I do not wish to conclude that the task of defining “art” is no longer a viable option for philosophers, as others such as Morris Weitz and Peter Kivy have suggested. Instead, I will provide an alternative way of philosophizing about art that is similar in some ways and yet very different from the methods Weitz and Kivy have proposed. I will illuminate a new way of interpreting the theories of Collingwood, Tolstoy, and Danto which is different from those that have been proposed in the past, one that highlights their normative and institutional features. On the foundations of this new interpretation, I will propose a new role for the philosopher of art, one that takes into consideration the significance of the institutional structure of the artworld and how it can be normatively constrained. / Thesis (Master, Philosophy) -- Queen's University, 2007-09-24 12:31:06.391
70

Of The Standard of Sentiments: Hume on Virtue and Beauty

Goodine, Elliot J Unknown Date
No description available.

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