The Outwardness Of Art

"Adrian Stokes (1902-1972) was at once the last of the great British amateur art writers in the tradition of Ruskin and Pater, and - as the first art theorist to substantially synthesize aesthetics and psychoanalysis - among the first of the moderns. Since the publication of his groundbreaking Faber books The Quattro Cento and Stones of Rimini in the 1930s, Stokes's writing has enjoyed an incredibly diverse readership across disciplines ranging from psychoanalysis to literature and art, from Ernst Gombrich to Dore Ashton, Ben Nicholson to Philip Guston, Ezra Pound to John Ashbery. " -- Publisher's description.

This work provides an overview of the progress that has characterized the field of research and policy in art education. It profiles and integrates history, policy, learning, curriculum and instruction, assessment, and competing perspectives.

An examination of why artists make art in the first place, and why we all feel the need for it.

This book approaches Hegel from the standpoint of what we might call the question of knowledge. Hegel, of course, had no "theory of knowledge" in the narrow and abstract sense in which it has come to be understood since Locke and Kant. "The examination of knowledge," he holds, "can only be carried out by an act of knowledge," and "to seek to know before we know is as absurd as the wise resolution of Scholasticus, not to venture into the water until he had learned to swim. " * While Hegel wrote no treatise exclusively devoted to epistemology, his entire philosophy is nonetheless a many-faceted theory of truth, and thus our title - Beyond Epistemology - is meant to suggest a return to the classical meaning and relation of the terms episteme and logos. I had originally planned to include a lengthy introduction for these essays, setting out Hegel's general view of philosophic truth. But as the papers came in, it became clear that I had chosen my contributors too well; indeed, they have all but put me out of business. In any case, it gives me great pleasure to have been able to gather this symposium of outstanding Hegel scholars, to provide for them a forum on a common theme of great importance, and especially, thanks to Arnold Miller, to have Hegel himself among them. Frederick G. Weiss Charlottesville, Va. • The Logic of Hegel, trans. from the Etu;yclopaedta by William Wallace. 2nd ed.

Though underexplored in contemporary scholarship, the Victorian attempts to turn aesthetics into a science remain one of the most fascinating aspects of that era. In The Outward Mind, Benjamin Morgan approaches this period of innovation as an important origin point for current attempts to understand art or beauty using the tools of the sciences. Moving chronologically from natural theology in the early nineteenth century to laboratory psychology in the early twentieth, Morgan draws on little-known archives of Victorian intellectuals such as William Morris, Walter Pater, John Ruskin, and others to argue that scientific studies of mind and emotion transformed the way writers and artists understood the experience of beauty and effectively redescribed aesthetic judgment as a biological adaptation. Looking beyond the Victorian period to humanistic critical theory today, he also shows how the historical relationship between science and aesthetics could be a vital resource for rethinking key concepts in contemporary literary and cultural criticism, such as materialism, empathy, practice, and form. At a moment when the tumultuous relationship between the sciences and the humanities is the subject of ongoing debate, Morgan argues for the importance of understanding the arts and sciences as incontrovertibly intertwined.

Analyzes all of Shakespeare's sonnets in terms of their poetic structure, semantics, and use of sounds and images