Bøker av Dabney Townsend

Taste and Experience in Eighteenth Century Aesthetics acknowledges theories of taste, beauty, the fine arts, genius, expression, the sublime and the picturesque in their own right, distinct from later theories of an exclusively aesthetic kind of experience. By drawing on a wealth of thinkers, including several marginalised philosophers, Dabney Townsend presents a novel reading of the century to challenge our understanding of art and move towards a unique way of thinking about aesthetics. Speaking of a proto-aesthetic, Townsend surveys theories of taste and beauty arising from the empiricist shift in philosophy. A proto-aesthetic was shaped by the philosophers who followed Locke and accepted that theories of taste and beauty must be products of experience alone. Francis Hutcheson, David Hume, Alexander Gerard and Thomas Reid were among the most important advocates, joined by others who re-thought traditional topics. Featuring chapters tracing its philosophical principles, issues raised by the subjectivity of the empiricist approach and the more academic proto-aesthetic formed toward the end of the century, Townsend argues that Lockean empiricism laid the foundations for what we now call aesthetics.

Containing twenty-two essays, including Dabney Townsend's essay on the development of eighteenth century aesthetics to make the history of aesthetics accessible to both students and specialists alike.

Containing twenty-two essays, including Dabney Townsend's essay on the development of eighteenth century aesthetics to make the history of aesthetics accessible to both students and specialists alike.

Aesthetics is not a "e;factual"e; discipline; there are no aesthetic facts. The word itself is derived from the Greek word for "e;feeling"e; and the discipline arises because of the need to find a place for the passions within epistemology-the branch of philosophy that investigates our beliefs. Aesthetics is more than just the study of beauty; it is a study of that which appeals to our senses, most often in connection with the classification, analysis, appreciation, and understanding of art.The A to Z of Aesthetics covers its history from Classical Greece to the present, including entries on non-western aesthetics. The book contains a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on the main concepts, terminology, important persons (philosophers, critics, and artists), and the rules and criteria we apply in making judgments on art. By providing concise information on aesthetics, this dictionary is not only accessible to students, but it provides details and facts to specialists in the field.

Aesthetics is not a 'factual' discipline; there are no aesthetic facts. The word itself is derived from the Greek word for 'feeling' and the discipline arises because of the need to find a place for the passions within epistemology_the branch of philosophy that investigates our beliefs. Aesthetics is more than just the study of beauty; it is a study of that which appeals to our senses, most often in connection with the classification, analysis, appreciation, and understanding of art. The Historical Dictionary of Aesthetics covers its history from Classical Greece to the present, including entries on non-western aesthetics. The book contains a chronology, a list of acronyms and abbreviations, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on the main concepts, terminology, important persons (philosophers, critics, and artists), and the rules and criteria we apply in making judgments on art. By providing concise information on aesthetics, this dictionary is not only accessible to students, but it provides details and facts to specialists in the field.

This is a challenging exploration of the link between the work of David Hume and the eighteenth century empiricist background to the parallel history of aesthetics as it developed at the time.