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The Aesthetic Dimension: Toward a Critique of Marxist Aesthetics (German: Die Permanenz der Kunst: Wider eine bestimmte marxistische Ästhetik) is a 1977 book on aesthetics by the philosopher Herbert Marcuse, in which the author provides an account of modern art's political implications and relationship with society at large.
- Herbert Marcuse
- Germany
- 1977
- Die Permanenz der Kunst: Wider eine bestimmte marxistische Ästhetik
18. Dez. 2013 · 1. Biography. 2. The Aesthetic Dimension. 3. The Search for a Philosophical Foundation for Marxism and the Radical Subject. 3.1 Phenomenological Marxism. 3.2 Philosophical Anthropology and Radical Subjectivity. 3.3 Negative (Dialectical) Thinking and Social Change. 4. Psychoanalysis and Utopian Vision.
aesthetic experience is a supplementation of this partition—a third term that cannot be described as a part but as an activity of redistribution, an activity that takes the form of a neutralization. What I call the aesthetic dimension is this: the count of a supplement to the parts that cannot be described as a part itself. It is another kind of
(00:51) Ästhetik ist ein vielschichtiges Konzept, das oft mit Kunst und Philosophie verbunden wird. In der Kunst ist Ästhetik der Kern von Malerei, Bildhauerei, Musik, Literatur und Theater. Sie bestimmt, wie Kunstwerke geschaffen und wahrgenommen werden. Doch Ästhetik beschränkt sich nicht nur auf die Kunst.
die ästhetische Produktion, also die Seite derjenigen, die Objekte schaffen, auf die sich diese Aussagen beziehen (wobei in der Ästh etik der freien Natur diese Dimension wegfällt); . (last but not least) die ästhetischen Phänomene verschiedenster Art.
15. Mai 2024 · Definition of 'aesthetic' aesthetic. (iːsθetɪk , es- ) adjective. Aesthetic is used to talk about beauty or art, and people's appreciation of beautiful things. [...] The aesthetic of a work of art is its aesthetic quality. [...] aesthetically (iːsθetɪkli , es- ) adverb. See full entry for 'aesthetic' Collins COBUILD Advanced Learner’s Dictionary.
“The Aesthetic Dimension of Visual Culture”, from w hich this volume drew its essays, especially Tereza Hadravová, but also Št ěpán Kubalík, Josef Šebek, and the conference volunteers, undergr aduates from the Department of Aesthetics, Charles University, Prague. Thanks also to the
