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• Intro
• Foreword
• References
• Acknowledgments
• Contents
• 1: Introduction
• 2: Representation of the Feminine Body
• 2.1 Sculpting a Body
• 2.1.1 The Body in the Social Dynamic
• 2.1.2 Mothering and Early Psychological Construction
• 2.2 A Beautiful Mind
• 2.2.1 Influential Feminine Figures in African Mythology
• 2.2.2 Good Women and Suitable Mothers
• 2.2.3 Women's Emancipation and Social Representation
• 2.3 Shape and Boundaries
• 2.3.1 Body Image and Postural Scheme
• 2.3.2 Symbolic Organs of Femininity and Maternity
• References

• 3: The Divine Aspect of Beauty
• 3.1 Beauty as a Symbol of Purity
• 3.1.1 From the Cultural Perspective
• 3.1.2 From the Religious Perspective
• 3.1.3 From the Psychoanalytical Perspective
• 3.2 Beauty as a Symbol of Malevolence
• 3.2.1 The Devouring Mother
• 3.2.2 Envy and Ambivalence
• 3.2.3 Man Versus Nature
• References
• 4: Adornment and Symbolism
• 4.1 Adornment and Rituals
• 4.1.1 Rites of Passage
• 4.1.2 Giving and Receiving in the Cycle of Exchange
• 4.1.3 Costumes and Their Cultural Symbolism
• 4.2 External Signs of Social Classes

• 4.2.1 Gold as a Privilege for the Higher Classes
• 4.2.2 Society Structured by Adornment
• 4.2.3 Gold in African Cultures
• References
• 5: Adornment and Social Representation
• 5.1 Intersectionality and Black Femininity
• 5.1.1 Blackness and Colonialism
• 5.1.2 Skin Color, Hairstyle, and Identity
• 5.1.3 Alterity in Psychoanalysis
• 5.2 Adornment as a Method of Social Recognition
• 5.2.1 Social Stigma and Women's Aesthetic
• 5.2.2 Religious Aestheticism and Identity
• 5.2.3 Decolonizing Women's Body
• References
• 6: Masquerade and Femininity

• 6.1 Masquerade and the Game of Power
• 6.1.1 Perspectives of the Feminine Oedipus and Superego
• 6.1.2 Mother-Daughter Relationship, the Experience of Ravage
• 6.1.3 Masquerade as a Strategy
• 6.2 Adornment as an Optical Illusion of the Feminine Mystery
• 6.2.1 Femininity and Masquerade in Society
• 6.2.2 Veil of Femininity or Masquerade
• 6.2.3 Masquerade and Women's Empowerment
• References
• 7: Theoretical-Clinical Articulation and Analysis
• 7.1 Methodology and Ethics
• 7.1.1 Methodology
• 7.1.2 Ethics
• 7.1.3 Transference and Countertransference Mechanisms

• 7.2 Clinical Illustrations and Theoretical-Clinical Interpretation
• 7.2.1 Mrs A
• 7.2.2 Mrs M.
• 7.2.3 Discussion
• References
• 8: Conclusion
• Index

• On the ethereal emptiness and substantiality of literature and art
• Aesthetics ideology presented in Chinese calligraphy
• After seeing Rodin's sculpture

• Part One: Avant-Gardes
• 1. Signed In Red. The First Avant-Garde
• 2. Blue Voids. The Modernist Avant-Garde And The Permanence Of Art
• Part Two: Theories and Critiques
• 3. Society as a Work of Art?
• 4. States of Exception
• 5. Saying The Unsayable
• Part Three: Critical Practices
• 6. After The Statues
• 7. Exhibiting Dissent
• 8. Revolution is Sublime
• 9. Beauty is Convulsive -Bibliography
• Index

Art has always been central to moments of great social change. From the avant-garde to the ages of revolution, the act of rebellious creation has been crucial to bringing people and ideas together. However, in an increasingly fractured world characterised by upheaval and crisis, what role can art play in ushering in transformation? Malcolm Miles offers a guide to contemporary art and activism, setting it firmly within the context of the avant garde and its legacies in the postwar period. He explores the rise of direct action to replace representational politics in organizations like Occupy and Extinction Rebellion, and in the movements to destroy or remove statues of slavers, and finds parallels in anti-institutional art practices. By engaging with the significant theoretical innovations of the last 50 years -- modernism, postmodernism and contemporary critical thinking - Miles provides both an overview of political aesthetics and an introduction to how art activism works in its most memorable moments in history. Art Rebellion argues that beauty is radically other to the dominant society; that power relations can be transformed; that protest cultures and contemporary art grow together; and that art has a crucial interruptive role in forming new, more equal and just, realities

• Pt. 1. Le Beau, une valeur à dépasser
• Une Beauté esth-éthique
• Trop Beau pour être beau
• Belles laideurs
• Une Laideur majeure
• En quête de nouvelles esthétiques
• L'esthétisme confronté à l'horreur de la Seconde Guerre mondiale
• Se libérer de la Beauté
• Pt. 2. Le moche, nouvelle laideur d'une fin de siècle repue et désenchantée
• Le moche démocratique
• Less is more
• Pas plus humain que le moche
• Le moche démocratique
• Les années 1980 : le moche a du style
• Moche Culture
• Pt. 3. L'imbeau, lorsque le moche se revendique
• Une nouvelle culture du dérisoire et du grotesque
• Moi, moche et méchant
• Un présent terroriste
• L'extrême banalisé : l'imbeauté politique
• Une imbeauté inclusive.

"Du succès de la saga Moi, moche et méchant au #chubby sur Instagram, du selfie au photo-dumping, du désormais incontournable pull moche arboré à Nœl à l'improbable design de la Citroën AMI, il semble qu'aujourd'hui, la Beauté avec un grand B ne soit plus en vogua Normatif et dictatorial, artificiel et trompeur, prompt à l'asservissement et au rejet du différent, le Beau est alors à présent accusé d'intolérance et de propagandisme. Dès lors, la Laideur est devenue en art une source intarissable de liberté esthétique et une critique de la culture du Surhomme des dictatures du XXe siècle avant que le moche ne soit considéré comme une réponse à l'hyperesthétisme impersonnel et deshumanisant des mass media. Depuis, l'heure semble désormais à l'élaboration d'une esthétique de l'inesthétique et à la banalisation comme à la valorisation de nos penchants les plus abjects. De cette tendance émerge une nouvelle valeur qui ne prétend plus à la transcendance du Beau ni au choc cathartique du Laid, mais revendique une mocheté assumée et militante. Un moche qui entend déconstruire les anciennes hiérarchies esthétiques et morales au profit d'une vision résolument inclusive. Un néo-moche que nous qualifions d'imbeau, et dont ce livre propose d'analyser la genèse artistique autant que sociétale."--Page 4 of cover.

Congo Style presents a postcolonial approach to discussing the visual culture of two now-notorious regimes: King Leopold II's Congo Colony and the state sites of Mobutu Sese Seko's totalitarian Zaïre. Readers are brought into the living remains of sites once made up of ambitious modernist architecture and art in Kinshasa, Democratic Republic of the Congo. From the total artworks of Art Nouveau to the aggrandizing sites of post-independence Kinshasa, Congo Style investigates the experiential qualities of man-made environments intended to entertain, delight, seduce and impress. In her study of visual culture, Ruth Sacks sets out to reinstate the compelling wonder of nationalist architecture from Kinshasa's post-independence era, such as the Tower of the Exchange (1974), Gécamines Tower (1977), and the artworks and exhibitions that accompanied them. While exploring post-independence nation-building, this book examines how the underlying ideology of Belgian Art Nouveau, a celebrated movement in Belgium, led to the dominating early colonial settler buildings of the ABC Hotels (circa 1908-13). Congo Style combines Sacks's practice as a visual artist and her academic scholarship to provide an original study of early colonial and independence-era modernist sites in their African context.

• Between science and art. Beazley, Daubert, and the Burden of Proof / Peter Stewart
• The Scientific Approach to Collecting: Private Coin Collections in Qing Dynasty China / Lyce Jankowski
• Connoisseurs, Scientists and the Mineral Kingdom / Monica Price and Mike Rumsey
• Professionals, amateurs, and the market. Elite and Popular Connoisseurship at the Louvre c. 1848-1870 / Tom Stammers
• Wilhelm von Bode's Technical Art History: The 1909-1912 Investigation of the Bust of Flora Attributed to Leonardo da Vinci / Matthew Hayes
• Cultural connoisseurship and the senses. "The Stock of a Connoisseur?": The Development and Commercialization of Wine Connoisseurship in the Long Nineteenth Century / Graham Harding
• Connoisseur Consumer and Specialty Coffee / Ronan Torres Quintão
• On Touching: Connoisseurship of Literati Walnuts in Beijing / I-Yi Hsieh.

"In The Entanglement, philosopher Alva Noë explores the inseparability of life, art, and philosophy, and argues that we have radically underestimated the significance of this long recognized but underappreciated reality, what he refers to as the "entanglement." The core of The Entanglement is the idea that human existence is inextricably aesthetic and philosophical. In the first half of the book, Noë offers a detailed examination of pictures and seeing, writing and speech, and choreography and dancing, which serve as case studies and the base in which the phenomenon of entanglement is set. In later chapters, Noë deepens this analysis by exploring the nature of the aesthetic itself, and its place in our lives, examining what the entanglement can teach us about science, and, in particular, the project of applying science in the domain of the human. In these later chapters he covers a range of topics, including sex, gender, and the body, psychology and AI, the problem of style, and the nature of 'nature.' Drawing on his work in perception, consciousness, and the philosophy of art, Noë offers a new model for thinking about the nature of the human, the limits to what a natural science of the human can do on its own, and the irreplaceable importance of art and philosophy for the larger project of studying and understanding ourselves"-- Provided by publisher.

• Introduction
• Immanence esthétique
• Art, vérité et beauté
• Finalité et jugement réfléchissant
• Sublime, forcément sublime
• Pourquoi infini ?
• L'art et l'État, l'état de l'art
• Homo ludens
• Présence de l'ceuvre
• Instant esthétique et beauté
• Beauté et passage à l'infini
• L'origine de la beauté
• Hymne à la beauté, sublime, toujours sublime
• Puissance de la beauté
• La rose est sans raison
• Bibliographie.

"La question de l'esthétique a été abordée à maintes reprises dans l'ensemble de mes écrits. Quand on s'engage dans l'écriture d'un ouvrage philosophique, il est impossible d'ignorer ce terme. Mais que recouvre-t-il exactement ? Si on considère les origines grecques de ce mot, l'esthétique (aisthêsis) est la faculté de ressentir quelque chose ; l'esthète (aisthêtès) est ainsi celui qui sent. C'est-à-dire chacun d'entre nous. L'être humain possède cette faculté de réception du sens des choses. L'Homme est capable d'en comprendre l'idée, d'en retenir l'information. Je pars de cette affirmation pour établir mon esthétique. Ainsi le sens, l'idée, l'information, ce qu'on appelle communément la vérité lorsqu'ils sont accompagnés de la puissance, sont à la fois la source, le processus et le résultat de toute création de formes artistiques ou non."--Page 4 of cover.

Literature and neuroscience come together to illuminate the human experience of beauty, which unfolds in time. How does beauty exist in time This is Gabrielle Starr's central concern in Just in Time as she explores the experience of beauty not as an abstraction, but as the result of psychological and neurological processes in which time is central. Starr shows that aesthetic experience has temporal scale. Starr, a literary scholar and pioneer in the field and method of neuroaesthetics, which seeks the neurological basis of aesthetic experience, applies this methodology to the study of beauty in literature, considering such authors as Dawoud Bey, Rita Dove, Gerard Manley Hopkins, Henry James, Toni Morrison, and Wallace Stevens, as well as the artist Jasper Johns. Just in Time is richly informed by the methods and findings of neuroscientists, whose instruments let them investigate encounters with art down to the millisecond, but Starr goes beyond the laboratory to explore engagements with art that unfold over durations experiments cannot accommodate. In neuroaesthetics, Starr shows us, the techniques of the empirical sciences and humanistic interpretation support and complement one another. To understand the temporal quality of aesthetic experience we need both cognitive and phenomenological approaches, and this book moves boldly toward their synthesis.

This book details the dramatic history of the weaponization of avant-garde art as propaganda, from its violent origins selling the idealistic communism of revolutionary France to its use as an American weapon wielded against the Nazi and Soviet threat as World War II began. It shows how art became ammunition in the war of ideas as the protagonists of the Second World War attempted to control the minds of their people. The text highlights how the avant-garde was the battlefield for the epic struggle between collectivism and American individualism, and will appeal to the reader with an interest in dramatic stories of art, history, and politics

• Introduction : creative warfare
• Astrological war media
• The artifact of war
• Operational aesthetics
• The war artists
• Designing war
• Epilogue : failures of imagination

• Introduction : creative warfare
• Astrological war media
• The artifact of war
• Operational aesthetics
• The war artists
• Designing war
• Epilogue : failures of imagination

"The twenty-first century has witnessed a pervasive militarization of aesthetics with Western military institutions co-opting the creative worldmaking of art and merging it with the destructive forces of warfare. In Martial Aesthetics, Anders Engberg-Pedersen examines the origins of this unlikely merger, showing that today's creative warfare is merely the extension of a historical development that began long ago. Indeed, the emergence of martial aesthetics harkens back to a series of inventions, ideas, and debates in the eighteenth and early nineteenth century. Already then, military thinkers and inventors adopted ideas from the field of aesthetics about the nature, purpose, and force of art and retooled them into innovative military technologies and a new theory that conceptualized war not merely as a practical art, but as an aesthetic art form. This book shows how military discourses and early war media such as star charts, horoscopes, and the Prussian wargame were entangled with ideas of creativity, genius, and possible worlds in philosophy and aesthetic theory (by thinkers such as Leibniz, Baumgarten, Kant, and Schiller) in order to trace the emergence of martial aesthetics. Adopting an approach that is simultaneously historical and theoretical, Engberg-Pedersen presents a new frame for understanding war in the twenty-first century"-- Provided by publisher

• Introduction
• 1. The Heavens, Ancient and Modern
• 2. Ancient Art and the Problem of Hamlet
• 3. Crossing the Cosmos in Santa Costanza Interlude. A New Theology of Nature
• 4. Michelangelo's Renewal of All Things
• 5. Natural Things in Caravaggio's Early Religious Paintings
• 6. Borromini's Restlessness and the Classical Tradition Epilogue: Nature and Ruin.
• (source: Nielsen Book Data)

This volume uses the art of Rome to help us understand the radical historical break between the fundamental ancient pre-supposition that there is a natural world or cosmos situating human life, and the equally fundamental modern emphasis on human imagination and its creative power. Rome's unique art history reveals a different side of the battle between ancients and moderns than that usually raised as an issue in the history of science and philosophy. The book traces the idea of a cosmos in pre-modern art in Rome, from the reception of Greek art in the Roman republic to the construction of the Pantheon, to early Christian art and architecture. It then sketches the disappearance of the presupposition of a cosmos in the High Renaissance and Baroque periods, as creativity became a new ideal. Through discussions of the art and architecture that defines proto-modern Rome- from Michelangelo's terribilita' in the Sistine Chapel, Caravaggio's realism, Baroque illusionism, the infinities of Borromini's architecture, to the Grand Tour's representations of ruins- through an interpretation of such major issues and works, this book shows how modern art liberates us while leaving us feeling estranged from our grounding in the natural world. The book will be of interest to scholars working in art history, architectural history, classics, philosophy, and early modern history and culture.
(source: Nielsen Book Data)